The wizard of occult status is back this year with his phenomenal release “Syro”, I’m going to start this off with the negatives as I know there have been millions of comments left all over “Rubber Johnny”, “Come to daddy” and of course the infamous “come to daddy” [which questioned a large majority of teenage boys sexuality in a similar way to how smack my bitch up did from the Prodigy]. That have all rumour milled, bitched and whined about not having and bread crumb from the fabulous creator.
It was horrid being without him for thirteen years [last album made public was Drukqs], it’s a given that some people have slated this as another electronic album and is made in the vein of being lazy. But for the most part it’s not been listened to in context and of course most people have been fans of just the odd song here and there.
The context of course being that this is right back in the mood of where he left off and has all the weird languages and layers of his almost David Lynch voice work, that resembles ghosts on tape, on top of a tapestry of clicks, bites and more digital delights than ever before.
Notably the album doesn’t exactly have heckling-able names I can’t imagine anyone shouting “oi mate play “fz pseudotimestretch+e+3 [138.85]” across a crowded room. There are some highly infectious melodies, harmonies and odd things that sound like mice scurrying across your mind that make you wonder if they are even there.
With this album it’s hard not to be a bias fan girl in my review but I thoroughly enjoyed it and I think anyone who likes this cryptic electronic pulse journey style of music will. I would recommend listening to his earlier “Selected ambient works 85-92” if nothing more than to get a full scope retrospect before tucking in to the latest wonder.
Pulsewidth from Selected ambient works 85-92
Words Ashlinn Nash