Though DETERRITORIALIZED ZONE was the first album by mysterious Tampa project précède l’essence that I discovered, fans who have been listening to the artist prior to its release might be a bit taken aback by its drastically new style. Whereas previous documents were experiments in various electronic dance music subgenres and other more generally palatable areas, DETERRITORIALIZED ZONE is an all-out harsh noise assault, a deafening bitcrushed maelstrom of disparate sound materials mangled into the most punishing auditory forms imaginable. For an ostensibly digitally-generated album it has all of the visceral density and tactile crunch as the meatiest of analog pedal sets, adopting a hyperactive dynamic approach that consistently engages. The tracks dive and whiplash between lushly-panned stereo destruction and brief, unpredictable stretches of mono error tones, feedback squalls, and electronic squelch, with track two presenting some of the most enthralling textural hodgepodges I’ve ever heard in harsh noise, assimilating everything from looping, fractured samples to what sounds like dead air from an FM radio. précède l’essence is clearly a newcomer to this type of music, but if on their first attempt their ideas and techniques are this refined, I hotly anticipate future works.
Noise Not Music 