Review: The Eccentric, High-Voltage Alien Realm Of Davey Harms ‘World War’

Davey Harms | World War | Hausu Mountain Records

Release Date: 21 February, 2020

A vigorous energy permeates the fierce, driven and eclectic works of American producer Davey Harms; a kaleidoscopic adrenaline pulsing within a vivid and dynamic auditory personality. Harms’ prowess when it comes to experimentation has steadily showcased the producer’s dizzying style since the early 2000’s, boldy merging heart-pounding techno with heavy, distorted noise – a unique, hypnotic intensity when it comes to playing with textures.

Harms, also known under his monikers Mincemeat or Tenspeed and World War, embraces a thrilling, rhythmic aggression – striking in each release with raw metallic textures and extraterrestrial synthesizers. In his most recent album release ‘World War’ (attributed to his previous moniker, yet released under his own name), Harms shapes a sound uncompromising and relentless; a focused, unrelenting offering released via Chicago’s Hausu Mountain Records.

Position True‘ radiates a controlled chaos; an effervescent rhythmic dance opens the track – confident rapid strikes race forward in progression, bold and electric. The growling distortion of static noise glitches and cuts, roughly slicing the adrenaline-fuelled percussion with its sharp abrasive claws. The sunken, heavy darkness of a pounding techno beat marches forward with determination, studded with the vocal eclectic beeps of synthesizers, oscillating playfully within the vivid, serrated noise. Layers of textures fashion an atmosphere captivating with its slight dissonance, experimental psychedelia simmering beneath the striking tone; elements of the dramatic distinct and fiery.

The pitch-black darkness of ‘March of the Hoopleheads‘ sees the track unapologetically diving headfirst into a hallucinatory midnight techno underworld; the powerful opening beat rattling bones in an anxious anticipation, pulsing within one’s bloodstream with an exciting, potent aggression. Synthesizer bullets pierce a thick, noisy veil; Harms’ signature playfulness with distortion howls with industrial textures, harsh barbed-wire swiftly kicking into an adrenaline fuelled drill. Alien electronics oscillate wildly, an emphatic boisterous beat palpitating with a strict intensity; a thrilling, focused drum luminous and rough.

Little Brother‘ opens with electric, retro-futuristic waves of pulsing synth bass; reminiscent of 1980’s science-fiction films, an extraterrestrial journey across bizarre, alien worlds – studded with abstract lifeforms and glowing with a hypnotic, obscure lucidity. Jolts of undulating seismic synths roam vibrant, sparse rocky terrains; a steady beat driven in its buoyant animation, a luminous mutant dance. Sparks of eccentric electronic textures and saw-tooth static fluctuate in a psychedelic swirl; a daring, kaleidoscopic crescendo builds gradually, strange signals reckoning and growing closer – increasing in tempo, the percussive drive turbo in tandem with vigorous, distorted synths.

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Rating: 7 / 10

Feature Image: Davey Harms via Twitter