Mars89
Visions
Boomkat Product Review:
Heady and guttural debut album of propulsive electro-dub-steppers noise from Japan’s Mars89.
Following in a vein of far eastern dub and sci-fi noir mutation from the likes of Goth Trad to Kenji Kawai and Tetsuo: The Iron Man; Mars89 fiercely outlines a contemporary take on post-apocalyptic street music for his most significant release to date. Ventured in the artist’s own words as a dedication to “working class resistance” and “the city dwellers who live with the rats and crows in the gaps of the city where the giant capital tries to control everything”, the album diffuses this political thrust into a gripping instrumental narrative connoting Manga chase sequences and dark room club modes of thought with an unrelenting pace and textural bite that brings his subjects to life unpretentiously and with adrenalizing effect.
Spiralling into view with the Vangelisian brass flare arps of ‘They Made Me Do It’, Mars89 introduces all the elements of grizzled subbass, doomy bell carillons, polluted pads and stained percussion like characters in his album-as-feature. There’s a carmine-dripping Giallo feel to ’Tete Apotre’, and the furtive dub noir fiction of ‘Good Hunting’ paves the way for his desiccated, zombie lurch dub steppers’ pulse in ‘Auriga’ and the monstrous trample of ‘Dick Laurent is Dead’ at its core.
The skeletal drill of ‘Hinterlands’ keeps the story chokingly pensive, while ‘Flatliners’ ratchets the drama to soundsystem-destroying degrees, where ’Nebuchadnezzar’ uncannily recalls work by the artist of the same name, and ‘Goliath’ sees off anyone left standing with its barrelling, overproof dub charge kicking up the junglist embers of ‘LA1937’ and possibly pointing in new directions for the keenly watched project.
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Boomkat Product Review:
Heady and guttural debut album of propulsive electro-dub-steppers noise from Japan’s Mars89.
Following in a vein of far eastern dub and sci-fi noir mutation from the likes of Goth Trad to Kenji Kawai and Tetsuo: The Iron Man; Mars89 fiercely outlines a contemporary take on post-apocalyptic street music for his most significant release to date. Ventured in the artist’s own words as a dedication to “working class resistance” and “the city dwellers who live with the rats and crows in the gaps of the city where the giant capital tries to control everything”, the album diffuses this political thrust into a gripping instrumental narrative connoting Manga chase sequences and dark room club modes of thought with an unrelenting pace and textural bite that brings his subjects to life unpretentiously and with adrenalizing effect.
Spiralling into view with the Vangelisian brass flare arps of ‘They Made Me Do It’, Mars89 introduces all the elements of grizzled subbass, doomy bell carillons, polluted pads and stained percussion like characters in his album-as-feature. There’s a carmine-dripping Giallo feel to ’Tete Apotre’, and the furtive dub noir fiction of ‘Good Hunting’ paves the way for his desiccated, zombie lurch dub steppers’ pulse in ‘Auriga’ and the monstrous trample of ‘Dick Laurent is Dead’ at its core.
The skeletal drill of ‘Hinterlands’ keeps the story chokingly pensive, while ‘Flatliners’ ratchets the drama to soundsystem-destroying degrees, where ’Nebuchadnezzar’ uncannily recalls work by the artist of the same name, and ‘Goliath’ sees off anyone left standing with its barrelling, overproof dub charge kicking up the junglist embers of ‘LA1937’ and possibly pointing in new directions for the keenly watched project.
Boomkat Product Review:
Heady and guttural debut album of propulsive electro-dub-steppers noise from Japan’s Mars89.
Following in a vein of far eastern dub and sci-fi noir mutation from the likes of Goth Trad to Kenji Kawai and Tetsuo: The Iron Man; Mars89 fiercely outlines a contemporary take on post-apocalyptic street music for his most significant release to date. Ventured in the artist’s own words as a dedication to “working class resistance” and “the city dwellers who live with the rats and crows in the gaps of the city where the giant capital tries to control everything”, the album diffuses this political thrust into a gripping instrumental narrative connoting Manga chase sequences and dark room club modes of thought with an unrelenting pace and textural bite that brings his subjects to life unpretentiously and with adrenalizing effect.
Spiralling into view with the Vangelisian brass flare arps of ‘They Made Me Do It’, Mars89 introduces all the elements of grizzled subbass, doomy bell carillons, polluted pads and stained percussion like characters in his album-as-feature. There’s a carmine-dripping Giallo feel to ’Tete Apotre’, and the furtive dub noir fiction of ‘Good Hunting’ paves the way for his desiccated, zombie lurch dub steppers’ pulse in ‘Auriga’ and the monstrous trample of ‘Dick Laurent is Dead’ at its core.
The skeletal drill of ‘Hinterlands’ keeps the story chokingly pensive, while ‘Flatliners’ ratchets the drama to soundsystem-destroying degrees, where ’Nebuchadnezzar’ uncannily recalls work by the artist of the same name, and ‘Goliath’ sees off anyone left standing with its barrelling, overproof dub charge kicking up the junglist embers of ‘LA1937’ and possibly pointing in new directions for the keenly watched project.
Boomkat Product Review:
Heady and guttural debut album of propulsive electro-dub-steppers noise from Japan’s Mars89.
Following in a vein of far eastern dub and sci-fi noir mutation from the likes of Goth Trad to Kenji Kawai and Tetsuo: The Iron Man; Mars89 fiercely outlines a contemporary take on post-apocalyptic street music for his most significant release to date. Ventured in the artist’s own words as a dedication to “working class resistance” and “the city dwellers who live with the rats and crows in the gaps of the city where the giant capital tries to control everything”, the album diffuses this political thrust into a gripping instrumental narrative connoting Manga chase sequences and dark room club modes of thought with an unrelenting pace and textural bite that brings his subjects to life unpretentiously and with adrenalizing effect.
Spiralling into view with the Vangelisian brass flare arps of ‘They Made Me Do It’, Mars89 introduces all the elements of grizzled subbass, doomy bell carillons, polluted pads and stained percussion like characters in his album-as-feature. There’s a carmine-dripping Giallo feel to ’Tete Apotre’, and the furtive dub noir fiction of ‘Good Hunting’ paves the way for his desiccated, zombie lurch dub steppers’ pulse in ‘Auriga’ and the monstrous trample of ‘Dick Laurent is Dead’ at its core.
The skeletal drill of ‘Hinterlands’ keeps the story chokingly pensive, while ‘Flatliners’ ratchets the drama to soundsystem-destroying degrees, where ’Nebuchadnezzar’ uncannily recalls work by the artist of the same name, and ‘Goliath’ sees off anyone left standing with its barrelling, overproof dub charge kicking up the junglist embers of ‘LA1937’ and possibly pointing in new directions for the keenly watched project.
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Mars89 Night Call Sneaker Social Club Grime / Fwd- MP3
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Mars89 Cold Concrete, Wet Asphalt Bedouin Records Electronic
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Mars89 New Dawn Bokeh Versions Electronic
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Mars89 2020 Natural Sciences Electronic
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Mars89 TX-55 / Successor Project Acrylic Records Electronic
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Vaal Love Reversed Bedouin Records Electronic
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Gaul Plus Soiled Ether Bedouin Records Techno / House
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