Tuesday, 7 October 2014

Review: Subliminal Stimuli - W32.MyDoom@MM

Last year I wrote a review of this album for Sputnikmusic, hoping to attract a new audience. The moderator was quick to declare how “painfully average” it sounded. I was furious and defeated at first, but then I realized that the same guy called Infected Mushroom “boring and derivative” and Deadmau5 a fucking masterpiece, so I guess in this case, I’ll take “painfully average” as a compliment. Welcome to the second review ever of Subliminal Stimuli’s “official” debut LP, W32.MyDoom@MM.



The album both starts and ends in a low-energy, somber mood, which can be daunting, depending on the time of day. I can respect that certain tracks, like the last two orchestral tracks, are there as part of the theme of love that Rain tries to convey in his own strange way, and others, like the first two experimental tracks, are there to build up anticipation, or maybe because he simply enjoyed the pieces but wasn’t sure where else to put them. But frankly, I wouldn’t complain if he nixed the first and last two tracks and got right to the meat and potatoes, which starts right after “Garden of the Gods.” 14 minus four equals ten – ten tracks that explore the netherworlds of heavy dubstep, house, and even trap, with a bit of that good old double-time, half-time, and even über-time. What is “über-time?” Just listen to “Subliminal Stimuli (Part 2)” from 3:11-4:07 and see what I mean. Some tracks, like “Subliminal Stimuli (Part 2)” and “The Time Grew Wings...” are upbeat, quirky, happy hype tracks, while others, like “I Miss Your Warmth” and “Fucking ill (VIP)” are long, simple tunes that are dark and edgy. My favorites are the ones that mesh emotionally moving piano melodies with psychotic noise drops like in “Watch My Every Sound” and “Pianissimo Subuito Fortissimo” (“Very soft, and suddenly very loud”). The mood fluctuates from hyper to angry to scary to mellow to hyper again, is rife with sound effects that either jump in your face or pitter-patter about in the background filling in all the cracks and spaces between the snare and the bass. Whether you start from the very beginning or skip to track 3, you’re in for an audio rollercoaster ride.

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