Hardcore Anal Hydrogen – Hypercut

When covering The Talas of Satan, the last album from Hardcore Anal Hydrogen we called a particular track a “beautiful meshuga.” It was a suggestion which undoubtedly applied to the whole release and is even more apt for the French outfit’s new wild adventure, Hypercut. Both halves of that description has been escalated within the new album, a release which it is best not to try and make sense of but one to just sit back before and immerse its crazed manna and manipulation.

Hardcore Anal Hydrogen is the manic creation of vocalist/programmer Sacha Mouk (Sacha Vanony) and guitarist/programmer Martyn Circus (Martyn Clement), a project emerging in 2009 and releasing debut album Fork you :​(​)​{ :​|​:​& };: that same year. Two years later, its successor Division Zero was unleashed with the band’s truly eclectic sound fully fledged but still growing and evolving as the mighty theatre of The Talas of Satan showed in 2014. As expected, things have not stood still since then, the pair’s imagination never taking a rest as they boldly breach another plateau in suggestive sound, diversity, and craziness with Hypercut, a release not so much schizophrenic as simply loco.

Everything from electro to rock, jazz to every shade of metal you can think of and more is entangled in Hypercut, much of which colluding to make album opener, Jean-Pierre, vigorously irresistible. Tenacious beats and electronic squirms grab ears first, guitars and rhythms swiftly involving their rapacious coaxing before the vocals of Mouk bounce in like a demented cartoon character. Raw metal trespasses burst as the song throws its self around dervish style; riffs, hooks, and grooves colliding like wayward atoms as keys conjure suggestion. Unsurprisingly twists and turns come at a rate of knots too, keeping the imagination dancing like a cat on a hot tin roof. It is a stunning start, prime but fresh Hardcore Anal Hydrogen offering up essences of artists such Pryapisme, Aphex Twin and Cryptopsy in varying degrees.

If the first is a tangled web, the following Coin coin is spaghetti of sonic wires all twisted up like the knack iPod headphones have when in the pocket if only for a few seconds. Circus’ guitar is a creative thrashing of enterprise yet with a composure and coherence which paints individual pictures as around it jazz flames and psych rock tendrils ignite and explore.  More progressive hues similarly escape the metal nurtured cage, Jean Michel Jarre-esque elegance honing an atmospheric landscape as wildlife voice their involvement before the track eventually drifts into the sunshine.

The Cajun opening of La roche et le rouleau is a deceitful prelude to rock ‘n roll time in the asylum;  a wacked out stomp again involving an array of flavours in its contagion and even managing to keep feet and hips involved as it slips into a sultry noir lit jazz detour, coming out the other side with even more certifiable zeal. It is a madness which is even lustier within Paul, a track which has fifties in its breath, dark gothic theatre in its air, and blackened dementia in its heart. Many bands weave a tapestry of diversity but as this track alone echoes, few can rival Hardcore Anal Hydrogen in the organic fluidity it comes in or the bedlamic mastery.

Next up, Blue Cuts provides a piano spun jazz saunter for a relatively ‘normal’ caress of the senses while Charme oriental creates a Mad Capsules Markets like sonic holler in a carnivorous extreme metal dissonance, but a fusion as infectious as it is invasive especially once Eastern hues join the musical curiosity. Both tracks simply enthral but are still eclipsed by Phillip. It is a sinister slice of musically and emotionally suggestive espionage; dark drama and deeds soaking every note in every twist and turn. In a moment in time where spying and death is headline, it manages to be a perfect echo yet has an intimacy of inner threat and turmoil just as potent. Its eight plus minutes conjures a cinematic tale in thoughts, no doubt one again sure to be individual to each listener but a rich one all the same.

Through the rhythmically tribal and aggressive spectacle of Murdoc and the glorious vocal and musical delusion of Entropie Maximum, one already lustful appetite just could not stop drooling; the second especially incendiary with its mischievously screwy, seriously catchy, unhinged romp. It has the body bouncing, spirit racing, and shoulders hunched in puzzlement; pure bliss.

In turn Sproutch savages the senses, electronics and metal at their carnivorous best and though only thirty seconds long leaves an unforgettable impact before the cosmic ingredients of Daube carotte unite with barbed hooks and hellacious metal in another rousing incitement, though it too has some intimation fuelled downtime where the imagination is even more stretched and pleasure overfilled.

Automne 1992 provides a slow prowl through rain drenched scenery and darkly shadowed threats. It did not quite grab the senses as its predecessors fair to say but has plenty for the imagination to weave with, 6:33 coming to mind once or twice while Bontemmieu brings the other side of climate with its summery charms and ethic festivities, though again there is just a tease of darker flirtation.

The album ends with Alain, l’homme télévitré, a track just epitomising Hardcore Anal Hydrogen eccentricity and their bizarre craft. Yet there is much more to it, as all tracks, a truly smart and inventive core which twists the listener around physically and emotionally whilst providing all the tools and ingredients for them to paint their own pictures and tales. It is not going to be for everyone but Hypercut is simply creative manna, the fullest sonic ambrosia yet from Hardcore Anal Hydrogen.

Hypercut is available now via Apathia Records @ https://hardcoreanalhydrogen.bandcamp.com/album/hypercut   or https://apathiarecords.com/en/releases/hypercut

http://hardcoreanalhydrogen.com    https://www.facebook.com/hardcoreanalhydrogen

Pete RingMaster 10/03/2018

Copyright RingMaster: MyFreeCopyright

Otto Von Schirach – Supermeng

If you are going to become a ‘superhero’ to protect the earth you have to have the sounds behind you to make sure it is a valid proposition. This is exactly what Otto Von Schirach has ensured with Supermeng, his outstanding new album and the name of his new alter ego. Of course with this kind of schizophrenic eccentricity there are smiles a plenty bursting out at multiple moments as the release excites and ignites the body and senses at every turn but it is so perfectly crafted and wholly irresistible it is all part of the wondrous experience.

Half Cuban half German and from Miami, Otto Von Schirach rips up the manual of fusion to bring electro, dubstep, noise, orchestral gabber, and…well the list goes on, to forge his own unique world of sound and manipulation. At times it is like that ‘dirty’ little pleasure you keep secret, you know you all have one, and in others it is a trigger for the glorious pleasures only aural gratification can unleash. Supermeng the alter ego is a genetically enhanced super human, the result of years of experimentation by an anonymous group of aliens to be the only defence against and person able to triumph against the Annunaki reptilian order. Injecting a secret fluid into his third eye he has become the warrior to save the universe whilst the sounds of Otto soundtrack his life and also stand as a creation to save earth and galaxies from the Annunaki. Of course like with the best yet very suspect sci-fi films, mostly starring Will Smith, credibility and suspension of belief is essential here but give that and the sounds brought forth leave one breathless on a journey of explosive and hypnotic fun.

Released through Money Town Records, the album opens up the senses with the sexy filth and dark magic sensuality of Salpica (Miami). The track is like a drug induced house of mystery, at times nightmarish and in others fully surreal and a totally compulsive entrance into the world of Supermeng. One word of warning though, if you are going to watch the brilliant video which accompanies this track have a therapist on speed dial, it makes those legendary efforts of Aphex Twins seem normal.

The quite brilliant Ultimate Universe comes next and though it can be argued it is not the most original in sound it is easily the most riotous contagion track this year. Off a delicious hook which could grace any B 52’s song and straight into a Sigue Sigue Sputnik cloned rampage the song is quite simply a glorious stomp across the heart and senses. As its energy sizzles and starts boiling over there is a Mad Capsules Markets thrust igniting the air to enforce its refusal to let limbs and bodies stay still. An electro rock call to arms, the track is a storm of majestic enterprise which is almost impossible to move on from.

From there the release moves in to the sonic blistering of the senses with The Blob, a nasty and menacing track with its own built in warning system. The track envelopes the ear with its venomous sonic attack and disorientating electronic jabbing whilst the consuming predatory energy sucks the breath from lungs to leave one grasping for support. Already the album makes the use of the word diverse feel weak in describing the deep eclectic sounds on offers with the first three songs having already shown their individual distinctive characters though they are merely the appetizer to the further full variety ahead.

Breathe The Beat with its crystalline melodic spattering plays like the mutated offspring of Swizz electronic band Yello whilst the hip hop punctured Supermeng featuring CX Kidtronic and Mr. Feathers has a definite Devo feel to its air, both continuing the multi flavoured mesmeric aural fingering of the heart for the deepest response. Lyrically the songs tell more tales in the rise of the character and with a tongue firmly locked in place keep their comic book invention at the perfect level whilst the sounds colour and explore their surrounding world.

Further highlights in nothing but highs come with Diamond Eyes and When Dinosaurs Rule The Earth. The first takes romance into the most sinister of places, its distillery of distressing menace cored by near whimpering intrusive vocals is abrasive yet disturbingly seductive, well if psychotic obsession turns you on. It is a startling and excellent piece of composing and would easily soundtrack one of those obsessive horrors the Japanese film industry create so masterfully. The second of the two is another rampant assault of energies and intrusive sounds. It is a beast of a track, from bulk to breath its heavy and oppressive presence brings the fullest rewards.

Supermeng is pure pleasure and is right at the top in the list of most enjoyable releases so far this year. It and Otto Von Schirach might be crazed and undeniably in a field of their very own but it is one you will want to lose your inhibitions in and just let loose.

http://www.ottovonschirach.com/

RingMaster 06/08/2012

Copyright RingMaster: MyFreeCopyright

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