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  • Writer's pictureSylvain Lupari

DREAM INVASION: 6.6.36 (2021)

Updated: Nov 13, 2021

At full volume, 6.6.36 is a killer for the eardrums...and the neighbors!

1 I can see the atoms move 6:00

2 So far gone but not gone far 6:00

3 We feel nothing, do we? 6:00

4 We have to kill this machine before it kills us 6:00

5 Too much is never enough 6:00

6 The world is spinning and so am I 6:00

7 Bonus track 4:30

(CD/DDL 40:30) (V.F.)

(Industrial Berlin School)

Dream Invasion comes from the left thigh of Nothing but Noise. This is the project of Erwin Jadot who was a partner of Daniel B. and Dirk Bergen for the album Not Bleeding Red in 2012, as well as in the Front 242 adventure. The Belgian musician had previously attempted a breakthrough in the world of EM in 2005 with Inspiration For a Daydreaming Nation, a Dark Ambient album with a Dub and industrial touch. 6.6.36 follows in the footsteps of 7.7.49 by proposing a heavy and vibrating EM on 6 structures of 6 minutes with two rhythmic visions. Most of the structures offer a minimalist start where a plethora of electronic effects and underlying rhythms are grafted on to stir the listener into ambiences flirting with psybient. The purchase of the album gives us the right to an additional track that fits very well in the ardor of 6.6.36.

In an opening full of beeps and other interferences, yes, I can see the atoms move! The lack of finish of the synth layers draws the ears to a tribal rhythm hammered by sequenced percussions under a sky streaked with sound graffiti. It's heavy and catchy until 15 seconds after the 2nd minute when a passage of psybient elements piques the curiosity of our ears for a big minute. After that, I can see the atoms move. And they run at a dizzying speed, making sudden changes of direction to resume this frantic race of the heavy and powerful sequencer which solidifies the two speeds of this first track which messes hairs of. Heavy, slow, resonant and efficient, So far gone but not gone far warms up the ambiences like a chamber orchestra adjusts its instruments. An opening that lasts about 60 seconds before the sequencer waddles its keys under a sky smeared with streaks and twisted reverb effects. The rhythm is heavy and resonates under the big keys of the sequencer that a synth covers with its benevolent layers. The track maintains this static rhythm with an elastic effect on the jumping keys that give that moonwalk gait. With the sequencer still vibrating of fat keys, We feel nothing, do we? resonates in a kind of bouncy hip-hop under tender chloroform layers and cosmic sound effects. Still following the same approach, the rhythm changes the nature of its jumps, as well as its colors and finally the velocity, especially in the last line which is crossed by a beautiful piano line.

Elements of distortion and fierce percussions force the static rhythm of We have to kill this machine before it kills us. There is a nice reverberating effect in this boisterous approach that is filled with mismatched sonic filaments wriggling just above this messy rhythmic structure. These filaments bellow like lines of metal being corroded under intense heat, bringing the rhythm into a metallurgical zone. Afterwards, the track changes its rhythmic personality with a structure of convulsive rebounds, of wild rushes in an industrial ambience that is always transformed little by little under the caresses of the synthesizer with a sibylline perfume. 6.6.36 is very energetic since its first minute, so it is with astonishment that Too much is never enough enters our ears with a movement as ethereal as the track Crystal Lake that we can find in a classic album of Klaus Schulze, Mirage. A whole first part that erodes under the vibrations of another vision of the sequencer that lets out fat and resonant keys. They don't even jump! Instead they crash into a rhythmless structure that finally ends like its introduction. We dreamed all the same for almost 3 minutes. You have the title! You also have the structure of The world is spinning and so am I which jumps in a hip-hop vision under solos of a synth which takes itself for a guitar. Faster-than-light jumping arpeggios replace these solos on two lines that spin exactly in the direction of the track. The sequencer whips its running keys, one leg shorter than the other, in the second part of The world is spinning and so am I, which also receives the same privileges from the synthesizer and another line jumping under strobe-like shivering. Yes, there is movement by the square inch in this fascinating Dream Invasion album. In a fusion between So far gone but not gone far and We have to kill this machine before it kills us, Bonus Track is very representative of 6.6.36 and should be placed at the same address. A good bonus track that comes with the purchase of the album on the Bandcamp page of db2fluctuation.

At full volume, 6.6.36 is a killer for the eardrums! I liked this vision of Berlin School ransacked in Industrial. I especially liked the removable structures of the sequencer which transports us to the land of the detestable for our neighbors... But one must spoil oneself, no!?

Sylvain Lupari (November 13th, 2021) *****

Available at db2fluctuation Bandcamp

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