Belief Defect are an anonymous duo, with the only information being that they are established artists in their own rights. Decadent Yet Depraved sets out their manifesto - the world is deluding itself. Combine that target with hard hitting experimental electronics and you get the soundtrack to a collision course through Laibach meeting John Carpenter.
8/10 Laurie Staff review, 14 September 2017
New intense things from Raster-noton, this time a full album from newcomer Belief Defect, an artist who chooses to give no information about themselves in order to provide you with no expectations about the music they make. Well, you can already tell a whole lot from the label that it’s being released on, so you’ve messed that one up, haven’t you?
Decadent Yet Depraved sees them explore their influences up to this point in time, from dancefloor bangers to self-destructive noise and ambient liftoff. So far I’ve been exposed to super slow pendulum beats, tastefully glitched and stuttering over the top of a massive subby kick. Some thin, icy melodic layers arc about like a recent Lakker tune, eventually giving rise to arps or dropping to low, earthy bass drones. It’s a potent combination, and if your experience of electronic music only goes as far as The Field then you’ll be in for a bit of a surprise.
It’s like a metal symphony written by Stephen O’Malley and produced by u-ziq. It’s basically the sound of 2 futuristic factions of sentient machines going at each other with lazers and circular saws. In Berghain.
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