The Australian master of the dark synth arts is back and – boy – he is out for blood.
We’ve been missing Marc Dwyer solo project Buzz Kull since his latest single Last In The Club from late 2019 and since back then we knew he was up to something.
自从马克-德怀尔2019年底的最新单曲《Last In The Club》之后，我们一直在想念他的个人项目Buzz Kull，从那时起，我们就知道他在做什么。
At first glimpse, the minimal wave days of We Were Lovers seem far away now that Marc has gone full Club Body Music with his upcoming new album, but there is a thread that binds Buzz Kull hits from the past such as Into The Void, Avoiding The Light and New Kind Of Cross with these ten new cuts: a thread of darkness proper to the most handsome man in the game and that’s here to stay.
乍一看，《我们是恋人》的极简波浪时代似乎离我们很远，现在Marc在他即将发行的新专辑中已经完全变成了Club Body Music，但有一条线将Buzz Kull过去的作品如《Into The Void》、《Avoiding The Light》和《New Kind Of Cross》与这十首新歌联系在一起：一条适合这位最英俊的男人的黑暗之线，这将会一直存在。
Echoes of 90’s era Front 242 and Front Line Assembly will resonate from tracks like Fascination and Dead Inside; elements of early body music flirting with the dark side of British synthpop will rave from the grooves of Dancing with Machines and Man on the Beat, while late 80’s Belgian new beat cellar-like vibes rise from Do You See and Burn it to the Ground.
90年代Front 242和Front Line Assembly的回声将在《Fascination》和《Dead Inside》等曲目中产生共鸣；早期身体音乐与英国合成器流行的黑暗面调情的元素将在《Dancing with Machines》和《Man on the Beat》的旋律中狂欢，而80年代末的比利时新节奏地窖般的氛围则在《Do You See》和《Burn it to the Ground》中升腾。
But Buzz Kull’s third full-length is not just about music subgenres we all know and love, it’s about a feeling that comes alive only with the dark and drives you through the small hours just to leave you drained and filled at once.
但是，Buzz Kull的第三张长片不仅仅是关于我们都知道和喜爱的音乐亚流派，它是关于一种只有在黑暗中才会出现的感觉，并驱使你度过小的时间，只是为了让你一次次地耗尽和充满。
The creature of the night is on the loose, the sticky dancefloor its natural habitat, its lust for the upside-down world of the club can’t be cured.
夜晚的生物正在放纵，粘稠的舞池是它的自然栖息地，它对俱乐部的颠倒世界的欲望是无法治愈的。
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