Thrilling techno and hardcore cuts from a rising producer.
Sadomodernism's title refers to a theory about the work of directors like Lars Von Trier ––films that torture and terrorise their audience. Yves Tumor and Pharmakon would be suitable musical equivalents as confrontational artist who uses live performances to shock us out of our complacent consumer roles. These sadomodernistic tenets really start to kick in throughout the LP's second half.
Hardcore has been going through an exciting period of rejuvenation in recent years, with most of the radical stuff emerging from outside of its Dutch crucible. Osheyack is another of hardcore's re-inventors, as tracks like "Split," "Untitled 6" and "Bordertown" make clear. These amphetamine rave bombs all combine hardcore's defining kick and tempo with volatile polyrhythms and the clanging of metals in what feels like the formation a distinct sonic signature.
Osheyack doesn't just play with hardcore. In his trio of tunes with Nahash, industrial techno and ballroom are just some of the threads hammered into a club sound that's barbarous but incredibly danceable. Is the LP a piece of sadomodernist music, then? It's certainly not short of intense, grating moments, but as a terrorising record it fails. Bangers like these won't have the crowd screaming in pain so much as screaming for more.