Bad Guys Get Dead - Alert Fatigue
Review by Karl Magi
Overall Album Impressions
Bad Guys Get Dead’s “Alert Fatigue” comes like a warning from an outer dimension, a message of imminent destruction and looming danger. A plethora of tones becomes an interlocking pattern of darkness and malicious external intelligence. An atmosphere of e exceeding horror and approaching evil seethes from the composition and Bad Guys Get Dead invokes eldritch forces waiting to devour humanity. His approach of sonic painting and creating fascinating motifs leads to an album that reflects ferocious terror.
At the centre of “Alert Fatigue” are the intriguing patterns of synth sound with different textures and tones effectively combining to draw out all of the atmospheric fear and portent. The artist skillfully works with all of these differing auditory threads to weave all of the creeping apprehension and ominous strength lurking within the music. I find myself watching my back as the album unfolds, waiting for whatever awfulness lurking to emerge.
All of the main themes on “Alert Fatigue” invoke a fearful miasma, indicating the presence of things beyond human comprehension. Cosmic horror drenches each musical moment, adding to the impressions of unmerciful threat and sinister energy that fill the music. These themes summon mental states in which tension and intense discomfort carry me along. The way in which each of these elements interact with the others raises unsettling sensations that increase the album's power.
My Favourite Tracks Analyzed
“A Premonition of War” rises as an insect-like, mechanical noise vibrates, fading before a massive block of underpinning sound rumbles with danger and every tone, adding terrifying weight. Floating notes like warnings in the open space drift and quietly shift before a swelling, orchestral pattern ripples in calming, yet shadowy lines above a vast underlayer.
Rumbling with foreboding, the low end supports levitating tones that wander into open space. Mournful sounds slip past, like a string section, while the intimidating foundation intensifies sensations of terror. I can feel an ominous fear rising in me, expecting the worst to come as drums tap and the flowing notes roam with broken emotion and fall quiet.
Luminescent notes weave increasing nervousness and anticipation as “It Comes Down from the Mountain” shivers with umbral weight before drums strike with heavy density and strangely writhing tones climbs in a warning pulsation and ragged notes tear unevenly. Arpeggios twist uncomfortably while feelings of approaching evil are punctuated by a perturbing throbbing.
Warning noises howl like sirens before the seething underlayers rise. Exhalations of sound along with charging guitar are propelled by towering discomfort below, conjuring up a looming atmosphere.
The guitar lacerates with fierce shadows and a wildly roaming, digital sounding note pattern drifts as expansive tones spread and the hammering beat supports more feelings of irresistible horror before the arpeggios interlock with the rattling percussion and growling guitar. Impressions of malicious forces drawing near are undeniable before the track ends.
“The Animals All Have Crystal Eyes” creates mysterious, enigmatic feelings with reverberating tones echoing above a broken underlayer as the melody generates haunting feelings that creep on tiny feet.
Glimmering notes define the theme as it unfolds with crawling tendrils and lurking discomfort, punctuated by percussion that steals in smoothly. The theme wanders like an uncertain ghost and broadcasts disturbing impressions for me.
Rattling drums tremble and the motif that drifts past feels simultaneously looming and secretive, cut by elevated tones floating with a solid slashing sound moving below before silence falls.
Bubbling and tumbling, “Down The Goo Tube” accelerates with an expanding bass pulse driving forceful speed and endless intensity above the attacking drums. Bending, rubbery notes combined to create exhilaration while sharply whipping sounds lacerate the background.
The main melody tugs me along with dynamism and explosive power. Images of speeding down slick passageways, unable to stop the descent, fills the track as sinuous tones leap above the continually punching underlayer. Brilliance radiates from elevated tones while the track hammers onward, full of wild vigour. It breaks into a shattered segment before the main theme bursts and closes quickly.
“The Light From The Stars Is A Warning” mingles cascading sounds with erupting beats before they ferociously smashing rhythm joins ripping tones and a melodic pattern which cries with tension and approaching sensations of terminal threat.
Hollow sounds rattle while the gruff tones shred and the main theme rises with dominating power. A sense of palpable horror that oozes from the music infuses me before distant sounds flow like spectral mist. Elevated tones rise with discomforting sonic signatures before the track stops.
Metallic, blade-like sounds embed themselves as “Mars Itself A Weapon” twists and spreads out word in a cloud of miasmic hunger before a far away synth gently brushes in contrast to the boiling blackness. Arpeggios twirl, like remote galaxies spinning, as ringing notes tremble and the underlayer exudes ominous weight.
String-like notes drift past with a feeling of disconnection before an intimidating beat throbs and razor-edged notes cut a jagged pattern. The drums and bass charge with a guitar that marches, evoking Gustav Holst's “Mars, the Bringer of War” with its heavy pulsation and snarling weight as a synth swirls like clouds of cosmic dust and the warlike March deepens the sense of alarm while the guitar cuts in with a malevolent feeling.
Conclusion
“Alert Fatigue” delivers a powerful feeling of never-ending danger, punctuated by moments of intense fear and growing dread. The way in which Bad Guys Get Dead has interwoven experimental sounds with mood and atmosphere results in an album that immerses me fully in its shadowy world.
