Saturday, July 11, 2020
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Artist: Manufactura
Title: Recognitive Dissonance
Format: CD
Label: Hive (@)
Rated: *****
Manufactura's new album "Precognitive Dissonance" seems to be sort of an all star project, considering the talents Karloz. M recruited for it: collaborations with Scott Sturgis (as Notime, also member of Converter, Pain Station, DBS) and with Broken Fabiola (new signing by Auricle Media, who co-released this record), remix by Aghast View, production by Haujobb's very own Daniel Myer (cmp interview on these pages) and Databomb (Download), and mastering by J. Cameron of Symbiont/Lexincrypt (cmp interview on these pages). Altought it is a very impressive list of folks and a very good sounding record we all know credits are not all an album is made of, so let's talk a little bit about what the music is really like, shall we? I've listened to this record four times already and I appreciate it's heterogeneous form and its edgy shapes (at times even a slight touch too heterogeneous, to the extent that it lacks sort of a defined consistency, but that's really a minor imperfection here). Power-electronics blends or alternates with IDM and is enriched by illbient-core textures and EBM, resulting in a quite intense and pounding cocktail of violent electronic music. I'd be tempted to say that it could be a perfect Daft records release, or compare it to the style of the Ivens/Van Wonterghem family (Dive/Sonar/Monolith type of sound), but the less screaming/more intimate slightly (by comparison) filtered vocals and the extensive passages of darker atmospheres without one single drum head (mpc button, pad, trigger, whatever) being hit, or the spanish and english spoken movie samples and that sort of stuff, kind of exclude that comparison, don't they? If I were to exclusively consider some pieces (such as the collaboration with Notime and Broken Fabiola, for example) I could limit myself to mention the ever so inspirational Richard James for his signature sound made of distorted analog bubble kick drums, his broken drum'n'bass textures and his over-imposed dreamy lullaby belly soundscapes... Does it all come together and make sense yet? Of course other names could be mentioned, especially considering the variety of the material, but why would I keep doing that? It would be so much easier if you just picked up this record and got your own opinion, because it's definitely worth your money if you like what you've read so far and it's a prime example of bridging the world of distortion and aggro-beats with the realm of peaceful but disquieting soundscapes. Need I say more?


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