Genghis Tron
Dead Mountain Mouth
8.9
Synopsis:
A darker, more extreme take on the band’s already unique techno, trance and grinding chaos…
Review:
While, Genghis Tron’s debut EP, was almost a ‘fun’, dance beat laced, take on grindcore, coming across like The Pet Shop Boys meeting Cephalic Carnage and Dillinger Escape Plan at a Tampa Bukkake shoot, their full length debut sees the band elements fused together into a far more caustic and less ambient journey into trip hop laced grindcore experimentation.
Though still present, the dance beat/techno segues that littered Cloak of Love is now more directly fused into the grinding spurts of screaming, screeching, acidic noise. However, even when taking a programmed, ambient tangent, such as the simply amazing and beautifully hypnotic yet foreboding climax to “White Walls”, “Badlands” or the instrumental grind techno melting pot of “Warm Woods”; the tone is less poppy and Prodigy on crack but more Enigma with a dose of psychosis.
At their core though, the band has also upped their delivery of grinding, spastic chaos with a tangible heaviness now part of the repertoire - just listen to the end of "Greek Beds”, “Asleep on the Forest Floor” and "Lake of Virgins” (which along with "Warm Woods" makes for a fucking badass quartet of tracks to close the album) for speaker shattering proof as the trio has certainly made their noise far less gimmicky and far more viscerally… ‘metal’.
The screechy vocals may put some off, especially with Kurt Ballou’s production that puts a bit more emphasis on the treble so everything sounds a bit dirtier and acidic, but on the whole the whole effort comes across as far more complete and less forced than Cloak of Love, where the band was a bit heavy handed in the stand alone programming. Here everything comes together and is much more intense and vitriolic.
Again, those of you with Bolt Thrower typed limitations for experimentation and chaos, steer far away from this as your brain might actually melt if overexposed to this limitless brand of noise.
