No Saviours Industrial Techno, Noise Sylvia_Din Sylvia_Din is the moniker of industrial techno, noise, and experimental producer Tom Baker. Inspired by the likes of Arca, Death Grips, Giant Swan, Against All Logic, and more, he uses harsh industrial textures to make club beats. Throughout the past year, Baker found himself taking a break to work with other artists. Those include up and coming indie artist J Cormac from Brighton, the harsh noise / power electronic project Glass Spitter from Bethlehem, Pennsylvania, London rapper Qwade White, New Jersey-based Dytenna. Baker has taken everything that he has learned through those experiences and applied it to his latest single ‘No Saviours’. Described as a song exploring “the concept of truth in the digital realm and how reality can be edited and corrupted,” ‘No Saviours’ is a well-balanced industrial techno track. No Saviours by Sylvia_DinThe songs starts with what sounds like static from a record player, otherworldly alien noises, and a warping synth line. This goes on for about a half-minute before a rumbling and energetic industrial techno beat emerges. However, everything is baked underneath a slight noise blanket; it’s not enough to corrupt or distort the beat all on its own. What I am given, however, are these lovely textures that cooperate and play with the rhythm of the track. Metallic drumming comes in around the one-and-a-half minute mark to keep the song both engaging and moving. This is then followed by a bit of a noise solo before heading right back into noise-techno country. The song ends on that note, scratchy samples galore. This was released at the tail end of 2021, and if it’s a sign of what’s to come in 2022 then count me in for more Sylvia_Din. Seven-and-a-half out of ten!  This review was commissioned through our Ko-fi page. 450
Brutal Resonance

Sylvia_Din - No Saviours

7.5
"Good"
Released off label 2022
Sylvia_Din is the moniker of industrial techno, noise, and experimental producer Tom Baker. Inspired by the likes of Arca, Death Grips, Giant Swan, Against All Logic, and more, he uses harsh industrial textures to make club beats. Throughout the past year, Baker found himself taking a break to work with other artists. Those include up and coming indie artist J Cormac from Brighton, the harsh noise / power electronic project Glass Spitter from Bethlehem, Pennsylvania, London rapper Qwade White, New Jersey-based Dytenna. Baker has taken everything that he has learned through those experiences and applied it to his latest single ‘No Saviours’. Described as a song exploring “the concept of truth in the digital realm and how reality can be edited and corrupted,” ‘No Saviours’ is a well-balanced industrial techno track. 


The songs starts with what sounds like static from a record player, otherworldly alien noises, and a warping synth line. This goes on for about a half-minute before a rumbling and energetic industrial techno beat emerges. However, everything is baked underneath a slight noise blanket; it’s not enough to corrupt or distort the beat all on its own. What I am given, however, are these lovely textures that cooperate and play with the rhythm of the track. Metallic drumming comes in around the one-and-a-half minute mark to keep the song both engaging and moving. This is then followed by a bit of a noise solo before heading right back into noise-techno country. The song ends on that note, scratchy samples galore. 

This was released at the tail end of 2021, and if it’s a sign of what’s to come in 2022 then count me in for more Sylvia_Din. Seven-and-a-half out of ten!  

This review was commissioned through our Ko-fi page.
Jan 11 2022

Off label

Official release released by the artist themselves without the backing of a label.

Steven Gullotta

info@brutalresonance.com
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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