Shinya Tsukamoto's Tetsuo: Iron Man was perhaps the most noted film of the Japanese cyberpunk genre. An everyman artificially fused with machine, Tetsuo's violent rampage was meant to vilify society's reliance on the mechanical. Richard Devine either didn't see the film or thought it sucked. Asect:dsect reveals Devine as an acquiescent Tetsuo who feels a deep connection to his neo-industrial landscape, and instead of rage feels a blind devotion to work the decks. The thirteen compositions here evoke the words "algorithm" and "sine wave," and while their complexity is intriguing, their pitiless mechanized assault does more to bolster Tsukamoto's warnings than alleviate fears.
|Paul Van Dyk - Reflections||The Streets All Got Our Runnins|