An established sound tech who's worked with The Bug, Hype Williams, Seefeel and others, Gorgonn is part of G36 with Kevin Martin, and Dokkebi Q with Kiki Hitomi, and last year he released the ‘Disentegration Dubs’ album alongside JK Flesh. His solo album debut now lands via Shanghai’s SVBKVLT and takes influence from Japanese concepts of the afterlife, sketching it into a suite of sci-fi noise-dub reductions built for the most formidable soundsystems - recommended listening if you’re into The Bug and JK Flesh's blitzed bass investigations.
Gorgonn takes 20 years sound tech knowledge to construct heaving neo-dub he calls "sci-fi steppas". ‘Six Paths’ is based around the Japanese Buddhist idea that there are six paths to take in the afterlife that one chooses based on the karma built up during previous lives. These paths can range from the excruciating (near-infinite torture) to the unusual (life as a dog), and provide Gorgonn with a visceral theme for his distorted fusion of industrial grit and bass intensity. 'Abyss' is self-explanatory thematically, given the celestial focus, and establishes Gorgonn's palette immediately. Thick, precisely tweaked subs rattle urgently beneath searing, sparse percussion and burned amp distortions that sound something like Godflesh on a soundclash with Vex'd.
'Greed' interpolates a familiar digidub bassline, splaying it alongside steam-powered hats and progressively damaged waves of grotesque ring modulation, while 'Deadman' removes the beat altogether, leaving pulsing, nauseating subs and a slowly oscillating analog wail that's unsettling enough to convince you yr in hell. Gorgonn's skill here is to combine his engineering expertise with an ear for cinematic storytelling, building more than just aggy wobblers.
Each track coughs with rare doom-y energy, just as comparable to the macabre quasi-mythical narratives of Junji Ito, Mike Mignola or Neil Gaiman as to the Greensleeves catalog. His approach is steeped in science fiction, but Gorgonn reaches into the past for his visual ideas, twisting archaic concepts into airlock-seasoned bio-horror sculptures. Just flick over to 'Not Yet Surrendered' for an idea - effortlessly terrifying, and prodigiously heavy.
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An established sound tech who's worked with The Bug, Hype Williams, Seefeel and others, Gorgonn is part of G36 with Kevin Martin, and Dokkebi Q with Kiki Hitomi, and last year he released the ‘Disentegration Dubs’ album alongside JK Flesh. His solo album debut now lands via Shanghai’s SVBKVLT and takes influence from Japanese concepts of the afterlife, sketching it into a suite of sci-fi noise-dub reductions built for the most formidable soundsystems - recommended listening if you’re into The Bug and JK Flesh's blitzed bass investigations.
Gorgonn takes 20 years sound tech knowledge to construct heaving neo-dub he calls "sci-fi steppas". ‘Six Paths’ is based around the Japanese Buddhist idea that there are six paths to take in the afterlife that one chooses based on the karma built up during previous lives. These paths can range from the excruciating (near-infinite torture) to the unusual (life as a dog), and provide Gorgonn with a visceral theme for his distorted fusion of industrial grit and bass intensity. 'Abyss' is self-explanatory thematically, given the celestial focus, and establishes Gorgonn's palette immediately. Thick, precisely tweaked subs rattle urgently beneath searing, sparse percussion and burned amp distortions that sound something like Godflesh on a soundclash with Vex'd.
'Greed' interpolates a familiar digidub bassline, splaying it alongside steam-powered hats and progressively damaged waves of grotesque ring modulation, while 'Deadman' removes the beat altogether, leaving pulsing, nauseating subs and a slowly oscillating analog wail that's unsettling enough to convince you yr in hell. Gorgonn's skill here is to combine his engineering expertise with an ear for cinematic storytelling, building more than just aggy wobblers.
Each track coughs with rare doom-y energy, just as comparable to the macabre quasi-mythical narratives of Junji Ito, Mike Mignola or Neil Gaiman as to the Greensleeves catalog. His approach is steeped in science fiction, but Gorgonn reaches into the past for his visual ideas, twisting archaic concepts into airlock-seasoned bio-horror sculptures. Just flick over to 'Not Yet Surrendered' for an idea - effortlessly terrifying, and prodigiously heavy.
An established sound tech who's worked with The Bug, Hype Williams, Seefeel and others, Gorgonn is part of G36 with Kevin Martin, and Dokkebi Q with Kiki Hitomi, and last year he released the ‘Disentegration Dubs’ album alongside JK Flesh. His solo album debut now lands via Shanghai’s SVBKVLT and takes influence from Japanese concepts of the afterlife, sketching it into a suite of sci-fi noise-dub reductions built for the most formidable soundsystems - recommended listening if you’re into The Bug and JK Flesh's blitzed bass investigations.
Gorgonn takes 20 years sound tech knowledge to construct heaving neo-dub he calls "sci-fi steppas". ‘Six Paths’ is based around the Japanese Buddhist idea that there are six paths to take in the afterlife that one chooses based on the karma built up during previous lives. These paths can range from the excruciating (near-infinite torture) to the unusual (life as a dog), and provide Gorgonn with a visceral theme for his distorted fusion of industrial grit and bass intensity. 'Abyss' is self-explanatory thematically, given the celestial focus, and establishes Gorgonn's palette immediately. Thick, precisely tweaked subs rattle urgently beneath searing, sparse percussion and burned amp distortions that sound something like Godflesh on a soundclash with Vex'd.
'Greed' interpolates a familiar digidub bassline, splaying it alongside steam-powered hats and progressively damaged waves of grotesque ring modulation, while 'Deadman' removes the beat altogether, leaving pulsing, nauseating subs and a slowly oscillating analog wail that's unsettling enough to convince you yr in hell. Gorgonn's skill here is to combine his engineering expertise with an ear for cinematic storytelling, building more than just aggy wobblers.
Each track coughs with rare doom-y energy, just as comparable to the macabre quasi-mythical narratives of Junji Ito, Mike Mignola or Neil Gaiman as to the Greensleeves catalog. His approach is steeped in science fiction, but Gorgonn reaches into the past for his visual ideas, twisting archaic concepts into airlock-seasoned bio-horror sculptures. Just flick over to 'Not Yet Surrendered' for an idea - effortlessly terrifying, and prodigiously heavy.
An established sound tech who's worked with The Bug, Hype Williams, Seefeel and others, Gorgonn is part of G36 with Kevin Martin, and Dokkebi Q with Kiki Hitomi, and last year he released the ‘Disentegration Dubs’ album alongside JK Flesh. His solo album debut now lands via Shanghai’s SVBKVLT and takes influence from Japanese concepts of the afterlife, sketching it into a suite of sci-fi noise-dub reductions built for the most formidable soundsystems - recommended listening if you’re into The Bug and JK Flesh's blitzed bass investigations.
Gorgonn takes 20 years sound tech knowledge to construct heaving neo-dub he calls "sci-fi steppas". ‘Six Paths’ is based around the Japanese Buddhist idea that there are six paths to take in the afterlife that one chooses based on the karma built up during previous lives. These paths can range from the excruciating (near-infinite torture) to the unusual (life as a dog), and provide Gorgonn with a visceral theme for his distorted fusion of industrial grit and bass intensity. 'Abyss' is self-explanatory thematically, given the celestial focus, and establishes Gorgonn's palette immediately. Thick, precisely tweaked subs rattle urgently beneath searing, sparse percussion and burned amp distortions that sound something like Godflesh on a soundclash with Vex'd.
'Greed' interpolates a familiar digidub bassline, splaying it alongside steam-powered hats and progressively damaged waves of grotesque ring modulation, while 'Deadman' removes the beat altogether, leaving pulsing, nauseating subs and a slowly oscillating analog wail that's unsettling enough to convince you yr in hell. Gorgonn's skill here is to combine his engineering expertise with an ear for cinematic storytelling, building more than just aggy wobblers.
Each track coughs with rare doom-y energy, just as comparable to the macabre quasi-mythical narratives of Junji Ito, Mike Mignola or Neil Gaiman as to the Greensleeves catalog. His approach is steeped in science fiction, but Gorgonn reaches into the past for his visual ideas, twisting archaic concepts into airlock-seasoned bio-horror sculptures. Just flick over to 'Not Yet Surrendered' for an idea - effortlessly terrifying, and prodigiously heavy.
Edition of 100 copies only, comes with an insert and a download of the album dropped to your account.
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An established sound tech who's worked with The Bug, Hype Williams, Seefeel and others, Gorgonn is part of G36 with Kevin Martin, and Dokkebi Q with Kiki Hitomi, and last year he released the ‘Disentegration Dubs’ album alongside JK Flesh. His solo album debut now lands via Shanghai’s SVBKVLT and takes influence from Japanese concepts of the afterlife, sketching it into a suite of sci-fi noise-dub reductions built for the most formidable soundsystems - recommended listening if you’re into The Bug and JK Flesh's blitzed bass investigations.
Gorgonn takes 20 years sound tech knowledge to construct heaving neo-dub he calls "sci-fi steppas". ‘Six Paths’ is based around the Japanese Buddhist idea that there are six paths to take in the afterlife that one chooses based on the karma built up during previous lives. These paths can range from the excruciating (near-infinite torture) to the unusual (life as a dog), and provide Gorgonn with a visceral theme for his distorted fusion of industrial grit and bass intensity. 'Abyss' is self-explanatory thematically, given the celestial focus, and establishes Gorgonn's palette immediately. Thick, precisely tweaked subs rattle urgently beneath searing, sparse percussion and burned amp distortions that sound something like Godflesh on a soundclash with Vex'd.
'Greed' interpolates a familiar digidub bassline, splaying it alongside steam-powered hats and progressively damaged waves of grotesque ring modulation, while 'Deadman' removes the beat altogether, leaving pulsing, nauseating subs and a slowly oscillating analog wail that's unsettling enough to convince you yr in hell. Gorgonn's skill here is to combine his engineering expertise with an ear for cinematic storytelling, building more than just aggy wobblers.
Each track coughs with rare doom-y energy, just as comparable to the macabre quasi-mythical narratives of Junji Ito, Mike Mignola or Neil Gaiman as to the Greensleeves catalog. His approach is steeped in science fiction, but Gorgonn reaches into the past for his visual ideas, twisting archaic concepts into airlock-seasoned bio-horror sculptures. Just flick over to 'Not Yet Surrendered' for an idea - effortlessly terrifying, and prodigiously heavy.