Boomkat Product Review:
Shapednoise cold crushes it on his long-awaited ‘Asethesis’ album for Numbers, making up for a noticeable absence from release schedules since his 2018 turn with The Sprawl
The Sicilian artist returns at his most belligerent and destructive in ‘Aesthesis’ for a ferocious demonstration of brutalist sound design tekkers, as previously scattered between releases since 2010 for everyone from Hospital Productions to Type and Opal Tapes. Accompanied on this mission by Mhysa, Justin K Broadrick, and Drew McDowell & Rabit, the Berlin-based noise mutant plays to the full extent of his powers, absorbing aspects of ruggedest rap, caustic hardcore techno, charred metal into his sophisticated electronic sound sculptures.
Since emerging at the start of this decade, Shapednoise has come to represent a certain new wave of noise makers who are less bothered about improvising with amps in scuzzy basements and more intently focussed on fusing skilled sound design and elements of club music for optimal, physical effect inspired by club music. ‘Aesthesis’ is his most deliberate and distinguished example of this aesthetic urge, delivering nine excoriating works that will be appreciated not only by headstrong noise diehards, but also anyone with an interest in cutting edge sound design and radical dance music.
With a manacled grasp of tempered sensory overload, he delivers a thrilling volley of masochistic and masticated arrangements resulting standouts including the tempestuous churn of ‘Moby Dick’ with Coil’s Drew McDowell and Rabit, the whelming intensity of ‘CRx’, and two almighty, rhythm-driven pieces in the shudder of ‘Blasting Super Melt’ and the drill tics of ‘Elevation’, but they’re best swallowed in one whole album sitting, without sugar, as a noisy tonic for the soul.