Reviews
of Super Distortion
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VANITY
PROJECT
Super Distortion are the work of bedroom producer Pete Bradley, who
also works under the pseudonyms Man in Formaldehyde, Super Distortion,
Automatic Serene Gun and Art Giraffefungal. This ‘part of his brain’
was inspired into action by a Link Wray sample found on the net which
he found to sound better farting through his cheap computer speakers
than on the CD he then purchased. So, he thought, “How simple can I
make it? How few instruments can I use?”. So several fuzzboxes and a
Nord Electro synth later and we have this LP of Add N To (X) style thunderous
fuzz, distorted synth, guitar and Hammond-style organ in instrumental
pop that is fearsome, wily but also devilishly funky. Processed rock
n’ roll laid on nice and thick - Skif
MENTES
DE ACIDO (ACID MIND)
Sin duda, este
primer disco de Super Distortion no dejará impasible a nadie, es de
una originalidad indiscutible. Tras este proyecto se esconde el increible
hombre-orquesta Pete Bradley, virtuoso de las ondas de sonido altamente
electrizadas. Psicodelia salvaje, garage cavernícola (tanto que llega
a darle la vuelta hasta entrar en lo progresivo...) y una actitud de
absoluta libertad en la composición y arreglo de unos temas instrumentales
altamente disfrutables... eso es lo encontrarás en un disco que mejora
en cada sucesiva escucha, y te aseguro que serán muchas si gustas de
los excesos sónicos y las emociones fuertes. Bradley hace uso durante
todo el disco (por cierto, no hay rastro de bajo) de una batería maquinal
y efectiva, una guitarra fuzz distorsionada hasta límites inauditos
y un órgano Hammond que te dejará para el arrastre, todo esto aliñado
con multitud de efectos psicodélicos... con el resultado de una música
que sin duda no será para todos los gustos (al menos en una primera
escucha...), pero que seguro encontrará incondicionales entre los más
valientes y lunáticos del lugar... Abre, llegando desde el mismísimo
infierno, “Devil Woman”, una especie de tema surf (pero de las playas
de Marte!!) que se inicia con una batería muy enérgica y una guitarra
fuzz que solo puede calificarse de asesina. Al poco entra el verdadero
protagonista, el órgano. Gran inicio que deja clara la filosofía de
Super Distortion: contundencia y diversión. A partir de este punto descendemos
más y más en la profundidad de la retorcida mente de Pete Bradley...
es un verdadero placer. “UFO”, segundo corte, suena mucho más a garage
clásico aunque siempre con esa tendencia a querer fundirte los oidos
a base de distorsión y unos efectos realmente psicotrónicos que por
alguna razón parecen sacados de una película de Serie B de los 50. “Eyehead”
es uno de los platos fuertes del disco, es un medio tiempo fabricado
sobre un fuerte riff de guitarra que se va desarrollando a la par que
una intensa linea de órgano Hammond. Excelente corte sin lugar a dudas.
“SD vs The Computer” es un tema largo y de un estilo más marcadamente
hard psych que se acerca a la mejor época de Bevis Frond o que podría
ser de unos Atomic Rooster que se hubieran vuelto locos del todo. Es
brutal la combinación de un órgano y una guitarra que parecen de otra
dimensíon. “Sunburst” es lo que más se acerca a un tema sencillo y melódico,
y la verdad es que es altamente divertido y bailable. Con “Sea Snake”
vuelve el garage primitivo y el r'n'r de raices negras. Con “Billy the
kid” llegamos a otro de los mejores temas, con un ritmo salvaje y un
largo solo de guitarra que te hará alucinar al máximo. “Hollow Shell”
es otro himno marciano de un grooving innegable, aquí es el órgano el
que lleva casi todo el peso con unas entradas resueltas con mucha elegancia.
“Operation Freakout” nos lleva otra vez hasta el garage psych más ácido
y primario... ¡¡¡¡¡Es un corte irresistible!!!!! Y por último, tras
“In Formaldehyde Dub”, un mero divertimento electrónico, llegamos a
la mágnifica “Galactic Plughole”, el corte más largo del disco, con
más de nueve minutos de psicodelia dura y martilleante, esta vez al
servicio de una de las guitarras fuzz más oscuras que he oido nunca.
Un final increible para una pequeña joya moderna de la psicodelia y
el garage. Si creías que en el garage no se podía experimentar escúchalo
como sea y decide tu mismo...
Reseña de Wilfred
An amusing translation
of above review using Bablefish:
Without a doubt, this
first disc of Super Distortion will not leave impassible anybody, is
of an unquestionable originality. After this project the incredible
man-orchestra Pete Bradley hides, virtuoso of the waves of sound highly
electrified. Wild Psicodelia, instrumental garage caveman (as much that
it gets to give the return him until entering the progressive thing...)
and an attitude of absolute freedom in the composition and adjustment
of highly disfrutables subjects... that is you will find it in a disc
who improves in each successive listening, and I assure to you that
they will be many if you please of the sonic excesses and the strong
emotions. Bradley throughout makes use the disc (by the way, there is
no sign of low) of a mechanical and effective battery, a guitar fuzz
distorted until limits inauditos and a Hammond organ that will leave
you for the drag, all this flavored with multitude of psicodélicos effects...
with the result of a music that without a doubt will not be for all
the tastes (at least in the one first listening...), but that surely
will find unconditional between bravest and lunáticos of the place...
It opens, arriving from very same hell, "Devil Woman", a species of
subject surf (but of Mars beaches) that one begins with a very energetic
battery and a guitar fuzz that single can be described as assassin.
Little the true protagonist, the organ enters. Great beginning that
makes the philosophy of Super Distortion clear: forcefulness and diversion.
From this point we descend more and more in the depth of the twisted
mind of Pete Bradley... he is a true one to please. "UFO", second cuts,
much more sounds to classic garage although always with that tendency
to want fundirte oidos with distortion and really psycho-tronic effects
that for some reason seem removed from a film of Series B of the 50.
"Eyehead" is one of strong plates of the disc, is a half time made on
a fort riff of guitar that is developed on a par that an intense line
of Hammond organ. Excellent cut without doubt. "SD versus The Computer"
is a long subject and of a style more noticeably hard psych than approaches
the best time of Bevis Frond or that could be of a Atomic Rooster which
they had become crazy absolutely. The combination of an organ and a
guitar is brutal that seem of another one dimensíon. "Sunburst" is what
the truth approaches simple and melódico a subject, and is that more
highly it is amused and danceable. With "It is Snake" returns the primitive
garage and r'n'r from black roots. With "Billy the kid" we arrived at
another one from the best subjects, with a wild rate and a single length
of guitar that will make you hallucinate to the maximum. "Hollow Shell"
is another Martian hymn of grooving undeniable, is the organ here the
one that takes almost all the weight with entrances solved with much
elegance. "Operation Freakout" again takes until the garage psych to
us more primary acid and... !!!!! is an irresistible cut And finally,
after "In Formaldehyde Dub", a mere electronic divertimento, we arrived
at the mágnifica "Galactic Plughole", the longest cut of the disc, with
more than nine minutes of psicodelia lasts and martilleante, this time
to the service of one of the guitars fuzz darker than I have never oido.
An incredible end for a small modern jewel of psicodelia and the garage.
If you thought that in the garage escúchalo could not be experimented
as it is and it decides your same one...
LOST
MUSIC
Super
Distortion describe themselves as thus : "No vocals, no bass... just
fuzz guitar, drums, distorted organ and a few spaceship sound effects.
It's fuzzy, it's catchy, it's regressive and progressive." And who am
I to argue with that? Super Distortion appear to be one man, Pete Bradley
and he has three songs for streaming currently on my space. I like the
lo fi fuzz sound that he makes. The sound he makes comes accross like
some fucked up distorted ghost of the late 1960s. Guitars grind and
organs scorch . With no vocals to grab you in, it's the fuzz and the
tunes within than slowly hook you. Nice. - TMC
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