Get A Life, Listen To Autumns
 Get A Life, Listen To Autumns is a statement that tells you everything you need to know about the quality and attitude of the Irish producerâs latest EP. His DNO debut presents five tracks of steel-studded EBM and industrial run through with his trademark dub aesthetics. A1 â100 Ways To Get Fuckedâ â another bold title â struts its stuff to a methodical stomp; strained vocals pulled out of shape and fed back into macabre forms; low-end chugging like some smoke-billowing, grease-slicked machine. âLet It Meltâ picks up the pace, making judicious use of the reverse function, while subtle acid chirps and woozy arpeggios provide a chaotic, though not unpleasant, dissonance that induces a feeling of headrush. âPettedâ swaggers like sex incarnate, alongside snatches of diva vox and the kind of sweeping space-age pads that Holst might have used had he been born a century later, seemingly taking cues from the hot and sweaty nights of â80s Chicago. Over on the B-side, âLDROâ sets its kicks and snares thrusting at full tilt over an inexorable bassline; Autumnsâ favourite effect, delay, keeping things squelching like the jellified flesh of a ballistics dummy. And to finish, âGodâs Giftâ drops down to a sludgy rhythm â though with surprisingly spritely percussion â to match its tortured guitar, shrieking horns, and deadly subs. A fever dream of twisted metal and hot breath, like the gradual slowing after the climax of debauchery. Marking a sultry new route for DNO, Autumnsâ first for the label is confident, confrontational, and not to be missed. Rhythms of postmodern realism at the very bottom of the DNO.
Get A Life, Listen To Autumns
 Get A Life, Listen To Autumns is a statement that tells you everything you need to know about the quality and attitude of the Irish producerâs latest EP. His DNO debut presents five tracks of steel-studded EBM and industrial run through with his trademark dub aesthetics. A1 â100 Ways To Get Fuckedâ â another bold title â struts its stuff to a methodical stomp; strained vocals pulled out of shape and fed back into macabre forms; low-end chugging like some smoke-billowing, grease-slicked machine. âLet It Meltâ picks up the pace, making judicious use of the reverse function, while subtle acid chirps and woozy arpeggios provide a chaotic, though not unpleasant, dissonance that induces a feeling of headrush. âPettedâ swaggers like sex incarnate, alongside snatches of diva vox and the kind of sweeping space-age pads that Holst might have used had he been born a century later, seemingly taking cues from the hot and sweaty nights of â80s Chicago. Over on the B-side, âLDROâ sets its kicks and snares thrusting at full tilt over an inexorable bassline; Autumnsâ favourite effect, delay, keeping things squelching like the jellified flesh of a ballistics dummy. And to finish, âGodâs Giftâ drops down to a sludgy rhythm â though with surprisingly spritely percussion â to match its tortured guitar, shrieking horns, and deadly subs. A fever dream of twisted metal and hot breath, like the gradual slowing after the climax of debauchery. Marking a sultry new route for DNO, Autumnsâ first for the label is confident, confrontational, and not to be missed. Rhythms of postmodern realism at the very bottom of the DNO.
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 Get A Life, Listen To Autumns is a statement that tells you everything you need to know about the quality and attitude of the Irish producerâs latest EP. His DNO debut presents five tracks of steel-studded EBM and industrial run through with his trademark dub aesthetics. A1 â100 Ways To Get Fuckedâ â another bold title â struts its stuff to a methodical stomp; strained vocals pulled out of shape and fed back into macabre forms; low-end chugging like some smoke-billowing, grease-slicked machine. âLet It Meltâ picks up the pace, making judicious use of the reverse function, while subtle acid chirps and woozy arpeggios provide a chaotic, though not unpleasant, dissonance that induces a feeling of headrush. âPettedâ swaggers like sex incarnate, alongside snatches of diva vox and the kind of sweeping space-age pads that Holst might have used had he been born a century later, seemingly taking cues from the hot and sweaty nights of â80s Chicago. Over on the B-side, âLDROâ sets its kicks and snares thrusting at full tilt over an inexorable bassline; Autumnsâ favourite effect, delay, keeping things squelching like the jellified flesh of a ballistics dummy. And to finish, âGodâs Giftâ drops down to a sludgy rhythm â though with surprisingly spritely percussion â to match its tortured guitar, shrieking horns, and deadly subs. A fever dream of twisted metal and hot breath, like the gradual slowing after the climax of debauchery. Marking a sultry new route for DNO, Autumnsâ first for the label is confident, confrontational, and not to be missed. Rhythms of postmodern realism at the very bottom of the DNO.
