Belief Defect
Decadent Yet Depraved
Boomkat Product Review:
Following Belief Defect’s appearance at Atonal 2017, Raster-Noton cough up their gristly debut LP of crushed industrial technoise.
Sounding for all intents and purposes like Franck Vigroux meets Byetone, Decadent Yet Depraved stems from “a life-long devotion to electronic music: from dance floor to primal anger and self-annihilating noise, to transcendental, ambient escapism and intense self-reflexive sonic layering.”
The ten tracks tend toward slow, lurching rhythms and growling noise with a real bite, scooping up some rotted highlights in their agitated stepper Slipping Awy and likewise with icy dancehall bogle of Opium Den, which lends itself to comparison with Pan Sonic’s Ilpo Vaisanen clashing Zomby.
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Boomkat Product Review:
Following Belief Defect’s appearance at Atonal 2017, Raster-Noton cough up their gristly debut LP of crushed industrial technoise.
Sounding for all intents and purposes like Franck Vigroux meets Byetone, Decadent Yet Depraved stems from “a life-long devotion to electronic music: from dance floor to primal anger and self-annihilating noise, to transcendental, ambient escapism and intense self-reflexive sonic layering.”
The ten tracks tend toward slow, lurching rhythms and growling noise with a real bite, scooping up some rotted highlights in their agitated stepper Slipping Awy and likewise with icy dancehall bogle of Opium Den, which lends itself to comparison with Pan Sonic’s Ilpo Vaisanen clashing Zomby.
Boomkat Product Review:
Following Belief Defect’s appearance at Atonal 2017, Raster-Noton cough up their gristly debut LP of crushed industrial technoise.
Sounding for all intents and purposes like Franck Vigroux meets Byetone, Decadent Yet Depraved stems from “a life-long devotion to electronic music: from dance floor to primal anger and self-annihilating noise, to transcendental, ambient escapism and intense self-reflexive sonic layering.”
The ten tracks tend toward slow, lurching rhythms and growling noise with a real bite, scooping up some rotted highlights in their agitated stepper Slipping Awy and likewise with icy dancehall bogle of Opium Den, which lends itself to comparison with Pan Sonic’s Ilpo Vaisanen clashing Zomby.
Boomkat Product Review:
Following Belief Defect’s appearance at Atonal 2017, Raster-Noton cough up their gristly debut LP of crushed industrial technoise.
Sounding for all intents and purposes like Franck Vigroux meets Byetone, Decadent Yet Depraved stems from “a life-long devotion to electronic music: from dance floor to primal anger and self-annihilating noise, to transcendental, ambient escapism and intense self-reflexive sonic layering.”
The ten tracks tend toward slow, lurching rhythms and growling noise with a real bite, scooping up some rotted highlights in their agitated stepper Slipping Awy and likewise with icy dancehall bogle of Opium Den, which lends itself to comparison with Pan Sonic’s Ilpo Vaisanen clashing Zomby.
Gatefold 2LP
Out of Stock
Boomkat Product Review:
Following Belief Defect’s appearance at Atonal 2017, Raster-Noton cough up their gristly debut LP of crushed industrial technoise.
Sounding for all intents and purposes like Franck Vigroux meets Byetone, Decadent Yet Depraved stems from “a life-long devotion to electronic music: from dance floor to primal anger and self-annihilating noise, to transcendental, ambient escapism and intense self-reflexive sonic layering.”
The ten tracks tend toward slow, lurching rhythms and growling noise with a real bite, scooping up some rotted highlights in their agitated stepper Slipping Awy and likewise with icy dancehall bogle of Opium Den, which lends itself to comparison with Pan Sonic’s Ilpo Vaisanen clashing Zomby.
Out of Stock
Boomkat Product Review:
Following Belief Defect’s appearance at Atonal 2017, Raster-Noton cough up their gristly debut LP of crushed industrial technoise.
Sounding for all intents and purposes like Franck Vigroux meets Byetone, Decadent Yet Depraved stems from “a life-long devotion to electronic music: from dance floor to primal anger and self-annihilating noise, to transcendental, ambient escapism and intense self-reflexive sonic layering.”
The ten tracks tend toward slow, lurching rhythms and growling noise with a real bite, scooping up some rotted highlights in their agitated stepper Slipping Awy and likewise with icy dancehall bogle of Opium Den, which lends itself to comparison with Pan Sonic’s Ilpo Vaisanen clashing Zomby.
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