/Dark pop, Neoclassical, Gothic pop, Musique
concrète, Leftfield, Art pop, Experimental pop, Darkwave, Tango, Avant-pop/
Comment:
Radikal Satan is the project of César Amarante, and Mauricio Amarante whose
11-track issue reflects upon their cultural backdrops being related to
Argentina, France, and New York. The bunch has been managed in a way to bring
forth elaborate, dark-hued pop songs with many threads of tango twists, gothic
synthesised upper templates, vivid guitar chords, and Parisian street sounds based
on lofty accordion sounds. At times these notches of the sonic backbone are
variegated with mixed warped spoken word snippets and concrete sounds (for
instance, Exilio en el Exilio) or songs
are saturated with excruciated, psychotic vocal deliveries. And those
half-orchestrated noises and ominous progressions surfacing here and there used
to hit your conscious mind. Behind those visible figures you could perceive
shades coming out from the other side and on the other side it arouses your brain
to cast aside the control over your unconscious mind. However, the issue is
saturated with more elements than discovered above. Yesterday I reviewed
Faerùn`s album The Night (2013, Test
Tube) which provides a quite similar approach both ideologically and sonically because
of recruiting an avant-garde sonic palette to exert it for creating music in
conjunction with pop songs formulas. Similarly, both albums are murkily
full-fledged yet somehow recognizable and intimate ones. In a word, the output
is both intimidating and mesmerizing. Call me morbid, call me pale but I feel myself
totally satisfied.