"Their sound is the sound of alienation. Or, at least, outsiderdom.
It's dark and machinistic and it reeks of fear and disaffection and frustration.
Of dirt. Of grime. Of rot and decay. Of things that need DisinVecting. The
pick of the septet is the opener Blaque Meat, a slow and hefty two-stepper
cast in iron and scorched by jets of superheated bass. Black like a powercut,
through circumstance not calculation, The Egg plant recites in deep Brummie
while distant engineers scorch and solder."
(Jimmy Possession, Robots
+ Electronic Brains)
"DisinVectant are very, very serious about what they do. A great release of harsh, atmospheric compositions that will make any headphone recluse revel in sheer listening joy.
Spoken verse and a multitude of samples layered with minimalistic synths, forming the waves above the vast darkness of the percussion that exhibits its presence with an almost excruciating heaviness.
...a delivery that's screaming epic, all the while retaining a bleak grittiness that marks a real soundtrack for a coming wasteland. "
(George Mouratidis, Connexion
Bizarre)
"...loving the music, the regional accent of the Egg Plant works really
well, makes it different. It's very dark, sounds like a city eating itself
in slow motion while a thousand trains go rusty at double speed."
(Vincent Drummond).
"A curious beast...a dark CD indeed and oh so tres experimental. Coil
sprang to mind on the first track...chocca with samples and electronics, this
is a dark dark beastie...but eminently listenable."
(Fat Barry, Norman
Records)
"This British album merges the sound of the eighties with the trends
of the new millenium. And between them still, Beethoven transmits through
a cascade of noise...
Combining the industrial background of their hometown with everything
from noise and rhythm up to aggression and lyrics. To name only some influences:
Anton LaVey, the Kabbalah, Negativland, Tool, electricity, Muddy Waters, Throbbing
Gristle and the urban life.
DisinVectant begin where industrial and EBM stopped
years ago. Breakbeats and samples are treated in exactly the same way as Beethoven,
ending in a cacophonous 'Fur Elise'. Reminding us of Coil, of
the brutal beats of Scorn or The Bug.
All in all an extremely interesting album, which falls stylistically into
several categories...who is open for a wild style-mix, this longplayer is
urgently put to their hearts and ears."
(Walter Robotka, evolver)
"...it's a bit like watching telly on K. David Lynch. I don't like listening
to it...the drums and bass roll over themselves like a rolling
monolith or the tracks of a JCB...A truly uncomfortable and painful experience. "
(Jon Primate, Chaotic City)
"Regional accent, bullsh*t! It's not about the accent, it's about making
words sound different with an emphasis bringing up a new and special meaning..."
(Maxx, Xanurtsian Nights
(Resonance FM))
"an edgy, shocking and psychotic ride revealing a masterfully plotted course
through the dark recesses of progressive music" (Emily Forster)
"...a stunning compilation, showcasing the unique talents of Three
Pin Recordings. Much of the music here defies easy categorisation. This means
the range of the material is hugely diverse, from the bizarre monologues of
CJ Pizarro to Jliat’s hypnotic, spaced out treatment of the Beatles’ ‘Strawberry
Fields’. Almost every track has something unusual to offer, highlights being
Dragon or Emperor’s ‘Never Know What To Say’, which is like an insanely gibbering
version of DJ Shadow/Cut Chemist’s ‘Brainfreeze’ work, Sara Ayer’s lovely
Blade Runner-esque soundscape, and Dead Western’s wonderful pitch-shifted
crooning. Anyone with an interest in the outer realms of sonic experimentation
should pick this up immediately! (5/5 Zero
Tolerance)
"...eclectic music made by mad, bad deranged weirdos. On 'Electricity
Is Your Friend' there's lo-fi twisted rifferama with psychotic gibbering from
Dragon or Emperor (Buttholes meets Jesus Lizard), DisinVectant revise some
mood music left from a Terminator-esque film score with drunken drum loops
& evil sample manipulation. The audio equivalent
of an episode of Jam...disturbing ambient nightmares, Jliat sets his
digital rottweiler on John 'dead' Lennon's old crumbly band. Some
way pretty stuff on here. It's like a sick old man having a fit at a jumble
sale then getting up & walking away cured. 16
tracks of music that should be in a padded cell. Go there!" (Brian, Norman
Records)
"...pleasingly fractured. Dark often, different always...
Dragon Or Emperor never know what to say. They sure know what to play. Fuzzed-out
bottom-heavy iron-clan stoner-rock, over-hyphenated and crazily-vocalled.
In the gaps between the riffs the dragon, or perhaps the emperor, surely on
a mixture of helium, nitrous oxide and something seriously hallucinogenic,
tries to get the words out. Occasionally, he manages to do this. More often
he sounds like an out-take from a particularly weird episode of the Goon Show.
And then the riff kicks back in. Full marks.
Revox plays Herbert with snatches of processed voice turned into techno and
overlaid with untreated children saying "I really can't remember"
and "I don't know." For some reason this comes across in a rather
disturbing way.
Jliat destroys Strawberry Fields under a barrage of repetition, a haze of echo
...Entirely disorientating and entirely
apt, the recognisable elements dissolve in front of your ears and you're left
with the ghosts of something that once meant something.
Standing in front of a tractor while having a shave and pouring milk into
a metal churn, John Cake talks too close to the microphone...
Sitcom Future Family and DisinVectant sound like close relatives. We've already
lauded DV in these pages - Brummie dissatisfaction through a veil of alienation
and a hailstorm of beats so grimy they'd need more than Fairy liquid and Ainsley
Harriot's elbow grease to clean them up. Sitcom Future Family take the same
basic framework, but simplify the beats and leave the vocals clean. And sing
now and again. Sounds like something old
school."
Jimmy Possession, Robots+Electronic
Brains
"...those who like surreal and disturbing electronic music, complete
with beefheart/butthole style vocal weirdness should check out “Dark Black
Semen”-CJ Pizzaro, the opening track on “Electricity Is Your Friend”, a quite
startling collection of modern sounds full of strangeness, noise and passion.
Dragon Or Emperor offers no respite, a guitar driven squall that rips out of
the speaker with manic glee the vocalist wrenching his voicebox through impossible
shapes. DisinVectant is the sound of a well-educated locust swarm, Daniel
Padden maintains his quality control on “Cornelius", and Revox create a track
entirely from human voice. Jliat deconstructs “Strawberry Fields” using tape
loops and echoes, and he does it superbly creating a nightmare of rhythmic
noise that will have the average Beatles fan running for their favourite version
of “Help”. A dramatic change of pace is offered by dead western: an apocalyptic
howl at the moon played on acoustic guitar, with a deep resonant voice. Those
of you who like it experimental, darkly humorous and crackling with electricity
will love every minute of this epic album."
Simon Lewis, Terrascope
"...lots of eclectic, experimental weird joy by a huge variety of performers.
Dragon or Emperor do an uncanny impression of The Jesus Lizard if they were
armed only with bass and drums; a stunning track from Revox entirely sculpted
out of interviews with talking heads; Daniel Padden's beautiful solo piano
track; a bizarre deconstruction of a Beatles song by Jliat in homage to Steve
Reich; there's some really weird shit courtesy of CJ Pizarro; a beautifully
haunting voice/synth textural piece by Sara Ayers; some excellent theoretical
TV programme soundtracking by Sitcom Future Family; and a final cherry on
top of this bizarre mess in the form of a hip hop track entitled "Terminally
Ill" by Terms None and his mate The Mole. Class.
Add to all this by throwing in some bizarre spoken-word passages and samples
interspersing the tracks just to disorientate the listener, and you've got
a winningly confusing listen all round. Go now! Go! Buy buy buy if your tastebuds
are whetted. They certainly should be."
David Stockwell, Diskant
"...engaging experimental pop/blues/psych/who-knows- what. Let The Sun
Fall combines atmospheric background sounds, minimal keyboard riffing and
muffled, murmured vocals. Lavonia features acoustic guitar, beats and electronic
weirdness as a backdrop for a song that's both musically and lyrically off-kilter.
The Late Show is less experimental than the other tracks, a stripped-down
form of late 60s-ish psych-rock. Although it's more conventionally song-structured
and guitar-based, there's still a raw, lo-fi quality to the music. The Clown
Breaks is a strange mix of weird piano plink-plonking, meandering backing
singing and spoken lead vocals. Down Crow Road is a warped, experimental take
on blues. Elephant combines blues/psych/rock songwriting with an odd lo-fi
keyboard arrangement. GI Blues For Two is off-kilter blues again, this time
accompanied by chaotic noise guitar. Endeavour is an excellent track with
full band accompaniment. This is very well crafted atmospheric indie music
with ambient/electronic elements. Frank Cougar is an artist with genuinely
original ideas - I hope to hear more from him in future."
Kim Harten, Bliss
Aquamarine
player provided by Wimpy