March 1, 2015
There’s a gentle oddness to these songs, cradled in gleefully brutal drum machine sounds and fugal laminations of electric guitar ostinatos. The executioner of the latter is subtly ‘off’, in both pitch and articulation, contrasting the fascistic precision of the former, but colluding with it to efface the performer, along with any notion of their heroic ‘star status’, from the centre of the performance. This is music whose own production sets out to tell us that its author could readily be substituted by a rudimentary machine, or by some other random person; but the songs, and the gloomy disregard with which …
December 18, 2012
The Interceptor (a creative alias of the musically promiscuous Chris Saunders, a man who seems to join or form a new band every week), is a purveyor of electronic music; there’s a definite 8-bit vibe but these tracks are far from purist chip-tune territory. Looking at the project’s fairly minimal online presence we can discern an interest in soundtrack that tallies with the primarily atmospheric content of the music: specifically, these sounds are intended as a soundtrack to killing zombies, driving through apocalyptic wastelands and fighting cyborgs or serial killers. Which might lead the listener to expect something heavy and harsh, in the manner of electro-industrial or powernoise, or some kind of circuit-bent hybrid like Army of 2600 …
May 17, 2012
Serious pop music: I love it. Of course most pop music has been made with a serious attention to getting the sound right, such as it is, but then there’s the stuff that applies the language and sensibility of pop to its chosen themes in a manner that looks way beyond the superficial concerns of the mainstream. Obviously the ‘popular music’ label has ended up including tons of stuff, such as extreme metal and progressive rock, that have pretty much nothing to do with pop, but while DIN Martin’s filigreed post-punk is hardly in the pop mainstream (and is certainly a lot more gloomy than anything that charts these days), but there’s still something distinctly pop about this.
April 13, 2012
Da Waffle House Boys are all about loyalty; don’t even think about suggesting patronising some other fast food franchise, and definitely don’t even mention IHOP, motherfucker. The beats on True Facts are smooth and irresistibly funky, and the flows that they float are a lazy, infectious slick on their surface, giving the lie to any impression you might get from the deeply cheeked tongues of these lyricists that this music is principally satire or pastiche. No, this shit is funny, and it’s self-deprecating, and it pokes holes in all of rap’s clichés, but it’s hip-hop to the core, and it’s as head-nodding as pretty much anything I can remember hearing.