The social media platform Twitter was originally a sort of echo-chamber, mainly though by no means exclusively for the Left. As some of you may have heard, it was recently mega-trolled and unwillingly made to play a key role in the election of the current American president. You may love or hate the latter, but if you are not a complete asshole you probably realize that a society where 140 character slogans constitute a significant part of public discourse has some pretty serious problems. Even if you feel it worked out this time, there is ample reason to believe that a system based on teh l0lz might not be optimized for survival in the long term. Or maybe it might, fuck it, this is supposed to be a power electronics review.
The Twitter user and noise musician Vomitech still has to pass a few hurdles before he is elected leader of the free world, but does a fine job of keeping the original meaning of “trolling” alive. Before “troll” was redefined to mean “someone expressing unpleasant or stupid but earnestly held opinions”, or simply “Russian”, it referred to a person systematically posting provocative or offensive content to derail discourse and/or garner attention. Vomitech, whose real name may or may not be Paul, has stirred up quite a lot of controversy through his 140 letter forays into far-leftism, anti-racism and racism. After making himself impossible with a number of netlabels, he himself has begun self-publishing on Bandcamp under the label name Clown World.
The first album published by the single player label is an EP by Vomitech’s own project Architects of the Resurrection, entitled Resurrection. It contains four tracks of instrumental power electronics, with notes of HNW. The cover is unbelievably ugly, with an unclenched red hand and a vaguely swastika-like lower case “e”, both of which look like they were lifted from some variant of the WingDings font. Looking at it, one could be excused for writing the whole thing off as yet another troll attempt, this time a musical one. That would be a mistake, though.
Resurrection is actually a decent slice of power electronics. While probably done by computer and largely loop-based, the many fuzzes, feedbacks and distorted crunches have a fairly analog, nice feel to them. This is the sort of stuff you would encounter in the 90s on mp3.com or on obscure CDrs. It is not at all as living and powerful as something like Genocide Organ, but it is equally far from the intentionally digital sounding, joke bullshit noise which some quarters of the “scene” keep pretending is radical despite it having been done to death for years. The first track is a little weak, but good enough to make you want to keep listening, and the following three are all of high quality. The stringent loop arrangements (which theoretically could be accomplished with purely analog means) add a certain level of traditional song structure, which complements the entirely non-musical noise/feedback sounds that form the actual sound picture.
Crunches, feedback loops and rhythmic noise attacks keep on assaulting you, without ever becoming annoying or boring. The song titles seem to be largely related to Britain somehow (“God Kill the Queen” and “The Empire’s Flag Burns” – the latter of which is probably the best track), but if there is some underlying message it is elusive. This comes as no surprise, given Vomitech’s erratic online behavior, and is certainly no disadvantage. While there are a couple of examples of good “preachy”, explicitly political Power Electronics projects, the genre has always been at its strongest, aesthetically speaking, when it’s remained in an ambivalent, voyeuristic mode.
Resurrection deserves a physical release far more than many other recordings, but as things stand it is available only digitally. Considering it is free, or rather name-your-price, you have little to lose. Go get it, and throw in a couple of bucks while you’re at it.