After teasing the album with its three compelling singles, Vexillary finally unleashes his third full-length effort, Horror in Dub. The compelling electronic outing seamlessly blends techno, dark wave, and dub-tinted bass music, to present a deep dive into the realm of eerie horror while maintaining haunting beauty.
The producer‘s transformative production style is on full display as the album skillfully weaves together the realistic experience of the human condition and the fantastical influences of body horror and Lovecraftian motifs. The latter being on full display, not only in the music but also in the cover art for the release and its preceding singles.
The vocals of returning guest Baylee and newcomer to Vexillary’s roster, Madishu, express themes of transformation, fragility of the human form, and cosmic terrors throughout the ten energetic songs of the album. Horror in Dub ultimately reminds us that even within the most harrowing experiences, there lies an irresistible beauty and attraction, as crystallized by the lyrics of the title track: “I found love in horror, and horror, horror in dub.”
Prepare to be immersed in an evocative journey as the ghosts of the past and the beats of the future collide, creating a surreal sonic experience. With its unparalleled production style and its ability to conjure a rich tapestry of emotions, Horror in Dub stands as a testament to Vexillary‘s creative vision and unique approach to electronic storytelling.
How to listen: There are a couple of ways to proceed. First, you can listen to the whole album, which you will find below, and then read the notes. Or, read the notes as you listen to each track. This will completely change your perspective on the whole release itself and bring you closer to the artist and their work.
1. Horror in Dub
I was already a few songs in the album creation process, but there wasn’t yet a solid foundation in place—a sonic direction that could permeate across all the tracks.
That’s until I made the title track. ‘Horror in Dub’ gave the album it’s footing and cemented the horror themed direction with a bass-infused EBM sound.
It’s ghostly, hard, and yet beautiful. It’s more than a track, it’s a mission statement for the album. The perfect album opener.
2. Animalic
‘Animalic’ refers to the group of fragrance notes characterized by their animal-like qualities. Drawing inspiration from my past life in perfumery, the song and lyrics are all about embracing the raw and untamed aspects of existence.
With Animalic, I wanted to dive into a more minimal dark techno direction, blending it with the larger bass sounds introduced on the title track. Madishu’s soulful yet relaxed vocal delivery also perfectly captures the essence of the song’s protagonist on the cusp of change.
It kinda turned into this unconventional anthem, urging listeners to let loose those wild passions—a vibe that also spilled into the visuals of the music video.
3. Insurrection
Easily the crown jewel of the record for me. I first got the idea of the chorus for this song after a long walk. It was catchy, but too accessible for my taste. I had two options, either forget it altogether or rise to the challenge and make a proper Vexillary track out of it. I’m happy that I took the latter approach.
Familiar industrial undertones were set in place as I further explored the vocal melodies and structures. Still unsure about the almost pop sensibilities of the chorus, I reserved that part for the last act of the song. This gave the track a unique structure, a push and pull with an emotive reveal that’s hard not to be moved by.
Also have to give Kudos to Baylee, the lead vocalist on the album, who tracked a monster performance here. An obvious choice for a single overall.
4. My Vertigo
The last song made for the album, a gothic technoid exploration inspired by my experience with dizzy spells. I wanted the song to be a sonic mirror of the experience and the lyrics here very much helped paint that picture of turmoil.
I remember being excited about the song and finishing the album before coming down with Covid half way through its production. Still didn’t let it get in the way and kept working on the track with the little energy I had.
Ultimately, the song is a poignant reminder that even amidst turbulence, there is artistry to be found, and beauty worth celebrating. Really proud to have transformed these challenges into art. Another obvious choice for a single.
5. Under My Skin
‘Under my Skin’ pretty much embodies my vision for a futuristic electronic dub track. It’s a deep and moody song juxtaposing relationship tensions with body horror motifs.
I share vocal duties here with Baylee, almost like a duet. My vocal explorations are almost always showered with loads of effects. But the deep moods here really made me go for it with hardly any effects. It’s bare and naked for all to see, with or without flaws. Think it only added to the vibe of the song.
Perfect track for a rainy day.
6. In Danger
One of the first tracks made for the album and the first of two instrumentals. The sine leads and deconstructed rhythmic breakdowns again touch on dubby elements. It’s also a bit psychedelic for me, built on a deformed techno chassis.
It’s the half way break of the album, a pallet cleanser from the single heavy first half, setting up a darker and stranger second part. All that was missing was a title. A quick glance at my home library and the title of a Pasolini book staring back at me did the trick.
7. A New Body
Vexillary comes from industrial/EBM roots. Although not fully flushed out until the first LP, Full Frontal Lunacy, it’s been at the root of many tracks.
Since that album, I’ve been using industrial sounds as an element to add grit and brute force when needed. But I hadn’t done a pure EBM song in a while. Think it was brooding inside me for some time and was ultimately unleashed half way through the making of the album.
A stomping banger equipped with Cronenbergian body horror lyrics, It injects the album with a double shot of energy. Picking up the pace again after the moodier songs that came before it.
It was also great fun to be back on lead vox again. A favorite of mine
8. The Smoke
When making full-lengths, there comes a time when I start working in a possessed way. Well, here’s a song literally about being possessed.
I was also trying to tackle different horror genres with each song of the album. ‘The Smoke’ is very much in the vein of old witch hunt movies with a darkwave sound.
Working on this song was really intense. I tried changing it a few times, and no other direction worked but the final track. It’s like the song had a life of its own and willed itself into existence.
Easily the spookiest part of the record, listen with caution.
9. Paris Spleen
‘Paris Spleen’ stemmed from the vocal melody and lyrics that later became the chorus. It’s pretty much a sped-up big band or classic jazz bit that turned into glitch techno with hyperpop influences!
As if that wasn’t a strange enough combo, I wrote a spoken word verse section resembling rap parts. It’s definitely the brightest song on the album but still has really dark lyrics.
What I like about a lot of The Smiths songs is that they sound bright and upbeat but have dark lyrics. It’s a contrast that stuck with me and ultimately manifested here as ‘Paris Spleen’.
10. By Design
The other instrumental on the album, also one of the first tracks finished for the album. While making it, I wanted it to sound as big as possible and have a coldness reminiscent of black metal almost.
The album pounces on the listener from the opening track and never loosens its grip. With ‘By Design,’ a sense of calm (though still intense) emerges, signaling an end. It was an obvious choice for the album closer for me and alludes to nature as the root cause of all the horrors explored on the album.
Like an evil seed that will grow once more when the time is right, or when the album is replayed.
Grab your copy here.
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