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Random Breakcore violence , twisted angular Metal riffs, hyper glitched lyrical Opera and blotched epileptic Classical Music – in a world of advanced computer technology, any medium is prone to mutate.

Originally, Mathcore (above) was a syncoped, assonant sub-genre of Metal, so when 32 years old noise artist Kristian Cole AKA “To The Lovers, Farewell” forceflicked Mathcore’s style up to breakcore level in THIS IS MATHCORE vol 2, I was but at a loss for word.

Built around off-beat time signatures, arrhythmia and dissimilar harmonic scales, Mathcore is the New Nu Metal of our time withstanding that Metal, Death Metal, Prog, Grind et al have long reached the ultimate levels of speed, velocity, rhythmic and rage and that anything nowadays sound somewhere along the same line…Until someone got the good idea to fusion each genre’s talent with added spice: Jazzier than Death, shriekier than Indus, darker than Prog and lastly ballsier than Power and Screamo: Mathcore is thus fresher, more energetic, perfect for breakfast and might also get young Dad on a skateboard again.

But no. Not for Kristian Cole.

Victor Cabbage: What brings musical style to say next level? Are we just about to witness the birth of new sub-genre?

Kristian Cole: I tend to piss off people with my revisions but it is needed, they say a scene has 6 years and then it either evolves or it dies out. Well breakcore revives that with sampling, in fact most of the hip hop tracks rape the older songs. All music is cycles but in this cycle I am not constrained by an instrument, the studio is the instrument, the guitar could never reach the speeds of the sample. When you listen to something for a long time its patterns become very clear, broken down and you are desensitised to it. Bit extreme of a description but music means so much to me, the concepts sometime wholly engulf the prancing of the lead singer. Mathcore was what it was, I attempted to redefine it by saying ‘you were great, loved the complexity, but here’s a complex genre, classical, and I am marrying you both digital.

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KC: For me mathcore is different, its real, very little choruses, verses, everything is a sprawling landscape, classical being the same really. So deciding to mash the two together seemed the obvious choice. This isn’t to say I have moved from experimental music as a whole. The album is still a tough listen, but compared to my other work there is more variations, quick cuts to others sounds, glitches I worship, less repetition. I get this from breakcore, Venetian Snares, Shitmat, Xanopticon and Ladyscraper. A sample is played once, a beat is broken down to suit the flow over meeting the requirements of the bassline. I have always loved Botch, Dillinger escape plan and Converge and this shows in this album. They have all been sampled but it will be a challenge for the listener to pick out who goes what and where, everything is so fast.”

VC: What brought you to that particular genre, what is your feel from and about it?

KC: The most recent To The Lovers, Farewell concentrates wholly on complexity. There are three complex genres in my mind, prog, classical and mathcore. It is odd to put the three in the same category as one is true, classical, one is pretentious, prog and the other another truth. In that guitar music is to be held on high as this wonderous thing, but is always as teenage as its listener. *stick out tongue between devil horns here*.

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VC: How did it start?

KC: I started Red Venice Records in 2003 as Red Venice Presents… and was primarily an outlet for friends art, written works and music. I released ‘Bad ‘E’ Chill Out Anthems Vol 1’ in 2003, limited to 500 copies, under the moniker Red Venice. The album was a cross between noise, techno, electronica in genre. I used samples I had accumulated over 3 years from plugging in my electric guitar to the computer and mashing, chopping and realigning. My biggest musical influence at this time were Guns ‘n’ Roses and Godley and Crème. Due to poor sales, with no marketing I just expected it to be a great seller, I continued to record music under different aliases but these would not see the light of day until 2010 or 2011.”

To sum up, stating that “This is Mathcore” is Mathcore might prove a hard one to swallow: claiming the best sit by simple appropriation of a term and importing it in the almost irreferential sub cultural world of Noise, and everything suddenly becomes untouchable. However, THIS IS MATHCORE Vol 2 opens up a new creative channel and I salute both theoretical and conceptual approach.

Rating: CabbageCabbageCabbagerot cabbagerot cabbage

Track Record:

Whimless –  ‘Sludgestep’, attempting to take dubstep beyond its roots and into a dirty windowless cell.
Throat Fuck – Black noise with power electronics.
Rentboy Depth Charge – A colder, faster, sample-less breakcore.
Cunt Scrape Phantasm – An attempt at creating a genre call Epilepticore.
Rose Heywork – Live improv black noise.
H.I.V. Hunk – Pure repetitive electronic music.

KC: The reason for all these outputs was due to an attempt to be a part of every genre, I couldn’t decide which one to put the most effort into. With ‘To The Lovers, Farewell’ I decided to amalgamate all the genres into one and with the first few releases tried to put noise and bad production into a pop music context such as Discipline and Punish but that soon scaled out further with variations of Cauterize the Risk. To date there are 30 or so To The Lovers, Farewell albums.

Question time: Metal Mathcore or THIS IS MATHCORE ? Feel free to comment and follow me on Facebook for more random inputs or on Twitter.

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