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Album Review: Audio Pervert – Dark Robot

The Delhi electronica artist’s 20 track album deconstructs a massive chunk of the electronic landscape

Tej S. Haldule Jul 29, 2013
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Samrat Bharadwaj aka Audio Pervert. Photo: Rana Ghose

Samrat Bharadwaj aka Audio Pervert. Photo: Rana Ghose

 [easyreview cat1title = “Dark Robot” cat1rating = 3.5] 

Dark Robot

Dark Robot

Years ago, electronic music in Delhi began hurtling toward the alternative. Hundreds threaded in and out of the scene with alarming frequency, most as unmemorable as they were tiring.

Late last decade, Teddy Boy Kill, a collaboration originally between men who called themselves Toymob and Audio Pervert, rose against these Beatport darlings. Layering Audio Pervert’s snappy, off-focus sounds with Toymob’s anti-societal words (“FuckZION” condemns the control of the world’s money by a power-hungry few, “Busy!Pimp” jabs at society’s disapproval of people who aren’t constantly productive), TBK was genuinely fresh and, over time, has begun to stand for quality fucked-up music to dance to.

“We are not an asian chill out bongo tabla bonhomy,” their Soundcloud assures you. “FUCK THE BOURGEOIS. FUCK BOLLYWOOD & FUCK THOSE JOCKS WITH AMBITION.”

It’s important to understand this background, because it makes Audio Pervert’s new solo album, Dark Robot, all the more drastic a departure.

At 90 minutes, Dark Robot is the deconstruction of a massive chunk of the electronic landscape as attempted by Audio Pervert with help from his impressive roster of guest artists. Like most large albums are wont to, it falls slack in places. The first track “Lettuce Pray” especially feels like it’s been drawn out well beyond the exhaustion of its ideas. What is missed most, though, is the edgy rebellion and energy Toymob brought to the mix. His collaboration on the record, “Change The Flow,” is one of the early shiners that surprisingly sounds very little like the TBK of the recent past.

Also See  Hear Shillong Chamber Choir’s Multilingual Holiday Album ‘Come Home Christmas’

Working through some of the larger tracks can be tiresome on first listen. There’s plenty here that rewards patience – Audio Pervert’s personal work is best displayed over the percussive “Salad Fingers.”  His remix of Sulk Station, “UheldMe(DownLift),” is just plain beautiful.

Obviously, some of his collaborations unravel better than others. “Friday” with Sarabjit Chadda (ex-menwhopause) is instantly likable, with measured vocals laid taut over relaxed beats. A guitar-driven “Animal” is laced tightly through by the talented Donn Bhat. And if you thought you heard Ke$ha manipulated into singing about glory holes, you may be right ”“ “Dicks Have Come Around” twists “Take It Off” like you’ve never heard before into a very enjoyable raunchtime tune. In Audio Pervert’s own words, it’s ”˜just perverted.’ “Mili” gets better with each listen and Saba Azad’s guest vocals  are pick-of-the-lot at blending in, but Dark Robot’s essential is “Vampires Weak End,” a coiled rush at intelligently crafted and downright fun club music. Why it’s been buried far into the deep end we may never find out.

Tightening some sagging skin could have meant a stand-out great. But for what it is, Dark Robot is a solid release, and certainly good enough to warrant repeat listening to find your favorites.

Also See  Hear Noah Ferrari’s Experimental New Album ‘Wonderful Agony’

Key Tracks:  “Change The Flow,” “UheldMe(Downlift),” “Friday,” “Vampires Weak End”

Download few tracks from Dark Robot here. 

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