Thursday, December 22nd, 2016

Blanck Mass – D7-D5

It’s been a very long and very bad year, so let’s end with a very long and very good song. See y’all in 2017!


Ian Mathers: Coming on the heels of his amazing noise-goes-to-the-club record Dumb Flesh, it’s not surprising that Benjamin Power’s newest work as Blanck Mass has such a relentless beat, one that Power surrounds with lushly industrialized walls of noise, then adding a vocal-esque element chopped past the point of inscrutability and scrambled into something queasily compelling, and finally briefly soaring into the abyss on suitably synthetic orchestra sounds. You can definitely dance to it, but it’s just as fitting an accompaniment to high-speed transit, competitive-level brooding, or indeed what the gentlemen in the accompanying video is doing. 

Alfred Soto: Its momentum, stutters, scratches, and orchestral pretensions are not cool now, thank god. Rather than an oatmeal-voiced white man with the shakes at the mike, “D7-D5” expresses itself as pure aural sensation. 

Iain Mew: For an eight minute electro rock thing, this is weirdly… low-key? Genteel? Close to providing an answer to the unasked question “what if Kasabian were interesting but not, you know, too interesting?” It takes me on a journey and I don’t feel cheated out of my time at all, it just doesn’t achieve much for me past that.

Edward Okulicz: Perfect music for driving at 100 miles an hour through a sort of post apocalyptic wasteland. Sadly, there’s a higher chance that we will have all-out civilisation destroying war than my ever getting my driver’s licence, but at least I can be glad for this song’s hypnotic and menacing throb.

Will Adams: It takes its sweet time laying out its tricks, from the bass slowly filtering from growl to gurgle, the frenetic vocal chops, and the dramatic string melody that acts as a chorus of sorts. A radio edit might earn more repeat plays from me, but there’s plenty good in “D7-D5.”

Ramzi Awn: Blanck Mass’ Garbage-inspired chopped-up Victoria’s Secret ad is worth the eight minutes. It trembles and builds aggressively with ominous chords and quality sampling. For as loud as it is, “D7-D5” is pretty subtle.

Brad Shoup: I’m on the back patio of my neighborhood coffeeshop. Facing away from the door, I can see the man-high chainlink, with barbed wire looping largely atop. There’s a black mesh over me, and an electric pole staring down; the mesh is splitting the light into a saltire, like the flag of the Confederacy. It is, apparently, the first day of winter. It’s dark when I leave work, it’s dark when my son cries in the morning. It was dark when I crossed the parking lot here, turning to watch two cars weave and honk because one cut the other off. For a second, I was sure someone would shoot. That’s how this starts: muffled bangs and roars, like a massacre caught on a camcorder. But the real horror is the constant dark progress: the tide that’s only comprehensible once you’ve been swallowed. Voices rise up; they break forth and collide, they cancel each other without outside help. I spent a whole week holding our son, wandering from room to room. I talked to my sister about the flood. I listened to this song, focusing on how the ghastly synths shriek even louder in the final minute, the warning of a judgment passed. The title is a play on Manuel Göttsching’s seminal album E2-E4, itself named for a popular opening move in chess. D7 to D5, if my research is right, would be another opener: the Queen’s Gambit, a famous start with the short-term possibility of a pawn’s sacrifice. But it’s impossible. D7 is a black position, and white moves first. So where does that leave this? How far could this bleakness stretch? Is it real? Is any of this?

Reader average: [10] (1 vote)

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2 Responses to “Blanck Mass – D7-D5”

  1. Never thought a song like this would get such a high rating but I love that!!! When are fuck buttons coming back tho :/

  2. I feel like this year has been extremely high-scoring on the Jukebox. Can anyone confirm?