Dreamcrusher


(Copyright © 2020 Piero Scaruffi | Terms of Use )
Panopticon (2020), 7.5/10
Another Country (2020), 8/10
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Dreamcrusher, the brainchild of Kansas black transgender queer artist Luwayne Glass, relocated to New York in 2015, debuted with a series of EPs: the tentative Anti-Pop/ Reykjavik (2009), Incinerator (2013), with Cathedral of Moths and the eight-minute stuttering, grating noise-carnival of Vulpeculae Freeze, Canal de Holograms (2013), with Antagonist and Just Like Malevich, I'm All Broke Up/ Lemlaestelse (2014), with the maximalist industrial clangor of I'm All Broke Up, Suicide Deluxe (2014), with Godless Chic, Ghost Orchid and the thundering voodoobilly of Dracula Meets The Lorelei, Haine (2014), with Memories (a fibrillating threnody a` la Suicide) and La Haine (a lullaby that is emblematic of his industrial pop), Antipop (2014), with the 12-minute radioactive ballet Nucleus, and Katatonia (2015), with the gothic abstraction of Imponderabilia and the 13-minute hissing and howling trance of Mirror. NQRM - Volume 1 (2016) is a 16-song compilation.

THe EP Hackers All of Them Hackers (2015) contains the ear-splitting power-drilling of Fear and the booming seismic antipop of Trap Door.

Two more EPs came out before his first album: Quid Pro Quo (2016), with the eight-minute wall of noise of Myrtle Ave - Broadway, and Grudge2 (2018).

Panopticon (2020) contains just one 39-minute long composition. It begins with some free-jazz abstraction and found voices, and then suddenly plunges into a violent and distorted punk-rock rant. After hinting at some infernal disco music and exploring the darkest corners of hell, with a female voice singing in the background, buried in loud distortions, the sound collage simply explodes, but in a stuttering manner, making it difficult to decipher whatever is going on underneath.

One month later, another mixtape came out, Another Country (2020), containing an even more intense and elaborate 43-minute composition full of idiosyncratic samples: extremely degraded ballads, conversations with demons in the language of wails and drones, instrumental interludes and songs that draw inspiration from a wide ranging spectrum, from the Residents to Buddhist ceremonial music, dissonant chamber music, massive melodic shoegazing distortions, and so on. There's an anthemic song hidden inside the noise of minute 19 before the "music" implodes in a tornado of distortions evoking a mental breakdown. There's a terrific punk-industrial dirge at minute 32 before it disintegrates in a freakish carillon. (The mixtape is officially subdivided in 12 "songs" and for each one Glass listed the samples used, most of them truly obscure, including the covers of Dog Breath's Long Kiss Goodnight and of Gothic Hut's C-14, here renamed Wanderer).

Note: Aviv Yaish identified the samples.

Polymath (first song on side A) lifts the guitar riff from the beginning of Tony! Toni! Tone'!'s Whatever You Want. The Crooklyn Dodger's Return Of corresponds to Blameless (starting at 9:40 on side A). The poignant piano part starting at around 14:01 on side A is taken from Timo Andres' How Can I Live in Your World of Ideas? The anthemic A Reaching Out (starting at 18:01) is based on The Fall's Barmy. Starting at 20:21 is Metallic Mauve which is based on the beginning of this short clip documenting a live show by the Doors. Side B starts with Can't Get the Stink Out which takes a very tiny sample from this song (the 3 notes played on the keyboard). No Trend's Who's To Say is the basis of Drowning World (starting at 2:57). Gunna's Big Shot was heavily edited and used in Takeover (starting at 5:31). Good Luck (starting 8:12) uses a sample from Mad-Izm. Only Landscape (10:57) does not employ credited samples.
(Copyright © 2020 Piero Scaruffi | Terms of use )
(Translation by/ Tradotto da Edoardo Ferrara)

Dreamcrusher, il progetto di Luwayne Glass, artista queer, nero e transgender originario del Kansas e trasferitosi a New York nel 2015, debuttò con una serie di EP: l’esitante Anti-Pop / Reykjavik (2009); Incinerator (2013), con Cathedral of Moths ed il balbettante, stridente carnevale noise di Vupleculae Freeze di otto minuti; Canal de Holograms (2013), con Antagonist e Just Like Malevich; I’m All Broke Up / Lemlaestelse (2014), con il fragore industrial massimalista di I’m All Broke Up; Suicide Deluxe (2014), con Godless Chic, Ghost Orchid e il tonante voodoobilly di Dracula Meets the Lorelei; Haine (2014), con Memories (una fibrillante trenodia à la Suicide) e La Haine (una ninna nanna che è emblematica del suo industrial pop); Antipop (2014), con il balletto radioattivo Nucleus di 12 minuti; e Katatonia (2015), con l’astrazione gotica di Imponderabilia e la trance sibilante e ululante di Mirror, di 13 minuti. NQRM - Volume 1 (2016) è una raccolta di 16 canzoni.

L’EP Hackers All of Them Hackers (2015) contiene la trapanante ed assordante Fear ed il rimbombante e sismico antipop di Trap Door.

Altri due EP furono pubblicati prima del suo primo album: Quid Pro Quo (2016), con il muro di noise di Myrtle Ave - Broadway, dalla durata di otto minuti, e Grudge2 (2018).

Panopticon (2020) contiene solo una lunga composizione dalla durata di 39 minuti. Essa comincia con dell’astrazione free jazz e voci di fortuna, per poi tuffarsi improvvisamente in un violento e distorto sfogo punk rock. Dopo aver accennato a della musica disco infernale ed aver esplorato i più oscuri angoli dell’inferno, con una voce femminile che canta in sottofondo, il collage sonoro semplicemente esplode, ma in una maniera balbettante, rendendo difficile decifrare qualsiasi cosa accada al di sotto.

Un mese dopo, venne pubblicato un altro album, Another Country (2020), che contiene una composizione ancora più intensa ed elaborata, dalla durata di 43 minuti: ballate estremamente deteriorate, conversazioni con demoni nella lingua di droni e lamenti, interludi strumentali e canzoni che traggono ispirazione da uno spettro ad ampio raggio, dai Residents alla musica cerimoniale buddista, dissonante musica da camera, imponenti e melodiche distorsioni di shoegaze, e così via. È presente un brano-inno nascosto nel noise del minuto 19 prima che la “musicaimploda in un tornado di distorsioni che evocano un esaurimento nervoso. C’è una formidabile marcia funebre punk-industrial al minuto 32 prima che si disintegri in un bizzarro carillon.