Insatiable Void - î døи'† gîvэ Δ fƱ¢к
Released off label 2022
This review was commissioned through Ko-fi. However, it bears no weight on the score or decision. All reviews are written from an unbiased standpoint.
I do have to admit that Insatiable Void’s latest album “I Don’t Give a Fuck” starts off rather beautifully with ‘Crestfallen’. Competing with the best of the best in the dark ambient scene is a four-and-a-half-minute blend of ancient textures, background squeals, drones, angelic hums, and piano keys. It’s all well mixed together and I’ll be damned if I could imagine this being on one of Cryo Chamber’s prestige releases. Though I do think it is a bit long and could have been cut by a minute-and-a-half or two, what Insatiable Void conducted on ‘Crestfallen’ is really, really well done.
Unfortunately, after that the album starts to fall apart. Many of my complaints from last I reviewed Insatiable Void remain the same; there’s no consistency in his work and he’s releasing everything that he produces. The only difference is that whatever problems I found on "AETERNUM INFERNUM" has been doubled down. What this often boils down to on “I Don’t Give a Fuck” is a bunch of half-assed beats and poorly mixed tracks.
Beginning right off the bat with the second track whose title is a symbol that looks like an eight bit starship from Space Invaders featuring her.rite, it’s pretty bad. The mixing / mastering was either not done or is done poorly considering that nothing really comes together; the vocals are almost squealed rather than sung and it’s almost cartoonish. The amount of digital effects on the voice also obscures anything positive that can be said about them.
‘Highly Deranged’ featuring AudioBake, ONKVLO, and Insatiable Void is a gabber nightmare where most elements just collide and destroy one another. It’s a scratchy wasteland that’s none too good in any sense of the word. ‘Extraction’ sounds like an early 2010 aggrotech track that chooses to be sloppy for aesthetic purposes – but sloppy never means good. The same can be said for the title track, which has way too much going on and all the sounds just blend in the mix. There’s nothing that pops.
‘Breakdown’ switches back into witch house but it is very basic to say the very least; it’s something that you’d expect out of someone who just started toying with the genre. The vocals on the single don’t flow with the beat either; they’re just repetitive and glitched out. One of the few songs that makes it worth your while is ‘Forgotten Path’. Fusing chill ambient synths, light drum’n’bass beats, and even some IDM textures, it’s a pretty well-done song. Some improvement in the mix is necessary, but it showcases what Insatiable Void can do – and do well. ‘Anathema’ is a bare bones spooky dark ambient track that doesn’t scare me or provoke emotion. It’s a song on skip on repeated plays of the album.
But this is where the review ends; much of the rest of the album, from ‘Hitachi’ down to the final track ‘ALL OF THIS IS BULLSHIT’ I’ve similar complaints to as the ones listed above. It’s hard to point out the highs in the album as they are so few and far in between; whenever Insatiable Void shows a knack for talent it’s either butchered by poor choices, odd mixes, or mashed together sounds that don’t fit. As I said previously, I think Insatiable Void needs to slow down. He needs to take his time with each track instead of rushing through them, otherwise the product won’t be as lovely as it could. Three-and-a-half out of ten.Sep 03 2022
Official release released by the artist themselves without the backing of a label.
I've been writing for Brutal Resonance since November of 2012 and now serve as the editor-in-chief. I love the dark electronic underground and usually have too much to listen to at once but I love it. I am also an editor at Aggressive Deprivation, a digital/physical magazine since March of 2016. I support the scene as much as I can from my humble laptop.
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