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3BY3 009CD
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The best thing from Justin Broadrick since Godflesh. Posthuman certainly resembles the darker side of Broadrick's sound (circa Techno Animal, Godflesh and Greymachine) but simultaneously contextualizes this within the unfamiliar turf of the post-dubstep/industrial canon pushed by 3by3, finding a fitting home in the process. The result is an album of soul-crushingly dark beats and bass, layered with Broadrick's inimitable guitar and vocal fuzz, providing a stark contrast to 2010's Palesketcher output, that will resonate with fans of Godflesh and the post-dubstep landscape alike. Recorded in Broadrick's newly-built studio in the secluded countryside of Northern Wales, Posthuman's clear reference to his upbringing in the harsh industrial sprawl of Birmingham would at first seem ironic. However, given his recent collaborations with Techno Animal co-conspirator and long-time collaborator Kevin Martin (The Bug/King Midas Sound), it would seem Broadrick is once again happy to explore his more depraved sonic tendencies. Across nine monolithic slabs of pure carnage, JK Flesh is established as a project in its own right; showcasing a clear but dynamic sound that flows seamlessly from the pumping basslines of "Earthmover," through the cavernous drone of "Underfoot" to the melodic, live musicianship of "Walk Away," all via the balls-out distortion of "Punchdrunk." JK Flesh arrives in 2012 to show how proper dark side pressure is done -- with authenticity and regard.
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3BY3 005CD
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This is the debut full-length release by Dead Fader. If the sound-destroyin' processes of Cloaks aren't enough of that type o' violent (adopt Clay Davis tone) "shiieeeett" for your sick head, 3BY3 come correct again, and drop this unrelenting abomination of a record. On first impression, it's hardly a production sound you'd associate with the backdrop of Dead Fader's home base, Brighton. This sounds more like it was born out of some grim industrial slum on lockdown, all pent-up anger and a serious need to party hard; 2-step garage from a Hair Police state. Dead Fader's hybrid of distorto-death grooves, limited-to-hell wonky-not-wonky productions, sound like Distance playing though Slayer's back line -- bit-crushed by inhuman hands, 2-step gets rammed face-first through analog chains, that speakers (and ears) simply weren't designed to handle. Like Sunn O))) say, "Maximum volume yields maximum results" -- apply this to Dead Fader and you're likely to have your neighbors ASBOing your righteous ass all the way to the seaside. It's not all sour-faced noise ethics, either. There's enough playfulness in the low-end and cheeky industro-funk mischief going on throughout Corrupt My Examiner to keep it from becoming "metal kids discover 2-Pac and create Franken-Durst." Oh yeah, check out the rewind on "No Thief" for a serious bit of DJ tackle! An unrelenting sound, (over)loaded with hooks, Corrupt My Examiner is an example of new forms emerging in heavy, beat-driven music. The identifiable stems of Dead Fader's influences are pretty evident while at the same time totally obliterated by their fresh approach. It's a balance of production, chops and attitude that define the style. Dead Fader are that band you leave your kid alone with for five minutes, to discover the child has put the CD on, and for some reason decided to set fire to their bedroom.
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