Friday, July 6, 2018

Deicida 69 – Vocem For Atonal Wave (2015)



  • Crust punk 
  • Art punk 
  • Alternative rock 
  • Indie rock 
  • Avant-rock 
  • Psychedelic rock 
  • Spoken word 
  • Post-punk 
  • Electro-punk 
  • Crossover 
  • Sampledelic 
  • Jazz 
  • Plunderphonics 
  • Hardcore 
  • Electronic music 
  • Dada music 
  • No wave
  • Non-music 
  • Jazz punk 
  • Cold wave 
  • Ambient
  • Leftfield

Comment: this set of 22 tracks consists of a couple of joint albums, more profoundly, Côte, and Ntoa. The combo comes out of Mexico and provides something truly refreshing and mind-altering within the rock (and roll) genre. First of all, it is incisive and harsh by its formal shape and certainly dadaist and postmodernist by its conceptual approach. Of course, the discoloured terms “postmodern” and adjective “postmodernist” do say a bit little about certain phenomena but it can be mapped as a bastard of different genres and exploitation of different genres. It may be tagged as an example of exploitation punk by ranging from art punk/post-punk/electro-punk to hardcore, psych-punk, cold wave/gothic punk and crust punk with hints at spoken word, jazz, electronic music and downright plunderphonics/sampledelic art. But I can guarantee you could find out more cues to even more phenomena and stylistic/stylized pops. Frequently the guitars chime like an angle grinder. One more fact I can admit the artist is obsessed with more or less implicit sexual (under)tones (being inspired by the oeuvre of Marquis de Sade). Undoubtedly one can partake in a frantic pool of very different experiments and combinations. As it is explicated at the site of Plataforma Records their modus operandi is the constant violation of the rules of harmony which dictates the Orthodox Music. At times, at Barbichuettes Night (A Tribute) one can enjoy a submerged, schizoid dialogue being savoured by spacey synthesised atmospheric lines and scruffy analogue synthesiser effects. It comes from nowhere, in the sense that I have no idea of how to localise it. As if being everywhere, it does mean having no place at all. However, at the same time it does not chime in a cheapo and vacuous way altogether. By possible kindred souls it could be compared with the St Petersburg, Russia-based dadaist surf/punk/lounge/avant/sample/psych/fetish-pop combos Messer Chups/Messer für Frau Müller. But I am very sure they have listened to This Heat, Bauhaus, Throbbing Gristle, an early Cabaret Voltaire, Velvet Underground, The Fall, and many artist from within the No Wave pigeonhole either. The overpowering issue is a part of the discography of a French imprint, NKS International Muzakillabel, a part of the discogrpahy of Brazil-based imprint Plataforma, and a part of the discography of the Chilean Cieliro Diystro.
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