Otto von Schirach
Boombonic Plague EP

Out of this world. Totally out of this world. Totally out of what is most out of this world, the crap of Otto Von Schirach, with "Boombonic Plague," released by Schematic in 2002 following the two monumental "8000 B.C" and "Escalo Frio", does not make us reconsider the fact that we are facing a character whose genius would be an understatement. This EP thus fulfills the promises, proving to be an excellent calling card for what will be the imminent "Chopped Zombie Fungus" series, of which the following 12'' represents the first piece, composed of two other chapters that will follow the same coordinates of demented-digital experimentation.

An EP that couldn't start any better; in fact, the first track, "The Boombonic Plague", is absolutely sensational: a thick and syncopated beat of hip-hop origins - but which, when sped up, takes on typically electro features - is surrounded by a whole series of incredibly intricate rhythms, glitch machine-gun fire, and algebraic polyrhythms based on an assembly of sounds never heard before, a machine rape that, unlike what was heard on the first two albums, now leads to more linear and regular patterns; sick synths between Kraftwerk and Walt Disney, bass frequencies down to the bone (repeatedly recalling our beloved Miami bass), and voices made completely unrecognizable by the DSP massacre complete the picture of what turns out to be a simply monstrous track.

In "Sliced Mucus Farts" a welding of schizoid noises apparently without any sense, waves of futuristic electronic and android flatulence introduce a beat no less brainless, this time aimed at recalling the free scenarios of "8000 B.C"; besides being very high in a hypothetical top of Otto Von Abstract's masterpieces, this piece also proves to be a display of unparalleled technique and precision. Space lasers and arcade sounds accompany the raw and distorted beat of "Invincible Meat Boy", where deviant cartoon riffs stand out, disturbing microchip solos, and odd timings of great impact; it is a delirious piece, and whereas the pieces on side A still sounded reminiscent of the more abstract OVS, side B takes paths not far from what he will do in the future on labels of the caliber of Ipepac and Cock Rock Disco, not exactly known for their seriousness and composure. On the grotesque "San Lazaro" a sonic-epileptic crisis without metrics or structures is pervaded by a decomposed shape of unstable and innovative sounds practically everywhere, among which even a kind of pseudo-sitar appears to play pseudo-sacred-religious riffs actually never so crazy and nonsense.

Probably not the best in the series, but indisputably a perfect EP from every perspective.