Evidence
What’s this, Carlos Giffoni making acid-powered EBM ??? On Ford & Lopatin’s label??? We’ll have some of that. The No Fun head honcho and noise figurehead’s ongoing exploration of analogue and digital synthesis has yielded some diverse results in recent years - from the punitive minimalism of his Severance set for Hospital Productions, to the deconstructed psych-techno of his No Fun Acid project. This new single for Software builds on the promise of the latter: ‘Evidence’ is a surprisingly affecting song, arranged out of little more than ultra-caustic 303 attack, 4/4 kickdrum stomp, and some additional flights of keyboard fancy from guest Laurel Halo. Giffoni’s vocals – brilliantly dead-eyed and monotone, clearly styled in the spirit of the European minimal wave – appear fleetingly on both tracks, sounding particularly boss on B-side ‘Desire In The Summer’, which brings together similar elements as the A but convinces more, thanks to a scuffed, Ike Yard-style electro rhythm and a mounting tide of industrial grind which brings all the violent intensity of Giffoni’s feted noise work into a (sort of) pop context. A record that demands to be heard.
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What’s this, Carlos Giffoni making acid-powered EBM ??? On Ford & Lopatin’s label??? We’ll have some of that. The No Fun head honcho and noise figurehead’s ongoing exploration of analogue and digital synthesis has yielded some diverse results in recent years - from the punitive minimalism of his Severance set for Hospital Productions, to the deconstructed psych-techno of his No Fun Acid project. This new single for Software builds on the promise of the latter: ‘Evidence’ is a surprisingly affecting song, arranged out of little more than ultra-caustic 303 attack, 4/4 kickdrum stomp, and some additional flights of keyboard fancy from guest Laurel Halo. Giffoni’s vocals – brilliantly dead-eyed and monotone, clearly styled in the spirit of the European minimal wave – appear fleetingly on both tracks, sounding particularly boss on B-side ‘Desire In The Summer’, which brings together similar elements as the A but convinces more, thanks to a scuffed, Ike Yard-style electro rhythm and a mounting tide of industrial grind which brings all the violent intensity of Giffoni’s feted noise work into a (sort of) pop context. A record that demands to be heard.
What’s this, Carlos Giffoni making acid-powered EBM ??? On Ford & Lopatin’s label??? We’ll have some of that. The No Fun head honcho and noise figurehead’s ongoing exploration of analogue and digital synthesis has yielded some diverse results in recent years - from the punitive minimalism of his Severance set for Hospital Productions, to the deconstructed psych-techno of his No Fun Acid project. This new single for Software builds on the promise of the latter: ‘Evidence’ is a surprisingly affecting song, arranged out of little more than ultra-caustic 303 attack, 4/4 kickdrum stomp, and some additional flights of keyboard fancy from guest Laurel Halo. Giffoni’s vocals – brilliantly dead-eyed and monotone, clearly styled in the spirit of the European minimal wave – appear fleetingly on both tracks, sounding particularly boss on B-side ‘Desire In The Summer’, which brings together similar elements as the A but convinces more, thanks to a scuffed, Ike Yard-style electro rhythm and a mounting tide of industrial grind which brings all the violent intensity of Giffoni’s feted noise work into a (sort of) pop context. A record that demands to be heard.
What’s this, Carlos Giffoni making acid-powered EBM ??? On Ford & Lopatin’s label??? We’ll have some of that. The No Fun head honcho and noise figurehead’s ongoing exploration of analogue and digital synthesis has yielded some diverse results in recent years - from the punitive minimalism of his Severance set for Hospital Productions, to the deconstructed psych-techno of his No Fun Acid project. This new single for Software builds on the promise of the latter: ‘Evidence’ is a surprisingly affecting song, arranged out of little more than ultra-caustic 303 attack, 4/4 kickdrum stomp, and some additional flights of keyboard fancy from guest Laurel Halo. Giffoni’s vocals – brilliantly dead-eyed and monotone, clearly styled in the spirit of the European minimal wave – appear fleetingly on both tracks, sounding particularly boss on B-side ‘Desire In The Summer’, which brings together similar elements as the A but convinces more, thanks to a scuffed, Ike Yard-style electro rhythm and a mounting tide of industrial grind which brings all the violent intensity of Giffoni’s feted noise work into a (sort of) pop context. A record that demands to be heard.
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What’s this, Carlos Giffoni making acid-powered EBM ??? On Ford & Lopatin’s label??? We’ll have some of that. The No Fun head honcho and noise figurehead’s ongoing exploration of analogue and digital synthesis has yielded some diverse results in recent years - from the punitive minimalism of his Severance set for Hospital Productions, to the deconstructed psych-techno of his No Fun Acid project. This new single for Software builds on the promise of the latter: ‘Evidence’ is a surprisingly affecting song, arranged out of little more than ultra-caustic 303 attack, 4/4 kickdrum stomp, and some additional flights of keyboard fancy from guest Laurel Halo. Giffoni’s vocals – brilliantly dead-eyed and monotone, clearly styled in the spirit of the European minimal wave – appear fleetingly on both tracks, sounding particularly boss on B-side ‘Desire In The Summer’, which brings together similar elements as the A but convinces more, thanks to a scuffed, Ike Yard-style electro rhythm and a mounting tide of industrial grind which brings all the violent intensity of Giffoni’s feted noise work into a (sort of) pop context. A record that demands to be heard.