Weird house and techno from New York.
But the warmth and immediacy of Democide, Hampton's third LP as DJ Spider, leap out from the start. On the opening track, "Kill Your TV," a wobbling synth melody is prominent. But underneath there are some typically mucky DJ Spider effects. The melodious lead lifts the mood, but the shot of weirdness remains. On tracks like "Warhead" and "Enemy Of The State," Hampton demonstrates a bold musical touch—the soaring jazz-funk keys on "Enemy Of The State," for example, evoke Glenn Underground. The synths are more ambiguous elsewhere. In "Photon Sex Bot," the pad harmony sits beneath a tangle of squiggling threads in the midrange, the effect sounding like Hampton was drumming on taut steel cables. A similar effect is heard on "Doomsday Counsel," where harmonious tones are obscured by a thick curtain of noise.
Hampton's unique stamp is strongest when he goes even further out. "The Vector Symbology" slaps, but it's definitely not DJ-friendly. The wobbling flex of the mutant acid pulse sits awkwardly against an already fractured beat. If the album closer, "Necro Nebula," is more linear in execution, its industrial beat is still nightmarish in spirit. "1984" is the album's most direct and effective dance floor track. Under the clamour of military samples, Hampton spells out a grim vision for how peak-time material would sound in his hands. It's consistent with his previous work, but proudly left of the traditional "dark techno" centre. The sound is unquestionably Hampton's own.