Shapednoise
Absurd Matter
Boomkat Product Review:
Shapednoise assembles a crack team of collaborators on his latest max-volume trek thru the bass continuum, reducing rap, dubstep and experimental noise to ashes alongside Moor Mother, Armand Hammer, Dean Hurley, Brodinski and ZelooperZ.
Since he released 'Aesthesis' in 2019, Nino Pedone has been hard at work figuring out how to unify his interest in abstract sound design with his passion for rap and bass weight. But mid-way through the process of piecing together 'Absurd Matter', disaster struck; Pedone lost his hearing, forcing him into a lengthy period of recovery where he was unable to listen to music or produce at the level he was used to. This deep anxiety is baked into the core of the album, from its ominous introduction - co-authored by none other than David Lynch collaborator Dean Hurley - to its asymmetrical string of collaborations with rap outsiders like Armand Hammer and Moor Mother, who lend barbed words to Pedone's crippling atmospheres.
The first thing to notice about the record is its sheer volume. It's almost as if his struggle with hearing has given Pedone a reason to push his music further into the red, and even the most gaseous drones exude from the speakers with alarming force. When beats do enter the frame on 'Family', they're squashed into twisted wreckage; Pedone's clearly inspired by his collaborators' chilly New York City rap modernism, but not beholden to its blueprint. He lets billy woods and ELUCID deadpan rhymes fuse with the sonic detritus, the voices distorted and blasted against metallic, 4K explosions that place the listener in the middle of an apocalyptic battle, or at least in its crumbling aftermath.
There are more traces of coherence on 'Know Yourself', where Pedone loops in the French producer Brodinski to help concoct a solid base for ZelooperZ's surreal rhymes. The Detroit rapper has been a force to be reckoned with for a decade now, cutting his teeth on clouded material alongside Danny Brown and A$AP Rocky before settling into a left-of-center groove that's buoyed sickly new biz like 'Microphone Fiend' and last year's vaporwave-adjacent 'Get WeT.Radio'. Here ZelooperZ hollers breathlessly into Pedone and Brodinski's anechoic chamber, his words pulverized into stuttering, robotic incoherence over pneumatic trap triplets and ruptured kicks.
Pedone's sequence of instrumental tracks buzz with the same energy, but released from working with vocals he's free to exercise his most abstract inclinations, interrupting garbled beats with electrostatic on 'Swash' and driving haunted house knocks thru jet-engine vibrations on 'Savage Mindedness'. Moor Mother's punkish rasps on 'Poetry' bring Pedone's flights of fancy back down to earth, grounding his celestial, serrated rhythms with urgent rhymes. "As soon as you heard the voice, poetry," she spits around precarious bass womps and sinewy blasts of white noise. On the aptly-titled 'Metal', he brings in guitar blasts from James Kelly (aka Wife), connecting his spidery map of stylistic inspirations to another kind of extreme music in the process.
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Boomkat Product Review:
Shapednoise assembles a crack team of collaborators on his latest max-volume trek thru the bass continuum, reducing rap, dubstep and experimental noise to ashes alongside Moor Mother, Armand Hammer, Dean Hurley, Brodinski and ZelooperZ.
Since he released 'Aesthesis' in 2019, Nino Pedone has been hard at work figuring out how to unify his interest in abstract sound design with his passion for rap and bass weight. But mid-way through the process of piecing together 'Absurd Matter', disaster struck; Pedone lost his hearing, forcing him into a lengthy period of recovery where he was unable to listen to music or produce at the level he was used to. This deep anxiety is baked into the core of the album, from its ominous introduction - co-authored by none other than David Lynch collaborator Dean Hurley - to its asymmetrical string of collaborations with rap outsiders like Armand Hammer and Moor Mother, who lend barbed words to Pedone's crippling atmospheres.
The first thing to notice about the record is its sheer volume. It's almost as if his struggle with hearing has given Pedone a reason to push his music further into the red, and even the most gaseous drones exude from the speakers with alarming force. When beats do enter the frame on 'Family', they're squashed into twisted wreckage; Pedone's clearly inspired by his collaborators' chilly New York City rap modernism, but not beholden to its blueprint. He lets billy woods and ELUCID deadpan rhymes fuse with the sonic detritus, the voices distorted and blasted against metallic, 4K explosions that place the listener in the middle of an apocalyptic battle, or at least in its crumbling aftermath.
There are more traces of coherence on 'Know Yourself', where Pedone loops in the French producer Brodinski to help concoct a solid base for ZelooperZ's surreal rhymes. The Detroit rapper has been a force to be reckoned with for a decade now, cutting his teeth on clouded material alongside Danny Brown and A$AP Rocky before settling into a left-of-center groove that's buoyed sickly new biz like 'Microphone Fiend' and last year's vaporwave-adjacent 'Get WeT.Radio'. Here ZelooperZ hollers breathlessly into Pedone and Brodinski's anechoic chamber, his words pulverized into stuttering, robotic incoherence over pneumatic trap triplets and ruptured kicks.
Pedone's sequence of instrumental tracks buzz with the same energy, but released from working with vocals he's free to exercise his most abstract inclinations, interrupting garbled beats with electrostatic on 'Swash' and driving haunted house knocks thru jet-engine vibrations on 'Savage Mindedness'. Moor Mother's punkish rasps on 'Poetry' bring Pedone's flights of fancy back down to earth, grounding his celestial, serrated rhythms with urgent rhymes. "As soon as you heard the voice, poetry," she spits around precarious bass womps and sinewy blasts of white noise. On the aptly-titled 'Metal', he brings in guitar blasts from James Kelly (aka Wife), connecting his spidery map of stylistic inspirations to another kind of extreme music in the process.
Boomkat Product Review:
Shapednoise assembles a crack team of collaborators on his latest max-volume trek thru the bass continuum, reducing rap, dubstep and experimental noise to ashes alongside Moor Mother, Armand Hammer, Dean Hurley, Brodinski and ZelooperZ.
Since he released 'Aesthesis' in 2019, Nino Pedone has been hard at work figuring out how to unify his interest in abstract sound design with his passion for rap and bass weight. But mid-way through the process of piecing together 'Absurd Matter', disaster struck; Pedone lost his hearing, forcing him into a lengthy period of recovery where he was unable to listen to music or produce at the level he was used to. This deep anxiety is baked into the core of the album, from its ominous introduction - co-authored by none other than David Lynch collaborator Dean Hurley - to its asymmetrical string of collaborations with rap outsiders like Armand Hammer and Moor Mother, who lend barbed words to Pedone's crippling atmospheres.
The first thing to notice about the record is its sheer volume. It's almost as if his struggle with hearing has given Pedone a reason to push his music further into the red, and even the most gaseous drones exude from the speakers with alarming force. When beats do enter the frame on 'Family', they're squashed into twisted wreckage; Pedone's clearly inspired by his collaborators' chilly New York City rap modernism, but not beholden to its blueprint. He lets billy woods and ELUCID deadpan rhymes fuse with the sonic detritus, the voices distorted and blasted against metallic, 4K explosions that place the listener in the middle of an apocalyptic battle, or at least in its crumbling aftermath.
There are more traces of coherence on 'Know Yourself', where Pedone loops in the French producer Brodinski to help concoct a solid base for ZelooperZ's surreal rhymes. The Detroit rapper has been a force to be reckoned with for a decade now, cutting his teeth on clouded material alongside Danny Brown and A$AP Rocky before settling into a left-of-center groove that's buoyed sickly new biz like 'Microphone Fiend' and last year's vaporwave-adjacent 'Get WeT.Radio'. Here ZelooperZ hollers breathlessly into Pedone and Brodinski's anechoic chamber, his words pulverized into stuttering, robotic incoherence over pneumatic trap triplets and ruptured kicks.
Pedone's sequence of instrumental tracks buzz with the same energy, but released from working with vocals he's free to exercise his most abstract inclinations, interrupting garbled beats with electrostatic on 'Swash' and driving haunted house knocks thru jet-engine vibrations on 'Savage Mindedness'. Moor Mother's punkish rasps on 'Poetry' bring Pedone's flights of fancy back down to earth, grounding his celestial, serrated rhythms with urgent rhymes. "As soon as you heard the voice, poetry," she spits around precarious bass womps and sinewy blasts of white noise. On the aptly-titled 'Metal', he brings in guitar blasts from James Kelly (aka Wife), connecting his spidery map of stylistic inspirations to another kind of extreme music in the process.
Boomkat Product Review:
Shapednoise assembles a crack team of collaborators on his latest max-volume trek thru the bass continuum, reducing rap, dubstep and experimental noise to ashes alongside Moor Mother, Armand Hammer, Dean Hurley, Brodinski and ZelooperZ.
Since he released 'Aesthesis' in 2019, Nino Pedone has been hard at work figuring out how to unify his interest in abstract sound design with his passion for rap and bass weight. But mid-way through the process of piecing together 'Absurd Matter', disaster struck; Pedone lost his hearing, forcing him into a lengthy period of recovery where he was unable to listen to music or produce at the level he was used to. This deep anxiety is baked into the core of the album, from its ominous introduction - co-authored by none other than David Lynch collaborator Dean Hurley - to its asymmetrical string of collaborations with rap outsiders like Armand Hammer and Moor Mother, who lend barbed words to Pedone's crippling atmospheres.
The first thing to notice about the record is its sheer volume. It's almost as if his struggle with hearing has given Pedone a reason to push his music further into the red, and even the most gaseous drones exude from the speakers with alarming force. When beats do enter the frame on 'Family', they're squashed into twisted wreckage; Pedone's clearly inspired by his collaborators' chilly New York City rap modernism, but not beholden to its blueprint. He lets billy woods and ELUCID deadpan rhymes fuse with the sonic detritus, the voices distorted and blasted against metallic, 4K explosions that place the listener in the middle of an apocalyptic battle, or at least in its crumbling aftermath.
There are more traces of coherence on 'Know Yourself', where Pedone loops in the French producer Brodinski to help concoct a solid base for ZelooperZ's surreal rhymes. The Detroit rapper has been a force to be reckoned with for a decade now, cutting his teeth on clouded material alongside Danny Brown and A$AP Rocky before settling into a left-of-center groove that's buoyed sickly new biz like 'Microphone Fiend' and last year's vaporwave-adjacent 'Get WeT.Radio'. Here ZelooperZ hollers breathlessly into Pedone and Brodinski's anechoic chamber, his words pulverized into stuttering, robotic incoherence over pneumatic trap triplets and ruptured kicks.
Pedone's sequence of instrumental tracks buzz with the same energy, but released from working with vocals he's free to exercise his most abstract inclinations, interrupting garbled beats with electrostatic on 'Swash' and driving haunted house knocks thru jet-engine vibrations on 'Savage Mindedness'. Moor Mother's punkish rasps on 'Poetry' bring Pedone's flights of fancy back down to earth, grounding his celestial, serrated rhythms with urgent rhymes. "As soon as you heard the voice, poetry," she spits around precarious bass womps and sinewy blasts of white noise. On the aptly-titled 'Metal', he brings in guitar blasts from James Kelly (aka Wife), connecting his spidery map of stylistic inspirations to another kind of extreme music in the process.
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Boomkat Product Review:
Shapednoise assembles a crack team of collaborators on his latest max-volume trek thru the bass continuum, reducing rap, dubstep and experimental noise to ashes alongside Moor Mother, Armand Hammer, Dean Hurley, Brodinski and ZelooperZ.
Since he released 'Aesthesis' in 2019, Nino Pedone has been hard at work figuring out how to unify his interest in abstract sound design with his passion for rap and bass weight. But mid-way through the process of piecing together 'Absurd Matter', disaster struck; Pedone lost his hearing, forcing him into a lengthy period of recovery where he was unable to listen to music or produce at the level he was used to. This deep anxiety is baked into the core of the album, from its ominous introduction - co-authored by none other than David Lynch collaborator Dean Hurley - to its asymmetrical string of collaborations with rap outsiders like Armand Hammer and Moor Mother, who lend barbed words to Pedone's crippling atmospheres.
The first thing to notice about the record is its sheer volume. It's almost as if his struggle with hearing has given Pedone a reason to push his music further into the red, and even the most gaseous drones exude from the speakers with alarming force. When beats do enter the frame on 'Family', they're squashed into twisted wreckage; Pedone's clearly inspired by his collaborators' chilly New York City rap modernism, but not beholden to its blueprint. He lets billy woods and ELUCID deadpan rhymes fuse with the sonic detritus, the voices distorted and blasted against metallic, 4K explosions that place the listener in the middle of an apocalyptic battle, or at least in its crumbling aftermath.
There are more traces of coherence on 'Know Yourself', where Pedone loops in the French producer Brodinski to help concoct a solid base for ZelooperZ's surreal rhymes. The Detroit rapper has been a force to be reckoned with for a decade now, cutting his teeth on clouded material alongside Danny Brown and A$AP Rocky before settling into a left-of-center groove that's buoyed sickly new biz like 'Microphone Fiend' and last year's vaporwave-adjacent 'Get WeT.Radio'. Here ZelooperZ hollers breathlessly into Pedone and Brodinski's anechoic chamber, his words pulverized into stuttering, robotic incoherence over pneumatic trap triplets and ruptured kicks.
Pedone's sequence of instrumental tracks buzz with the same energy, but released from working with vocals he's free to exercise his most abstract inclinations, interrupting garbled beats with electrostatic on 'Swash' and driving haunted house knocks thru jet-engine vibrations on 'Savage Mindedness'. Moor Mother's punkish rasps on 'Poetry' bring Pedone's flights of fancy back down to earth, grounding his celestial, serrated rhythms with urgent rhymes. "As soon as you heard the voice, poetry," she spits around precarious bass womps and sinewy blasts of white noise. On the aptly-titled 'Metal', he brings in guitar blasts from James Kelly (aka Wife), connecting his spidery map of stylistic inspirations to another kind of extreme music in the process.
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