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DKA is starting 2023 off with an EBM bang with Violent Protocol by Semantix. The solo-project of Keaton Khonsari (Razorbumps, Narrow Head), Semantix is the result of years in the Texas underground that Khonsari spent learning synthesis and production. Violent Protocol contains 5 originals and three remixes from DKA alumni Balvanera and Autumns along with Orlando’s Mother Juno. Violent Protocol’s catchy, rhythmic basslines, tense atmosphere, and old-school EBM samples confronting despair, violence, and power structures will surely appeal to long time followers of DKA and new fans alike. We here at DKA loved Semantix’s first release Mania in the Psychosphere and feel that this sophomore release will place Semantix amongst EBM’s elite dance floor destructors in 2023.
Roberto Auser is a musician and artist from the Netherlands. Providing oasis in the Babylon of information.
For the second round of the SYNTHICIDE split EP series, two projects merge together on a release that combine opposing perspectives on EBM music. Welcome Klack versus Inconscio Viola. Side A boasts three tracks from the United States duo, Klack. Known for their aggressive and gritty productions (with a release on Berlin’s Detriti Records), Matt Fanale and Eric Oehler offer up bombast basslines and danceable, new beat-tinged compositions. “New Buildings” sets the mood of the split EP with its pure EBM brilliance that retains an old school mentality set to a strict beat, while “Frequency,” with its growling vocals and percussive elements, demand attention: it’s music made for stomping. Finally, the first side closes out with “Bleach White Sky” that hones in on melancholy elements that contain sorrowful synths under bellowing vocals. Side B features the collaborative project of Italian producers Francesco Baudazzi of Violet Poison/Diana Berti (Veleno Viola) and Andrea Riberti of Unconscious (Detriti, X-IMG) under the moniker Inconscio Viola. “Rabbit on Tuesday” offers an off-kilter, tumbling bassline that is addictive in its unforgiving onslaught. It’s clear that the duo make a sensible pairing with their shared roots in vintage horror movies and nunsploitation film influences—this is especially emphasized with the final track, “The Exorcist III.” With ghostly samples and a slithering bassline, the track snakes between the recognizable aesthetics of both producers. |
