Category: Electro-pop / Industrial
Blurb: Strong songwriting and production abounds on this auspicious debut, infusing pop sensibilities into the fringes of industrial and signaling the arrival of a remarkably talented artist.
Among the throngs of burgeoning electro/industrial acts coming out of the woodwork is Kanga DuChamp, who in a short time has risen from the underground to become one of the scene’s most exciting new acts, culminating in her self-titled debut album. Filled to the brim with scathing electronic textures and subtly complex song structures that still adhere to the infectious familiarity of pop, the atmospheres she conveys are at once warmly welcoming as they are darkly disturbing, full of themes of fetishistic objectification and observation of a malign world. While comparisons to the likes of Android Lust and Nine Inch Nails might seem to abound, especially from the onset of the opening track, “Something Dangerous,” its bouncy ascending bass line bearing an uncanny resemblance to “Somewhat Damaged” off of The Fragile, but this is not to discount the power and depth of Kanga’s own songwriting and production skills, carefully crafting each song with a balance of catchy hooks and melodies amid cold, metallic electronics. Indeed, before long, the track proceeds in its own insidious direction, the chants of “You want to play with us?” almost daring listeners to embark on the strange musical journey Kanga is about to take them on. In another instance, “Honey” gradually builds from a quiet, almost monotone detachment to a cacophonous and almost triumphant declaration of “We’re moving on,” making the song something of an anthem for the disaffected. In an equally jarring juxtaposition, “Dissonance” lives up to its title as an exercise in audio tension with Kanga’s s tense but strident melody being underscored by a throbbing bass and metallic beats augmented by shrill electronics and guitar, a bouncy synth arpeggio in the intro and bridge offering a strange counterpoint. Similarly, “Tension” moves at a languid pace that with the reverberations of the beats and the deep bass of the swells of pads creates an unsettling, almost aquatic ambience that perfectly complements the quiet desperation of the vocals, and the impassioned howls of the chorus to “Going Red” contrasts brilliantly with the steely, mechanical monotony of the verses, making for one of the album’s best and catchiest tracks. Other highlights include “Animal” with its intense atmosphere aided by energetic beat structures and marvelous vocal harmonies, the almost funky bass lines and downright poppy chorus to “Viciousness,” which is sure to make the song a hit for the dance floor, while “Machine” ends the album with a frantic assault of distorted beats and bass in a 7/8 time signature. Kanga may not be the first artist to bring a pop sensibility into the fringes of industrial music, but even so, to appeal to the outsider mindset and still retain catchiness and melody is not an easy merger to achieve… and Kanga achieves it quite magnificently on this auspicious debut album. With mixing and production assistance from the legendary Rhys Fulber, mastering by Greg Reely, and guitars provided by Matthew Setzer of Skinny Puppy and London After Midnight, this album signals the arrival of a remarkably talented artist who is sure to continue wowing audiences in the industrial underground and beyond.
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Negative Gain Productions
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Storming the Base CD
Ilker Yücel (Ilker81x)