Gremlens – Germatown
Following a skew of poor releases, Gremlens released Germatown on July 1st, 2022. While still over relying on samples, the album was more focused and clearer on its vision. Unlike notable noise artist in the scenes who utilise their noise in menacing or tension-escalating manners, such as Mephisto Waltz, Gremlens instead slaps them over other samples and calls it a day. While the sound design is admirable, the songwriting is not. Thankfully Germatown attempts to form its own identity, but it still cannot escape the burden of its format.
Baby By Busta / 18 Years is an obnoxious use of Kanye West’s Gold Digger; it’s the same song with an unpleasant amount of noise added. The song is an insult to Gremlens’ fanbase; the artist did the exact thing with Who's Got You? On Demons Ripped My Flesh. Tumbling Down repeats the formula with Evangelion’s popular track, though its noise is quite notable. It’s a shame the artist relies on samples to flow the album; when it doesn’t, it’s quite good. Digging Up Holes’ is fantastic; harkening back to Royal Trux with a delightful, absurd amount of noise. Big Rock Gremlens Mountain is quite similar; its utilisation of synthetics and guitars is brilliantly paired. Funky Dog Star Man lacks progression, though its harrowing walls of sound are both sadistic and delightful. Waiting for the Moon to Drop has even less progression, and proves that without samples, Gremlens doesn’t know how to develop a track. Regardless, the remaining album does enough cool noise manipulation to recommend a listen-through; just skip the first few tracks.
If only Gremlens was able to separate his noise from the pop songs underlaying them. As the album progresses, it develops a unique identity, and becomes more notable. Here’s hoping the artist can take note in future.
Above Average
Listen to it here:
Gremlens – Germatown
