Year : 2008
Genre : Massively Experimental Post-Punk
Label : Independent
Origin : United States
Official site: > - here - <
Phil Void's 2008 full feature effort "Delusions of the pampered" is an uncompromising act of pre-meditated "mRRda" committed against the casual concept of silence. The premiere name of the central game is a massively irresistible urge to deliver variety both in the context of intensity and musical rhetorics.
The album is not reluctant to showcase a wide spectrum of genres to be visited, and finds an abundant amount of playtime to be spent by the act of performing said visitations with various key strategies stored in the whimsical mind.
The mere potentiality of playfulness is invited, welcomed- and even praised throughout the record, regardless of the inevitable consequence of how the spin absorbs the inescapable lack a cohesive-, abundant flow to it, as result of the conscious decision of not wanting to have to tolerate a label that it could be shackled with. The album is not even secretive about this: its cover is not just a hint, but rather a declaration: abandon all expetations you who listen in here. Splice yourself in/out/off, and read on to know more.
Regardless of its optimally erratic propensity to wander around along a colorful set of creative behaviours, the spin certainly showcases some central fascinations with two frequently visited genres in its focus: a Faith No More-esque approach to hip-hop (Epic) and a massively guitar-driven post-punk direction are two staples that the delivery is keen to fall back on - the case is especially is such whenever a longer segment of the experimental routes have found their way to their logical conclusions.
These aforementioned portions form the most dominant aspects of the full-musculature value of the songcraft to be found and be immersed in, while the experimental direction is wise enough to take it slow, and take it thorough. A meditative ambition is a frequent-, much welcomed companion, with due time devoted and given to the mere-, respective concepts of carefully engineered sounds exhibited along the channels of clever pulsation and repetition. These precedents with their much more introverted and intimate sentiments do reign in a sharp-, yet intriguing contrast with the fully fleshed out melodic compositions that deliberately possess all anatomical charateristics of a structurally sound melodic song.
As noted, the post-punk direction is a staple herein, and its realization validates no particular degree of negative criticism: an adept, even Yoda-level understanding of the key mechanics of post-punk is observable, and the disc makes it evident that it came to Kill All On Sight, whenever the said demeanor is unleashed on receptors. The exqusite production work is of further note in these instances: the guitars are tormented with "good" oldschool care that smuggles a teardop unto the retina of any and all inquisitors, while the drums are sitting in a perfect position with that exqusite sound of the hyper-optimized snare that is able and willing to cut through everything as if it was a mere promise.
A very colorful and vivid disc, that is nothing short of a mindfuck, and, depending on your current state of "mind", - this might be exactly what you are looking for OR running from. A vibrant delivery without compromises, and, as such, also a disc with an immediate recommendation for all who is eager to be slammed against some sonic walls of monstrous sounds for the mere fun of it.
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