By listening to genus inkasso`s 4-track issue, however, my first impression was turned into the next question forms - did I have any idea of it being either a kind of mocking shot to the face of any types of experimental music peers or was it just a relaxing act, offering some satisfaction for the creator? Why did I have the questions and hesitations to be surfaced for? Was it a sheer expression of sonic metaphysics by directing a scraggy finger toward the scale of relativeness, maybe even referring to the end of pop music? What does it mean "interests and penalty" in this context actually? Should I be aware of it at all? Might it be the most genuine sound act ever heard? Nothing special, it is just for some irritations to be evoked.
4 tracks of bumfuzzling, lopsided chromatic areas, consisting of unlimited metallic manipulations and noise-soaken stabs, having lots of dodges aside wrapped in by the embodiment of digital boogies, shitloads of angular, abrasive elements, madly dadaistic repetitions, experiments with gibbering paces, inbetween bleak chamber repercussions and dark ambient-like flash of lights find some moments for to come in. In a word, this is a conception where all elements are mightly loaded with unrestricted chaotic potent running alongside an linear array while conjuring the associations having even no little possibility for place and time because of permanent change chains drifting upon the order through different fractals and levels. In fact, it is so intense that the regularity/beauty can glimpse at times only.
Listen to it here
8.4
