Phuture Doom's Self Titled LP - Review - New Electronic Music

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Phuture Doom's Self Titled LP - Review - New Electronic Music

Not too much is known about Phuture Doom. They are a new electronic music trio from Detroit with a sound that can best be described as a combination of industrial, hardstyle, techno and noise.

They’ve kept a shroud over their identity for unknown reasons, adding to the mystique. Their previous releases have been supported by have been creepy black and white video renditions of underground music, abductions, and the occult. Their debut LP, self-titled simply as Phuture Doom is out now via Skrillex’s OWSLA Records.

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Their earlier EP, Nightfall, was reminiscent of 90s Prodigy, with relentless drums, stabbing electro synths, and precise vocal drops. Their sound worked well for extended play, but at first listen, it was hard to imagine it having enough staying power to fuel an entire album. At a certain point, electronic music like this can get just too noisy.

However, Phuture Doom is able to pull it off. The ten-track album incorporates enough sonic variance it remains uniquely unpredictable. The hardstyle percussive attacks are broken up with smoothed out party rock raps, monastic chanting, left field vocals, and fluid drum & bass styled snare rolls.

The sixth track, “Doom Terror Corps” couldn’t come with better placement, with The Ultimate MC leading the charge of the album’s final stretch. Atmospheric synths and organs play a strong supporting role until the “each time that darkness falls” vocal sample comes in and takes over. The album is now really going somewhere (probably a dark and cold basement located in some condemned house in Detroit).

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“Rites” the seventh track slows it down, relying heavily on rolling drum sequences and visceral religious hymn. It leads into “Pardise Lost” which, with a strong performance by Manchester based grime rapper Murkage, could be the stand out track of the album.

As dark and noisy as their album is, it’s also a party. Phuture Doom keeps the energy up, no matter how intense and twisted their sound can get. The industrial vibes are split up just enough by left field vocals and breaks that there is a simultaneous flow of cohesion and diversity.

If you’re looking for an EDM crossover act, you’ll have to look further. There is no beautiful life of freedom or happy, fluffy clouds that part to reveal bright rainbows here. This album reminds you how bad life can get- sometimes you need to forget about it at a dark warehouse underground.

And that’s perfectly fine.

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