Metal Preyers
Shadow Swamps
Boomkat Product Review:
Metal Preyers' latest is a fairytale-inspired cauldron of psychedelic tinderbox fire and library music clatter - properly evocative ritual magick shit that's in the same zone as late-period Broadcast, Czech New Wave composer Luboš Fišer, Demdike Stare, Leila and early Colleen. Purple-tinted, mysterious and properly spannered, in the best possible way.
With London's Jesse Hackett handling production and Chicago's Mariano Chavez on the visuals, Metal Preyers rebuild a world inspired by dusty library music and cult stop-motion animated shorts into up-to-the-minute genre-f*cked electronic mutations. The album is a narrative soundtrack to a self-penned fairytale about a father and daughter's voyage through a swamp inhabited by gremlins and crater creatures. The idea and most of the album's vocals came from Hackett's six-year-old daughter Nyasha, who used a phone's voice notes app to record sketches of her singing, then spun into full tracks by Hackett who contorts them into robotic howls and disembodied forest folk wails.
On 'Scream Dreamer', Nyasha's vocals are smeared into industrial drones, pressed into a tape-DIY collage of machinery sounds and looped, loping quasi-rhythmic chaos, but on 'The Preyers Forest' she sings nursery rhymes against Hackett's saturated toybox cycles. 'Red Swines' finds Hackett flexing his rhythmic muscle again, burying lightning-zapped screwed-n-chopped trap drums in ferric noise - it's the meeting point between Rabit's negative-space trap't-grime and the Finders Keepers axis. 'Carpenters Cabin' somehow references both horror synth maestro John Carpenter and Lewis Carroll's 'Through the Looking Glass' - it's horror synth music that avoids the obvious cliches, sounding spooky but never hackneyed, filtered thru a gristly FX chain and formed into dubwise dirt and dust.
The album's most memorable tracks - 'Slime Things Accent' and 'On Her Way' - are bleak stop-motion flickers that perfectly evoke Hackett and Chavez's visual universe. Hackett creates an entire stage with "Shadow Swamps" and succeeds by wrapping our early anxieties in a woolen blanket of well-crafted processes and smudged soundscapes.
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Boomkat Product Review:
Metal Preyers' latest is a fairytale-inspired cauldron of psychedelic tinderbox fire and library music clatter - properly evocative ritual magick shit that's in the same zone as late-period Broadcast, Czech New Wave composer Luboš Fišer, Demdike Stare, Leila and early Colleen. Purple-tinted, mysterious and properly spannered, in the best possible way.
With London's Jesse Hackett handling production and Chicago's Mariano Chavez on the visuals, Metal Preyers rebuild a world inspired by dusty library music and cult stop-motion animated shorts into up-to-the-minute genre-f*cked electronic mutations. The album is a narrative soundtrack to a self-penned fairytale about a father and daughter's voyage through a swamp inhabited by gremlins and crater creatures. The idea and most of the album's vocals came from Hackett's six-year-old daughter Nyasha, who used a phone's voice notes app to record sketches of her singing, then spun into full tracks by Hackett who contorts them into robotic howls and disembodied forest folk wails.
On 'Scream Dreamer', Nyasha's vocals are smeared into industrial drones, pressed into a tape-DIY collage of machinery sounds and looped, loping quasi-rhythmic chaos, but on 'The Preyers Forest' she sings nursery rhymes against Hackett's saturated toybox cycles. 'Red Swines' finds Hackett flexing his rhythmic muscle again, burying lightning-zapped screwed-n-chopped trap drums in ferric noise - it's the meeting point between Rabit's negative-space trap't-grime and the Finders Keepers axis. 'Carpenters Cabin' somehow references both horror synth maestro John Carpenter and Lewis Carroll's 'Through the Looking Glass' - it's horror synth music that avoids the obvious cliches, sounding spooky but never hackneyed, filtered thru a gristly FX chain and formed into dubwise dirt and dust.
The album's most memorable tracks - 'Slime Things Accent' and 'On Her Way' - are bleak stop-motion flickers that perfectly evoke Hackett and Chavez's visual universe. Hackett creates an entire stage with "Shadow Swamps" and succeeds by wrapping our early anxieties in a woolen blanket of well-crafted processes and smudged soundscapes.
Boomkat Product Review:
Metal Preyers' latest is a fairytale-inspired cauldron of psychedelic tinderbox fire and library music clatter - properly evocative ritual magick shit that's in the same zone as late-period Broadcast, Czech New Wave composer Luboš Fišer, Demdike Stare, Leila and early Colleen. Purple-tinted, mysterious and properly spannered, in the best possible way.
With London's Jesse Hackett handling production and Chicago's Mariano Chavez on the visuals, Metal Preyers rebuild a world inspired by dusty library music and cult stop-motion animated shorts into up-to-the-minute genre-f*cked electronic mutations. The album is a narrative soundtrack to a self-penned fairytale about a father and daughter's voyage through a swamp inhabited by gremlins and crater creatures. The idea and most of the album's vocals came from Hackett's six-year-old daughter Nyasha, who used a phone's voice notes app to record sketches of her singing, then spun into full tracks by Hackett who contorts them into robotic howls and disembodied forest folk wails.
On 'Scream Dreamer', Nyasha's vocals are smeared into industrial drones, pressed into a tape-DIY collage of machinery sounds and looped, loping quasi-rhythmic chaos, but on 'The Preyers Forest' she sings nursery rhymes against Hackett's saturated toybox cycles. 'Red Swines' finds Hackett flexing his rhythmic muscle again, burying lightning-zapped screwed-n-chopped trap drums in ferric noise - it's the meeting point between Rabit's negative-space trap't-grime and the Finders Keepers axis. 'Carpenters Cabin' somehow references both horror synth maestro John Carpenter and Lewis Carroll's 'Through the Looking Glass' - it's horror synth music that avoids the obvious cliches, sounding spooky but never hackneyed, filtered thru a gristly FX chain and formed into dubwise dirt and dust.
The album's most memorable tracks - 'Slime Things Accent' and 'On Her Way' - are bleak stop-motion flickers that perfectly evoke Hackett and Chavez's visual universe. Hackett creates an entire stage with "Shadow Swamps" and succeeds by wrapping our early anxieties in a woolen blanket of well-crafted processes and smudged soundscapes.
Boomkat Product Review:
Metal Preyers' latest is a fairytale-inspired cauldron of psychedelic tinderbox fire and library music clatter - properly evocative ritual magick shit that's in the same zone as late-period Broadcast, Czech New Wave composer Luboš Fišer, Demdike Stare, Leila and early Colleen. Purple-tinted, mysterious and properly spannered, in the best possible way.
With London's Jesse Hackett handling production and Chicago's Mariano Chavez on the visuals, Metal Preyers rebuild a world inspired by dusty library music and cult stop-motion animated shorts into up-to-the-minute genre-f*cked electronic mutations. The album is a narrative soundtrack to a self-penned fairytale about a father and daughter's voyage through a swamp inhabited by gremlins and crater creatures. The idea and most of the album's vocals came from Hackett's six-year-old daughter Nyasha, who used a phone's voice notes app to record sketches of her singing, then spun into full tracks by Hackett who contorts them into robotic howls and disembodied forest folk wails.
On 'Scream Dreamer', Nyasha's vocals are smeared into industrial drones, pressed into a tape-DIY collage of machinery sounds and looped, loping quasi-rhythmic chaos, but on 'The Preyers Forest' she sings nursery rhymes against Hackett's saturated toybox cycles. 'Red Swines' finds Hackett flexing his rhythmic muscle again, burying lightning-zapped screwed-n-chopped trap drums in ferric noise - it's the meeting point between Rabit's negative-space trap't-grime and the Finders Keepers axis. 'Carpenters Cabin' somehow references both horror synth maestro John Carpenter and Lewis Carroll's 'Through the Looking Glass' - it's horror synth music that avoids the obvious cliches, sounding spooky but never hackneyed, filtered thru a gristly FX chain and formed into dubwise dirt and dust.
The album's most memorable tracks - 'Slime Things Accent' and 'On Her Way' - are bleak stop-motion flickers that perfectly evoke Hackett and Chavez's visual universe. Hackett creates an entire stage with "Shadow Swamps" and succeeds by wrapping our early anxieties in a woolen blanket of well-crafted processes and smudged soundscapes.
Warehouse find - Limited edition clear vinyl - 150 copies, including a download of the album dropped to your account.
Out of Stock
Boomkat Product Review:
Metal Preyers' latest is a fairytale-inspired cauldron of psychedelic tinderbox fire and library music clatter - properly evocative ritual magick shit that's in the same zone as late-period Broadcast, Czech New Wave composer Luboš Fišer, Demdike Stare, Leila and early Colleen. Purple-tinted, mysterious and properly spannered, in the best possible way.
With London's Jesse Hackett handling production and Chicago's Mariano Chavez on the visuals, Metal Preyers rebuild a world inspired by dusty library music and cult stop-motion animated shorts into up-to-the-minute genre-f*cked electronic mutations. The album is a narrative soundtrack to a self-penned fairytale about a father and daughter's voyage through a swamp inhabited by gremlins and crater creatures. The idea and most of the album's vocals came from Hackett's six-year-old daughter Nyasha, who used a phone's voice notes app to record sketches of her singing, then spun into full tracks by Hackett who contorts them into robotic howls and disembodied forest folk wails.
On 'Scream Dreamer', Nyasha's vocals are smeared into industrial drones, pressed into a tape-DIY collage of machinery sounds and looped, loping quasi-rhythmic chaos, but on 'The Preyers Forest' she sings nursery rhymes against Hackett's saturated toybox cycles. 'Red Swines' finds Hackett flexing his rhythmic muscle again, burying lightning-zapped screwed-n-chopped trap drums in ferric noise - it's the meeting point between Rabit's negative-space trap't-grime and the Finders Keepers axis. 'Carpenters Cabin' somehow references both horror synth maestro John Carpenter and Lewis Carroll's 'Through the Looking Glass' - it's horror synth music that avoids the obvious cliches, sounding spooky but never hackneyed, filtered thru a gristly FX chain and formed into dubwise dirt and dust.
The album's most memorable tracks - 'Slime Things Accent' and 'On Her Way' - are bleak stop-motion flickers that perfectly evoke Hackett and Chavez's visual universe. Hackett creates an entire stage with "Shadow Swamps" and succeeds by wrapping our early anxieties in a woolen blanket of well-crafted processes and smudged soundscapes.
Black vinyl edition
Out of Stock
Boomkat Product Review:
Metal Preyers' latest is a fairytale-inspired cauldron of psychedelic tinderbox fire and library music clatter - properly evocative ritual magick shit that's in the same zone as late-period Broadcast, Czech New Wave composer Luboš Fišer, Demdike Stare, Leila and early Colleen. Purple-tinted, mysterious and properly spannered, in the best possible way.
With London's Jesse Hackett handling production and Chicago's Mariano Chavez on the visuals, Metal Preyers rebuild a world inspired by dusty library music and cult stop-motion animated shorts into up-to-the-minute genre-f*cked electronic mutations. The album is a narrative soundtrack to a self-penned fairytale about a father and daughter's voyage through a swamp inhabited by gremlins and crater creatures. The idea and most of the album's vocals came from Hackett's six-year-old daughter Nyasha, who used a phone's voice notes app to record sketches of her singing, then spun into full tracks by Hackett who contorts them into robotic howls and disembodied forest folk wails.
On 'Scream Dreamer', Nyasha's vocals are smeared into industrial drones, pressed into a tape-DIY collage of machinery sounds and looped, loping quasi-rhythmic chaos, but on 'The Preyers Forest' she sings nursery rhymes against Hackett's saturated toybox cycles. 'Red Swines' finds Hackett flexing his rhythmic muscle again, burying lightning-zapped screwed-n-chopped trap drums in ferric noise - it's the meeting point between Rabit's negative-space trap't-grime and the Finders Keepers axis. 'Carpenters Cabin' somehow references both horror synth maestro John Carpenter and Lewis Carroll's 'Through the Looking Glass' - it's horror synth music that avoids the obvious cliches, sounding spooky but never hackneyed, filtered thru a gristly FX chain and formed into dubwise dirt and dust.
The album's most memorable tracks - 'Slime Things Accent' and 'On Her Way' - are bleak stop-motion flickers that perfectly evoke Hackett and Chavez's visual universe. Hackett creates an entire stage with "Shadow Swamps" and succeeds by wrapping our early anxieties in a woolen blanket of well-crafted processes and smudged soundscapes.
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