Published by Davide Pappalardo on April 21, 2018
Hailing from Grenoble, France, Crystal Geometry (Maxime F. Sabre) is one of the many new names in the dark techno scene mixing EBM, Techno, electro-industrial, dark ambient into an eerie and militant kind of electronic music aimed to the dancefloor, but not devoid of its own merit when listened at home. After many self-released digital EPs and an appearance with the track Hammer on the flag on both the SELF-AWARE II compilation (published by SΛRIN‘s label X-IMG) and the LÄRM UND STAHL compilation (Oráculo Records), the artist is ready for his first proper album called Terminus, a cassette licensed by the young German label Area Z, made of nine engaging tracks, some new, some already shown in his previous efforts.
The style is obsessive, militant in its steady rhythms and endorsed by abrasive synth sounds and surrounded by dystopic atmospheres. This is kind of sound that is rising very fast in the world of underground techno scene, calling up to arms both the ravers searching for hard sounds to dance to, both the rivetheads attracted by the resurgence of old-school EBM and industrial motifs in the world of electronic music. Sweaty and grim dancefloors, apocalyptic visions and abandoned warehouses are the images coming on one’s mind while following the flux of tracks, which display an interesting array of variations on the theme without ever straying too much from the template.
Actress beating is a pounding affair enriched by dark electro-industrial soundscapes and a rhythm reminding us of ViVisectVI-era Skinny Puppy, soon developing a brooding and cinematic atmosphere. The track displays a sound texture in which minimal elements and hard, hitting beats are the backbone of a throbbing and eerie structure. Collective Recovery is more of a club track, an acid trip with snares and fast-paced drum machines, but the crushing nature of Crystal Geometry is not forgotten even during the most grooving moments of the number. Here names like SΛRIN, the darkest moments of early techno-phase Blush Response, and the aufnahme+wiedergabe family are recalled, but the production is somewhat less minimal and “fuller”, using many sounds at time.
Prophecy starts as a mid-90’s Front Line Assembly track, thanks to diaphanous effects and a strong bass-line soon completed by steady drums and evocative hooks. There are many change in tempo, giving to the track an enthralling sound narrative based on a competent songwriting; melancholic effects and almost cyberpunk soundscapes have their say in the developing of this great track too. Riot tool closes the album with a pounding and obsessive drum machine aiming to make the body move, another EBM/Techno number with minimal and abrasive synth sounds entwined with club friendly rhythms.
Terminus is not a revolution, but a confirmation of a genre which in the last three years has gradually risen in the underground scene. If many new efforts are derivative and not very forward thinking, the same thing can’t be said for Crystal Geometry. Sure, you can find here almost all the tropes of the darker side of EBM infused techno, but there is a certain variety in the nature of the tracks, and a strong sense of songwriting preventing the whole album from becoming a mere collection of cut-paste deja vus. So, if you are looking for new names in this field of electronic dance music, have a listen to this album. The experience will be probably rewarding.
Label: Area Z
Rating: 7,5