Dissonance – Damage: 1st Assault EP

Posted: 9 February 2021 in Singles and EPs
Tags: , , , , , , ,

28th January 2021

James Wells

This seven-tracker follows the same format as previous EP releases from the past couple of years, and features Dissonance’s collaborative duel with Melodywhore, ‘Damage: 1st Assault’, augmented with six remixes.

The remix package very much has its roots in the field of dance, from whence the work of Cat Hall – aka Dissonance – has emerged – although, as her bio notes, it ‘incorporates elements from industrial, pop, and alternative rock’ which has seen the project ‘compared to bands like Nine Inch Nails, Curve, This Mortal Coil, and Information Society.’

Coming together with Melodywhore has facilitated the exploration of the darker, harder-edged leanings of the Dissonance sonic palette, which places ‘Damage: 1st Assault’ very firmly in NIN territory, with an erratic stop-start beat dominated by a whipcrack snare driving a bubbling synth bass, which in turn underpins some dark atmospherics. It lands somewhere between Pretty Hate Machine and the electrosleaze of ‘Closer to God’, and it’s solid.

The remixes – being remixes from a selection of guests – accentuate different features, with Joe Haze’s CF2 remix pumping up the bass and beats to create a driving, dense backdrop to the backed-off, breathy vocal (which also highlights the Curve comparison), while the more stripped-back Machines with Human Skin Corrupted remix comes on more like the original Pigface recording of ‘Suck’, but with soulful backing vocals that owe more to Depeche Mode.

Steven Olaf’s remix is dirty but also beholden to 80s robotix synth, and so it goes. The REVillusion Revision Remix is a spaced-out stomper that goes for the slowed-down anthemic vibe.

The one thing that’s conspicuous is how the remixes stay fairly true to the original form and structure: there isn’t one reworking that takes the song somewhere entirely different, and there’s nothing as daring or brain-mangling as, say, JG Thirlwell’s radical remixes of Reznor’s cuts, and there’s nothing wrong with that by any means – it all just feels a little safe and reverent. And without any of the versions doing anything particularly radical, it does get a shade monotonous listening to the remixes back-to-back.

Still, it’s a decent enough tune, and if you’re prone to playing songs on a loop, this will save you hitting repeat.

AA

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