Babe, Terror | Fadechase Marathon
Glue Moon Records (CS/DL)
Review by Giuseppe Pisano
The Brazilian producer Claudio Szynkier, known as Babe, Terror strikes back once more with a very laidback yet solid release for the American label Glue Moon Records: Fadechase Marathon. The album’s very beginning, Hazelon, carefully builds the idea of a modern-times urban ritualistic experience and it does it very directly, without any fuss. Bass and snare pulled out the mix, a good preamble to the colourful perdition we are about to experience.
From there on, Fadechase Marathon sounds like one of those poorly planned nights out in a city you don’t really know, one that provides the best and most confused memories. With a strong degree of seeming randomness we are carried along the way of unexpected behaviours and blurry environments. Just like in real life, nothing is really under control, nothing totally predictable. Crooked rhythms and loops take us on an urban journey as we trip and stumble in our drunk walk. Things, sounds and words jump in and out of our reach, sometimes faring as background elements, some other appearing right on our face, and our perception of depth and space gets twisted. These flashing gestures leave trails behind them that fade as slow as our reaction time to them.
The beats are dry and basic, with a retro colour and simple percussive elements. The way they are placed, always so close, succeed in properly punching on our body. The contrast they create with the other music elements that float around them still creates a strong balance that got me thinking back to the Raw Cut series from Motor City Drum Ensemble. Not everything sounds so pushy though, tracks like Amagansset and Engine Superbolt offer some relief, the piano gently takes us into a closed secure place, a shelter. This gives us time to rest and take a breath before being blasted out again.
The artwork perfectly resembles the sound content of the album, noisy and chaotic landscapes in which events and people blend and mingle in an apparent unorganized way. The crowded space in which we roam is completely washed with neon lights and the shadows of the night transform faces around us. The last evasive traces of humanity we hear are the slow evolving unrecognizable voices mashing around us.
Altogether we can say that Fadechase Marathon is a nice example of good ways to include retro aesthetics in beats. Vaporwave elements appear but are not treated as archaeological artifacts to be displayed in a digital era museum and the lo-fi components are not there as an allegory for technology and the hyper-speed modernism.