![]() ![]() Human After All made mostly compelling use of vocal formant FM basses and vocoder modulation to create the irony in the title, being their most robotic but sonically engaging departure from style, even if it came with the sacrifice of structure and musical quality in the name of robotic repetition. There's more to this failure however, and that's the key difference between the two cases here - the sound design can't save it. What might impress the most is the purism of his strictly electronic fugues: “Hyperion” is pure flickering analogue dread, “Reset” offers a gothic twist on trip-hop, and “Humanity Gone” closes the album with nearly 11 minutes of funereal dirge, channelling ’70s synth prog through the austerity of 21st-century minimalism at its most stylish.An infuriating failure to stick the landing that reminds me of the equally underwhelming/divisive (depending on who you ask) Human After All An infuriating failure to stick the landing that reminds me of the equally underwhelming/divisive (depending on who you ask) Human After All by fellow French dance duo Daft Punk it too is on the cusp of greatness through conceptual integrity, but the music fails it. Even HAIM turn up, on “So Bad”, bringing a ray of California sunshine to Gesaffelstein’s cavernous, claustrophobic sound. No stranger to pop royalty, he corrals The Weeknd for “Lost in the Fire”, a velvety expanse of darkwave R&B, and he recruits Pharrell for “Blast Off”, a throwback electro-funk epic that’s just begging for soundtrack placement. ![]() ![]() ![]() Six years after the French producer brought EBM to Kanye’s “Black Skinhead”, he returns with an even broader sound than the one he displayed on his 2013 debut album, Aleph. Gesaffelstein came to fame with a darkly glamorous spin on techno: the suave international man of mystery to Daft Punk’s chrome disco-bots. ![]()
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