Prison Religion is experts in stirring. The Virginia-based Jeets of Warren Jones and Parker Black have spent The last few years crushing themes of sound, Music, and electronics to pieces. Though they have every once in a while interacted with created music forms, the most creepy scenes in their collection allowing their songs to cycle into erratic collections of loud abstractions and lumpy melodics. But when they stop screaming, the songs are frightening.
Hard Industrial B. O. P, their latest venture on Lee Gamble’s UIQ brand, presses Prison Religion into this more uncharted territory, fontoynont the fragile sound and teeth-rattling sound editing that has always been a disturbing undertone in their song. On some of the duo’s oldest jobs and, 2015 Cage W Mirrored Bars, their woozy meditations of purist and music occupied the same world that created noise-pop experimenters Black Dresses and New York boundary-pushers like Kill Alters or Machine Girl. Hard Industrial B. O. P. It Feels like the next step in the development of their noise, pressing them into further seasickness and cochlea-shredding disruption.
Lineup “Bite” it’s clear they’re slipping into the exterior world of online experimentation. It starts with an disturbing synth copter that sounds like a clip of a Tangerine Dream film music playing from a pay-phone recipient but only receives extra threatening from there, heaping on influenced muttering, remote crying, and penetrating, Orchestral Materials. Song “Im Not Good” “Banshee;, Pale Fire, Landing” clamp into readable melodic (but if you listen carefully you might create a song or two), so even these scenes are enormous and unbelievable, scratched with bristly microelectronic and eerie robots. Helped partially by colalagist maker S280F (aka Lilith Treglia), The Black and white concoction feels murkier and even more hair-raising than most of their earlier collection. Industrial Hardware. O. P. Deals with tiny sanctuary.
All of this discord is caused by configuration. Prison Religion have said that they fathom the history as a threat similar to the hard bop that troubled the music of the 1950s. Their song shows an active desire to overhaul created applications. While past data try to cross the diverse planets of innovative music, Punk genre, and many other confrontational applications, songs like this “Survival, Leave me alone” they’re sharply extra jagged and shattering than any they’ve launched so far. Now, Prison Religion voice has to be primarily concerned in allowing out all the frustration they’ve remained keeping in, without fretting about anything like an enjoyable song. Anything so horrible is hard to ignore, yeah.
Jones and Black have now and then contacted their song — big as it is — with a sense of humor. They titled a 2018 update O FUCC IM ON THE WRONG PLANET and called it a song after Nibiru, a fantasy planet that some crackpots think is on a catastrophic path to kill Earth. Hard Industrial B . O. P. Is much more plainly bleak, graveyard, and, thereafter, impactful. They have said that They experienced that They were duty-bound to make a record that represented the tumultuous time in the world that birthed it. “In this era, how can we look to space?” they compose, lamenting the seemingly inevitable injustice underlying modern life. The answer, they easily shout, aspiring a celestial yell at an emptied world.
