Taibach
Taibach
Boomkat Product Review:
Debut album of cybepunky electronics from Taiwan’s Laibach-loving Taibach, joining Hong Kong label Empty Editions’ illustrious roster (Catherine Christer Hennix, Eli Keszler) with an elusive set joining dots between coldwave, dub techno, and cinematic industrial sound design
“Their martial approach to electronics follows in a brood of decidedly cryptic underground music: drawing on the sound of classic industrial bands, early 90s techno, and more recent developments at the intersection of noise and rhythmic music. Conditions of escalating ethno-nationalism, imperialist ambition and decay, and historical revisionism within the Sinosphere provide the backdrop for the band’s grimly expansive theatrics, which hint at the possibility of ideological resistance through tactical sign play and subversive affirmation. Acting as a necessary corrective to a commercially bloated and self-satisfied Asian cultural sphere, Taibach embraces futile Taiwan-based nationalism by celebrating the seldom-criticized reactionary tendencies of the region as a document of its history and its current political impasses.”
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Boomkat Product Review:
Debut album of cybepunky electronics from Taiwan’s Laibach-loving Taibach, joining Hong Kong label Empty Editions’ illustrious roster (Catherine Christer Hennix, Eli Keszler) with an elusive set joining dots between coldwave, dub techno, and cinematic industrial sound design
“Their martial approach to electronics follows in a brood of decidedly cryptic underground music: drawing on the sound of classic industrial bands, early 90s techno, and more recent developments at the intersection of noise and rhythmic music. Conditions of escalating ethno-nationalism, imperialist ambition and decay, and historical revisionism within the Sinosphere provide the backdrop for the band’s grimly expansive theatrics, which hint at the possibility of ideological resistance through tactical sign play and subversive affirmation. Acting as a necessary corrective to a commercially bloated and self-satisfied Asian cultural sphere, Taibach embraces futile Taiwan-based nationalism by celebrating the seldom-criticized reactionary tendencies of the region as a document of its history and its current political impasses.”
Boomkat Product Review:
Debut album of cybepunky electronics from Taiwan’s Laibach-loving Taibach, joining Hong Kong label Empty Editions’ illustrious roster (Catherine Christer Hennix, Eli Keszler) with an elusive set joining dots between coldwave, dub techno, and cinematic industrial sound design
“Their martial approach to electronics follows in a brood of decidedly cryptic underground music: drawing on the sound of classic industrial bands, early 90s techno, and more recent developments at the intersection of noise and rhythmic music. Conditions of escalating ethno-nationalism, imperialist ambition and decay, and historical revisionism within the Sinosphere provide the backdrop for the band’s grimly expansive theatrics, which hint at the possibility of ideological resistance through tactical sign play and subversive affirmation. Acting as a necessary corrective to a commercially bloated and self-satisfied Asian cultural sphere, Taibach embraces futile Taiwan-based nationalism by celebrating the seldom-criticized reactionary tendencies of the region as a document of its history and its current political impasses.”
Boomkat Product Review:
Debut album of cybepunky electronics from Taiwan’s Laibach-loving Taibach, joining Hong Kong label Empty Editions’ illustrious roster (Catherine Christer Hennix, Eli Keszler) with an elusive set joining dots between coldwave, dub techno, and cinematic industrial sound design
“Their martial approach to electronics follows in a brood of decidedly cryptic underground music: drawing on the sound of classic industrial bands, early 90s techno, and more recent developments at the intersection of noise and rhythmic music. Conditions of escalating ethno-nationalism, imperialist ambition and decay, and historical revisionism within the Sinosphere provide the backdrop for the band’s grimly expansive theatrics, which hint at the possibility of ideological resistance through tactical sign play and subversive affirmation. Acting as a necessary corrective to a commercially bloated and self-satisfied Asian cultural sphere, Taibach embraces futile Taiwan-based nationalism by celebrating the seldom-criticized reactionary tendencies of the region as a document of its history and its current political impasses.”
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