PARIS

90s goth rock fused with industrial glam stomp; female baritone, sardonic close-mic verses, crowd-forward call-and-response, full gang vocals on every chorus, spoken laughing off-mic outro; detuned guitar riff locked unchanged throughout, synth bass carries all movement, handclaps on 2 and 4, cowbell, wrong-sounding pitched-down brass stabs; half-tempo intro into a forceful four-on-the-floor stomp, dropped-out breakdown, two bars of silence before a bass-only bridge, abrupt beat return, double-time claps and full gang final chorus; darkwave haze, saturated industrial mix

90s goth rock, polished production, darkwave, edm, gothic, radio-friendly industrial, female baritone

Goth, gothic, darkwave, post-punk, New Romantic, 90s goth rock, female baritone

period reference points ministry s psalm 69 1992 for the thrash tempo drum programming and clipped to distortion mastering antichrist superstar s fast tracks for shrieked delivery inside a pop structure godflesh for the mechanical riff as punishment approach industrial rock, alternative rock, electronic rock, experimental rock, industrial metal march of the pigs for a sub three minute hardcore track dropped into a slower album which is the exact structural move this is vocal shrieked shredded barely intelligible first time on the album paris loses composure and it s on the one track about themself everywhere else they re controlled because they re performing here they re not performing

industrial funk, room-forward live drums with raised microphones, dirty 90s studio saturation and a long dissolving fade; downbeat wah guitar, fretless bass carrying the melody, restrained darkwave synth haze; low close female baritone, generous sincere phrasing with intimate compression and subtle doubled chorus; slinky mid-tempo pocket, slow-danceable, unchanged groove through the lower bridge and repeated final chorus

90s goth rock, polished production, darkwave, edm, gothic, radio-friendly industrial, female baritone

goth, gothic, darkwave, 90s goth rock, female baritone

industrial rock with trip-hop and 90s goth rock, dry acoustic guitar mixed very close, detuned Rhodes beneath the verses, half-time breakbeat floor, real strings taking the bridge while the rhythm drops away, heavily compressed vinyl-sampled texture left dirty, clean female baritone with restrained confrontational phrasing, quieter passages, doubled final chorus, spoken outro dry and extremely close

genre industrial cabaret stomp vaudeville piano real upright mic d close slightly out of tune over a programmed breakbeat and detuned guitar tuba register synth bass on the oom pahs music hall chord changes played through a distortion pedal the joke is structural the most old fashioned music on the album is the one about the oldest people period reference points manson s antichrist superstar uses circus and cabaret textures as menace which is the tradition this is in mr bungle bay area disco volante was 1995 for genre lurching maximalism performed as comedy oingo boingo for the manic uptempo with teeth register still a california live staple in the mid 90s Blues, Jazz, Rock, Folk, Avant-Garde circa bone machine for the junkyard percussion and broken piano palette vocal theatrical arch delighted

Synth-pop with EBM bones and 90s goth rock, polished icy studio production with clean digital edges and restrained tape saturation, rigid sequenced bassline, gated snare, slightly ahead-of-beat hi-hats, synth pad, and one icy three-note synth hook as the actual chorus, doubled an octave up in the final chorus; hurried pulse, female baritone delivered flat and controlled, close-mic verses, layered vocal chorus beneath the hook, dry spoken outro over the fading hook

industrial pop, breakbeat

90s goth rock, polished production, darkwave, edm, gothic, radio-friendly industrial, female baritone

Electronic, IDM, Ambient