Yes! Yes! And fucking yes!
Goddamn! Yes Jeebuz! This is awesome! Granted, I’m not even sure what this is. But I fucking love it! It’s waaaaay out there. Holy shit, it’s out there. It sounds like your television is trying to communicate with you at 3 in the morning, or a nuclear bomb slowed down by 30 000 times, or live wires being plugged directly into your speakers. But, fuck me, is it ever good.
There are some albums you listen to and instantly know that you’re listening to the future of that genre. This is that album. Some of you may listen to this and think, “Good. I’m happy I won’t hear this anywhere else. It’s just noise.” Well, that’s what your parents used to say about your music. It’s how you know the medicine is working. This music is not for the electronic lite. This is not a gentle jog through electronic park. This is for those dirty and nasty motherfuckers that have dug into the roots of the grimiest shit this genre has to offer and still thought it sounded too polished. This is sweaty, nasty, nauseous, heinous, and gorgeous fucking music. Gonçalo Penas is a Portugal-based artist that created these sounds on digital instruments he built himself. Did you get that? This motherfucker built his electronic instruments. So you won’t be hearing these sounds anywhere else, yet. And, it’s a shame, because this bass is so raw and rugged it melds to your spine and shakes your spleen until it vomits out cellular waste onto the large intestine. Seriously, I’m not sure if I’ve ever heard bass quite like this. If you think I’m going over the top for kicks? Good, you go ahead and think that. Dare you to turn that shit up.
The tracks “Introdução, Umbigo” and “Tecto Falso” were recorded in one take by the twenty-two-year-old. This dude has completely ignored all rules of electronic music and made something entirely new. If it makes you more comfortable, call these songs “electronic soundscapes” or “musical narratives”. But, make no mistake, this is music, like it or not. The artist himself describes these songs as “self-exorcisms”. And I don’t disagree with that statement at all. Actually, I think it’s a big part of why electronic music is so fucking awesome. It’s the genre that’s supposed to make you uncomfortable. It’s supposed to shake you. When you think you’ve heard it all, this is the genre that smiles at you menacingly before leading you down some dark alley. At genre parties, this is the guest that sets fire to the dance floor, snorts his ex-girlfriend’s blood, and spikes the punch bowl with shards of glass and lighter fluid. I get it if this isn’t in everyone’s wheelhouse. I even understand if you hate this music. But, sounds like this, will pop up sporadically in the next couple of years. Until, one day, it dominates your great-grandchildren’s implanted cerebral headphones as they eat laboratory-grown venison and laugh at us for having used the Internet.