Stephanie Merchak – Collapsing Structures (2017)

Silent Method

• Ambient 
• Space music 
• Avant-garde 
• Experimentalism 
• Electronic music 
• Dark ambient 
• Illbient 
• Sound art 
• Avant-electronica 
• Dystopbient

Comment: imagine there upward in outer space there is a ceiling filled in with hanged wind bells which used to chirp different tones and timbres and thereafter these sonic bits will spread over the scale. The ceiling is immensely broad and wide and at times one can hear more malignant reverberations bouncing back from the wall. Is it the vestibule of mayhem? In fact, hell as a location does not exist anywhere but on Earth. More profoundly, it exists among the people, it exists between one's ears. More profoundly, there exist more than 7 billion hells on Earth. OK, I should fix the statement the number is a bit exaggerated because the children are the best and intact part of the human race. The recent 9-notch outing is all about collapsing structures of the mind, about traumatic events, horrendous memories, suicidal thoughts as the artist herself has assumed. Like Moz once declaimed give up life as a bad mistake. On the other side, stupidity, selfishness and foolishness of other people may paradoxically inspire you move on and on the other hand I guess without pain and depression such a great release as this one could have never been spawned to provide us bittersweet pleasure in its dystopic desperation. The issue is a bit in the discography of Silent Method Records.

Death Tricheco – Party Music (2017)

Silent Method

• Industrial music 
• Avant-garde 
• Experimentalism 
• Electronic music 
• Leftfield 
• Spoken word 
• Non-music 
• Psycho-acoustic 
• Experimental electronica 
• Hauntology 
• Freeformfreakout 
• Sampledelic

Comment: Death Tricheco is an artist from Italy which started off in the 80s and thereby it can be considered a phenomenon coming from the legion of the so-called old school industrial movement. Immediately within this 16-notch composition I can perceive elements being so truly characteristic to the scene. All those haunting electronic effects, uncanny samples, acidic threads and weird dialogues based on mutant and deviant syllables. Yet all of that will ultimately result in as a light-hearted metaphysical concept because all the interpretations seem to be funny due to a buffoonish approach. I have always appreciated such kind of approach because Big City Orchestra, a Californian combo have been doing it in an irresistible manner since the beginning of the 80s. It is what I would like to consider the most free and anarchist side of industrial music. Just loudly laughing at everything. At Dutch! you can hear lo-fi synth-pop yet it cannot be considered a part of the genre because it is a mocking remark towards it (because of being deliberately way too lo-fi and primitive). It is a reunion of sonic misfits yet preserving dignity through a profound and analytical choosing set even if it is spiced up by hectic noises and freaked-out sequencing. By personal side, I hear there some primitively tapped sounds of Casio Tonebank, a favourite synth. The outing is a bit in the discography of Silent Method Records, a great imprint for great artists.