Having mastered the sound of retro-horror, Immaculate Poison (EVAR Records) finds Cardopusher exploring the future horrors that await us all. Venezuelan-born, Barcelona-based DJ / artist / producer Luis Garban has worked prolifically under his Cardopusher alias for over a decade.
Giallo Italo, EBM, haunted house and death-trip acid, analogue in feel but imbued with an expansive, cinematic sense of space, all driven by a syncopated, percussive Latin funk. A Cardopusher record is an agent of dancefloor discipline and of worldbuilding, a chimera of Garban’s heritage and the monsters he’s encountered since. The present, however, finds global syncretism evolving at fiber-optic speed, and Cardopusher’s forthcoming mini-LP Immaculate Poison (released on Aura T-09 and Trickfinger’s Evar Records) delivers a new, overclocked sound redlining into the future.
在掌握了复古恐怖的声音之后，Immaculate Poison（EVAR Records）发现Cardopusher在探索等待我们所有人的未来恐怖。出生于委内瑞拉，居住在巴塞罗那的DJ/艺术家/制作人Luis Garban以他的Cardopusher化名工作了十多年。Giallo Italo, EBM, haunted house和death-trip acid，在感觉上是模拟的，但充满了广阔的、电影般的空间感，所有这些都由切分的、有节奏的拉丁放克驱动。Cardopusher的唱片是舞池纪律和世界建设的代理人，是Garban的遗产和他后来遇到的怪物的混合体。现在，全球同步主义正以光纤般的速度发展，Cardopusher即将发行的迷你唱片《无暇之毒》（由Aura T-09和Trickfinger’s Evar Records发行）提供了一种新的、超频的声音，并向未来发展。
One notices the change from the first hit of opener “Cry Tough,” a boot-up sequence of THX rather than VHS horror with foley from planet-sized machines, cries of AI arpeggios in crisis, and wavetable synthesis via cerebral implants. One is reminded that Garban regularly collaborates with Arca under the experimental reggaeton alias Safety Trance. With restraints off and throttle on full, “Delusions” follows, launching from 0 to 150 BPM in 0.0 seconds. It’s a dark trance record, what cybergoth should sound like, and the maximalist studio flexing is a rush to experience when breakbeat accents dance around a 3D stereo spread. Interlude “Environmental Product” constructs a 20th century rave eulogy out of crumbling hoovers and radio voices decaying into static. Yet “In the Flesh” belongs to the oeuvre of The Prodigy’s “Speedway” with its breaks, galloping pulse and doppler synths. Of course,
Cardopusher’s racer moves faster, more white-knuckled, fully kitted out with bleeding-edge components.
“Slug Killer” strips things down to a noisy core of synthline hypnosis and saturated kicks before “X-Tended Reality” pummels with frenetic chops and immersive sonics, a hyperthreaded breakcore processor with gabber-chrome plating. Hard house kicks and gated supersaws place “Haunted” among the burnt synapses of the after-afterhours, before the mini-LP concludes with the stress test of “Unseen Terror.” Here, a demonic choir meets Digital Hardcore – erratic explosions of breakbeat madness, the taunting melodies of raw Latin tribal, and the feedback of melting circuits signaling limits far exceeded.
人们从开场曲 “Cry Tough “的第一击就注意到了这种变化，这是一个THX而不是VHS恐怖的启动序列，有来自星球大小的机器的假音，有AI琶音的哭声，有通过大脑植入的波表合成。人们想起了Garban经常与Arca在实验性雷盖顿的别名Safety Trance下合作。 摆脱束缚，开足油门，”Delusions “随之而来，在0.0秒内从0到150 BPM。这是一张黑暗恍惚的唱片，赛博格特的声音应该是这样的，当霹雳舞的重音在3D立体声传播中舞动时，最大限度的工作室弯曲是一种急于体验。插曲 “环境产品 “用摇摇欲坠的吊车和收音机的声音衰落成静态，构建了一个20世纪的狂欢悼词。然而，”In the Flesh “属于The Prodigy的 “Speedway “的作品，它的突破、奔腾的脉冲和多普勒合成器。当然，Cardopusher的赛车走得更快，更白刃战，完全装备了流血的边缘组件。在 “X-Tended Reality “之前，”Slug Killer “将事情简化为合成器线催眠的嘈杂核心和饱和的踢踏声，用狂热的章法和沉浸的声效进行打击，这是一个带有gabber-chrome镀层的超线程breakcore处理器。在这张迷你唱片以 “看不见的恐怖 “的压力测试结束之前，”Haunted “被放置在下班后被烧毁的突触中，硬房子的踢踏声和门控超锯声。在这里，一个恶魔般的合唱团遇到了数字硬核–Breakbeat疯狂的不稳定爆炸，原始拉丁部落的嘲弄性旋律，以及表示远远超过极限的熔化电路的反馈。
In the post-lockdown underground, one notices that tempos are rising alongside global temperatures, with peer-driven scene conformity – having weakened over a long period of isolation – giving way to an anarchic openness.
Cardopusher wholly embraces this new environment, and clubland is eager for a record like Immaculate Poison in kind. Garban notes that EVAR Records allowed him to take his industrial explorations “somewhere else” in a way that “wasn’t possible on any other label.”
One can sympathize, however, with some caution when considering the sheer acceleration captured by the record, as if it is a hyperobject that absorbs, refines, and discards every genre it encounters. Fortunately, too much is just right for Cardopusher, and EVAR understands the imminent convergence of the future and the present that Immaculate Poison captures so well. When a prism spins fast enough, the refraction of the many will create a holographic whole.
在后封锁时代的地下音乐中，人们注意到节奏与全球温度一起上升，同行驱动的场景一致性–在长期的隔离中被削弱–让位于无政府的开放。 Cardopusher完全接受了这个新的环境，而俱乐部领域也渴望着一张像《无暇之毒》这样的唱片。 Garban指出，EVAR唱片公司允许他把他的工业探索带到 “别的地方”，这种方式 “在任何其他厂牌上都不可能”。然而，当考虑到这张唱片所捕捉到的纯粹的加速度时，人们可以同情一些谨慎，就像它是一个吸收、提炼和丢弃它所遇到的每一种类型的超物体。幸运的是，对于Cardopusher来说，太多的东西是恰到好处的，EVAR理解无暇之毒所捕捉到的未来和现在的即将融合的情况。当一个棱镜旋转得足够快时，许多人的折射将形成一个全息的整体。
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