Noise Entropy - Bad Trip CD

“Bad Trip” is a nightmarish dive into a dystopian world that is sadly close to reality.
With this album, composed in secret over several months, alongside various other publications and collaborations in progress, I wanted to synthesize my diverse musical influences through my personal sound universe. The result is a mix of industrial and dark ambient, with a cinematic dimension. I would describe my music as “Cosmic and Hypnagogic Industrial Dark Ambient.”

“Groenland Resistance,” the opening track, is built around samples of breaking ice. The title, of course, evokes a scandalous current event. I am referring here to a country's resistance to the political stress imposed by another country's greed to seize natural resources, but also to climate stress.

“Foggy Memories” is on the borderline between waking dreams and a vague sense of unease. It's a totally hypnagogic track.

“God-Hell” was constructed in two distinct parts. “Part One - Gods Are Fake” - “Part Two - Hell Is Real.” It is a diptych that forms the centerpiece of the album. Obviously, I am talking here about the total misguidance of humanity believing in false gods, with the strong temptation of fundamentalism that goes hand in hand with its scourges of hatred and war, all exploited by totalitarian powers. As for the reality of hell that I talk about in the second part, it is indeed the world we have shaped that is at stake here.

“Bad Trip” simply describes our current world. It's as if the world were on a bad comedown. We'd like it to be just a bad dream, and for us to wake up, but no, our societies continue irrevocably to persist in self-destruction. Musically, it's a very industrial-sounding piece that effectively evokes a sense of hopeless desolation.

"Endless War, Hopeless World" need no explanations. The title is clear. Yes, it close the album on this statement. This track induce to the listener an heavy, cold and menacing ambience

So, maybe this album deals with concepts that have already been heavily exploited in the genre, but that's probably because reality imposes it on us.

Technically, the tracks are built around powerful layers of sound, and I tried to bring out a certain power through my mixing. All that is magnified by the wonderful mastering of Arco Trauma (Sonic Area, Audiotrauma, Les Tambours Du Bronx). A lot of work went into the details and spatialization of the sound.

I want to say HUGE THANKS to Wōdinaz Oz (Ytterbium, yb.70, K.oz) to give me the opportunity to release my first album in a physical format. Big thanks also to Sascha Stadlmeir (Emerge, Bu.d.d.aH., Attenuation Circuit) for publishing one of my digital releases on his incredible label. There is still labels who believe in creation and give a chance to newcomers, in a difficult music market context. Artists are nothing without them. Many thanks also to Veilleur and Sentinelle of mourmansk150, Chris Sigdell of B°Tong for being a continuous source of inspiration for me, Olivier Moreau - you know why my friend ! - (Imminent, Axiome), C-Drik (C-Drik, Kirdec, Axiome and many more...), Francisco Meirino and Michel Pennec (HumuS bookstore and art gallery) - my 2 Swiss friends who give me advices and encourage me to persist in this way, Eric Catry my partner in our project LA SCHLAGUE, I Hate Robots for his continuous support and enthusiasm, RDKPL and Peter Verwinp (Ashtoreth, Bang Of Hearts), Emmanuel Haubry (Klood) and Chris Oshi, my 2 local friends who give me lots of precious advices on gear and musical/sound practices. And last but not least, Miss H., responsible for the visual identity of my social medias and digital releases, and for being my wonderful wife. Thanks also to all my followers on my YouTube channel, my Bandcamp page, and my social medias. Some of them follow me since the first steps, others came later, but all give me the energy to persist.