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.

AA Side Single Review: “Secret / Bad Connection” by Michael Angelaux

by Karl Magi

“Secret” sweeps with a jet-like sound before rising to a tight crescendo and stacked up drums tick and a hi-hat swings before the bass explodes along with a vocal sound before Michael Angelaux’s distinctively soul-infused voice carries the main theme with the flair and style one would expect.

The beat is reverberant and encourages booty shaking while the classic ‘80s chorus repeats with verve and energy. Like a silk tide, Michael Angelaux’s voice wraps around me, carrying with intensity and passion, while the message of the lyrics is delivered with panache. Equally Nick Rixon gives the production a burnished depth.

The background leaps with unrestrained power while the chanting chorus adds emphasis. Expression fills the vocal performance as the melody twists with a mysterious quality before the song ends.

As the song's subject swims "across the moonlit sky every night," the protagonist promises not to tell anyone and reassures them that it's okay. He adds, "we know the truth is never black and white, but can you keep this confidential, wrong or right?" He doesn't want them to step into the light and reveal their secret.

Our narrator can keep a secret just for the other person and asks, "but can you keep a secret baby, just for me?" He adds, "hush don't talk about it now." He asks the song's subject what kind of man they take him for and says, "furthermore, one peep and I will be out the door."

Revealing that he'd be threatened by the secret truth, the main character says, "social suicide is not my thing, this precious jewel must be protected now. " He points out that he isn't doing this for his entertainment but because, “shame and glory will never go hand in hand." He concludes, "remain undercover, my suffering lover, don't think you understand."

A shadowy sound sweeps before the lively rhythm dances and Yazoo’s “ Bad Connection” comes into being with a rushing, popping energy as the motif at the beginning releases luminous strength. Michael Angelaux catches Alison Moyet's unmistakable delivery with his own fresh and individual interpretation, delivering mixed emotions with a playful sensation.

The synth choices animate the song in a new way as the drums skip with an irresistible groove and Michael Angelaux makes me smile with his honest interpretation of the original Yazoo track. Shining tones flicker in contrast to deeper hidden emotion as a telephone rings.

The foundation presses on while the glittering theme spills before Michael Angelaux channels the original with his own twist. A synth transmits the main theme with neon effulgence before the song ends.

The narrator talks about desperately trying to call the song’s subject before he leaves town. With his car ready and her bags packed, time’s running out and he's afraid he'll never reach the person he loves. The lyrics capture the emotional fallout of a final try at communication before a break up, as the broken phone line symbolizes the distance between the characters.

Synth Single Review: “AVIVA” by Mike Templar

by Karl Magi

Mike Templar’s “AVIVA” glistens like dew in the morning light as the rhythm rebounds and a xylophone captures freshness and release before the active bassline gives a groovy pulse to the track. Gnarly bass drives with a disco flare while the reverberant xylophone generates a chilled-out impression.

A dance-y sensibility energizes me while a synth pattern drifts like a refreshing breeze. Crystalline notes tangle together while the locked-in underlayer shimmies and a fuzzy guitar slides in with dynamic brilliance, adding a tinge of uncertainty to the calmer background. The music takes a breath as the xylophone rings with golden luminosity and a ticking percussive pulse slides back into the funky supporting layer.

A sense of uplift fills me as an organ-like synth gives a warm sheen to the track. Electric bass and strumming guitar groove on as the repeating sonic pattern hypnotizes me with soothing sensations. The percussion is dense and the whole track balances irresistible motion with tranquility before ending.

Synth Single Review: “Together We Will Survive” by DROIDGLOW & New Arcades

by Karl Magi

Droidglow & New Arcades’ “Together We Will Survive” slowly becomes a tide of smoothly interlocking tones above a solidly pulsating rhythm while the lead singer’s magnetic vocals capture a struggle for positive forward progress, communicating complex emotion.

The main theme gleams on a synth awash in sunset shades while the words slip in a resonant line, poetic and gentle, as the underpinnings push on. Tones echo with peaceful radiance while the foundation undulates and the lead singer's sincere performance touches me. Patterned brilliance spills before Droidglow’s guitar solo embodies the mingled pain and hope that defines the song.

As one event follows another, the main character is still doing work on himself. He says, "time just takes its toll when I feel like I've lost control." He's looking to find anything that will take weight off his mind and allow him to see the light again. He wonders if the song’s subject can save him again.

Picking up where he left off, our narrator says, "I'm thinking I can still hold on, tonight will be the night, together we will survive." He knows that if they stay together they'll make it. He concludes, "I'm still catching up on life and I keep losing track of time, it's passing me by, in the blink of an eye we're gone."