Search - Infidel :: Bioentropic Damage Fractal

"abstract avant-garde electronic noise post-IDM ambient with

Strobe Lights And Blown Speakers | Louisville | 07/23/2006

(5 out of 5 stars)

"Free jazz is to jazz as Bioentropic Damage Fractal is to Mr. Bungle



Free jazz typically takes elements of jazz (instrumentation, improvisation, etc) and f-cks with the known conventions of the genre and the comfort zone of the listener. Infidel? / Castro! take Mr Bungle (those crazy genre-hoppers known for making truly bizarre and original music) and dissects, cuts-and-pastes, and ups the intensity and weirdness a million times over.



Really, the similarities between I?C! and Bungle are only superficial. I?C! sound nothing like Mr Bungle. These dudes are way more noisey, experimental, and abstract than pretty much any rock band I've ever heard. I can't really describe this other than calling it "abstract avant-garde electronic noise post-IDM ambient with flourishes of Ligeti" or something to that effect. It's really bizarre and harsh on the ears (save for some really beautiful yet creepy quieter moments and the beautiful post-ambient "Bedridden" and the GORGEOUS 20-minute final track) - I can pretty much guarantee you've never heard anything like this before. It's kinda like Dissecting Table covering Merzbow, but half the band getting bored midway through and toying with some Eno, Autechre, and Lanterna LPs over in the corner. And it's somehow pretty cohesive throughout (or as cohesive as a record like this can be).



Overall, this is a very unique, bizarre, and f-cking radical album for fans of original music. This is the avant-garde of the avant-garde right here."

The new avantgarde classical?

Kevin Sapp | Pittsburgh, PA | 07/16/2008

(5 out of 5 stars)

"This product is not classically orchestrated, but considering excursions into electronics taken in many compositional circles, this could very well be a reemergence of classical form from pop/rock/idunnowhat backgrounds. The whole package is programmatic, it carries themes throughout the album in various incarnations, there is development (it's electronic - the development is the real gem here), recapitulation, a semblance of fugal forms (no Bach here, folks), and a wide variety of things you might expect of a very carefully constructed experimental classical work. I dunno if this comparison will help most people, but this is Alfred Schnittke's polystylism, not filtered down through, but percolated up from a dense core of classical influences, distilled from all sides of the modern independent music scene. An enormous and emotional work, which surprises you most in its increasing listenability and beauty, and its detailed (fractal-like, who woulda thought?) structures."