industrial.org
relational overkill
Lining up comparisons again culls out some unexpected neighbours, mainly due to the developmental approach as opposed to their precise compositional decisions. The scale of things places the majority of time markers about 9 minutes apart and the focus on repetition instantly conjurs up memories of late nights spent blaring Skullflower and GOD in a darkened room. The actual sound structure is somewhat like a recently refurbished Cable Regime except with infinitely less guitar noodling and a more sustainable approach to the aural environment's construction. The tracks vary just enough to avoid monotony but are stable enough in their current state that they can act as a foundation for more immediate concerns such as not driving into a highway divider. Not totally background, just more of a supportive role than as an in yer face extrovert.
The second track "OBMUTECRE" for example is an anthemic big beat kinda dance number which could work just as well as house demo motivational music as it would for a vehicular combat game soundtrack. Arm swinging, leg gyrating but leaving a clear view of your sourroudings. Some material here such as the third track is less beat driven, using sample repetition to build up consistent form but having enough momentum to stop any fidgetting. Tempos are mostly pretty mid which also lends somewhat to the fore-mentioned band comparisons.
My only main concern here is the production approach. I'd swear that the entirety of the final recording has been processed through the exact same Sound Forge distortion preset, a mid to high range grit which brings up some nice harmonics but steals a lot of oomph overall. The ear gets tired of it, the urge to lean over and adjust the tone knobs a bit overwhelming by the end of the disc. The material here would have resulted in a much larger impact if key aspects were left intact or at least effected individually. It's not terrible, don't miscontrue this as total damnation, I just wish that bass swells were allowed to demolish with full velocity and that when called for the distortion could overwhelm. It's in the sameness of it all that "Cross Contamination" underwhelms its possible potential.
Still, there is a despondent emotive quality which leaves time for reflection, perfect for long night walks home in rainy west coast weather. Coding music, acts requiring concentration music but definitely not elevator music. Overall an odd choice for D-Trash's second commercially pressed CD (I would have chosen the excellent Stunt Rock disc) but worth a gander if you need some backing for your daily activities.
