Berlin’s infamous party series and newly founded label GEGEN celebrates 10 years of existence with a statement, releasing apocalyptic techno bruisers in a 3-part compilation.
First volume’s “Acid Against Fascism” by Ellen Alien opens up to an uncompromising in- your-face energy melting a punchy saturated kick, a consistent trancy bassline, accompanying evolving synths portraying an ethereal epic eerie journey, resonant uneasy pad chords reminicent of stuttering wavetable synthesis squiggles, and quickened hihat rhythms together while the repetitive, bitcrushed manifesting vocals emerge into an assertive stance with continual questioning of the present decay in our minds.
La Fraicheur & Leonard De Leonard’s “Lost In Midland” is a spacious hypnotic trip embracing a huge electro bassline with peevish and violent percussive elements having elegantly designed and modulated delay feedbacks flickering like mocking voices echoing through the midland’s dark alleyway covered in slime. A heavily processed vocal flavour and riser sound effects transform the mundane into magical realms.
“They Come For Us At Night” is a mystifying, reckless, industrialised, and groovy electro- techno cut by Bloody Mary, not only exposing fiery, incessant, and highly saturated Roland TR-909 type hammering drum sounds, but also coalescing layers of spacious and hazy synthline sequences, wobbling and rising like bubbles in space, with the intriguing facet of the groove, in which a vocal fx and background sounds drift through like dry ice vapour.
Flavia Laus’ “Catharsis” is a modern hypnotic techno journey including a rumbling kick rhythm, breathless intonations of field recordings and mystical soundscapes, filtered hissing whitenoise sounds along with a plucky bassline and accompanying synth sounds.
Oliver Deutschmann delivers a groovy bassline, grandiose lush pads, and shimmering stabs whispering to and wrapping around us tightly in his gracious straight-forward techno piece “Delete Religion”.
Ayako Mori’s “Shrine of Gegen” draws on influences from past and present, exploring the spectrum between functional and experimental, between the perpetual drive, which is created by an enraged bassline and a repetitive evolving bleep-laden synthline sequence, and hypnotic territories’ textural and electronic embellishments.
“Perfume of Sweat” by P.E.A.R.L. deconstructs rave and industrial techno infused rhythms and distillates the essence of resonant and frequency modulation synthesis type of sound designs on top of this in a simple but effective arrangement.
Cristian Marras’ hypnotic and trippy travel, “One of A Kind” holds us from the throat and captures with deep drones, vocals, and intriguing arpegios in its mind-bending, imploding atmosphere.
“Panic Room” is a raw and rhythmically driven piece takes us inside the mind of PVS, and sounds as if it was beamed directly into our consciousness forging with Detroit techno stabs, a savage bassline, and industrial techno elements.
Sarah Strandberg’s “Helter Skelter” is a dizzying and discombobulating story with powerful incessant hammering beats and clinical dirty synth textures. Shivering with minacious timbres, the track captivates us with its murky, tunnelling, and haunting narrative.
“我们必须拥抱团结，而不是分离——分享，回到小而有爱心的社区。团结，而不是分离，才是必须发生的事情……”-Genesis P-Orridge
柏林臭名昭著的派对系列和新成立的品牌 GEGEN 发表声明庆祝其成立 10 周年，发布了由 3 部分组成的世界末日 techno bruisers。
Ellen Alien 的第一卷“Acid Against Fascism”展现了一种毫不妥协的面部能量，融合了强劲的饱和底鼓，一致的恍惚低音线，伴随着不断发展的合成器描绘了空灵的史诗般的怪异旅程，共振不安的和弦让人想起口吃的波表合成波浪线和加速的 hihat 节奏在一起，而重复的、被压碎的显化人声出现在我们脑海中不断质疑当前衰败的自信姿态。
La Fraicheur 和 Leonard De Leonard 的“迷失在米德兰”是一次宽敞的催眠之旅，它包含一条巨大的电子贝斯线，带有暴躁和暴力的打击乐元素，具有优雅设计和调制的延迟反馈闪烁，就像嘲讽的声音在米德兰覆盖着粘液的黑暗小巷中回荡。精心处理的人声风味和上升器音效将平凡变为神奇的境界。
“他们在晚上为我们而来”是血腥玛丽的一首神秘、鲁莽、工业化和时髦的电子技术剪辑，不仅暴露了炽热、持续和高度饱和的 Roland TR-909 类型的敲击鼓声，而且还融合了层层宽敞而朦胧的合成线条序列，像空间中的气泡一样摇晃和上升，凹槽的迷人侧面，其中人声效果和背景声音像干冰蒸气一样飘过。
Flavia Laus 的“Catharsis”是一段现代催眠技术之旅，包括隆隆的踢腿节奏、令人窒息的现场录音和神秘的音景、过滤后的嘶嘶白噪声以及勇敢的低音线和伴随的合成声音。
Oliver Deutschmann 在他亲切直截了当的电子乐曲“Delete Religion”中，提供了优美的低音线、华丽华丽的垫子和闪闪发光的刺耳，轻声细语并紧紧地环绕着我们。
Ayako Mori 的“Gegen 神社”借鉴了过去和现在的影响，探索了功能性和实验性之间的频谱，在由愤怒的低音线和重复进化的充满哔哔声的合成线序列创造的永久驱动之间，以及催眠领域的纹理之间和电子装饰。
P.E.A.R.L.的“汗水香水”解构 rave 和工业技术注入的节奏，并在此之上以简单但有效的安排提炼共振和调频合成类型的声音设计的精髓。
克里斯蒂安·马拉斯 (Cristian Marras) 催眠和迷幻的旅行，“一种”让我们远离喉咙，并在其令人费解的内爆气氛中用深沉的嗡嗡声、人声和迷人的琶音进行捕捉。
“Panic Room”是一首原始而有节奏感的作品，将我们带入了 PVS 的思想中，听起来好像它是通过底特律电子音乐、野蛮的贝斯线和工业电子音乐元素直接传送到我们的意识中的。
莎拉·斯特兰伯格 (Sarah Strandberg) 的“Helter Skelter”是一个令人眼花缭乱、令人不安的故事，具有强大的连续锤击节拍和临床肮脏的合成器纹理。这首曲子带着邪恶的音色颤抖着，以其阴暗、隧道和令人难以忘怀的叙述着迷。
Words: Tolga Baklacioglu
