Epileptik Cerebral Reaktor
Epileptik Cerebral Reaktor
Genres: instrumental, experimental, idm, electronica, glitch
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About Epileptik Cerebral Reaktor
Epileptik Cerebral Reaktor was the first musical entity of Jared Newby. ECR centers heavily on glitch elements. Broken beats, static and industrial effects define the character of this entity's musical composition, which are not easily ingested by newcomers to the genre. Five albums in total were released under the alias Epileptik Cerebral Reaktor before Jared Newby's death. Each remains true to the core-style, but each was separately designed for a specific effect. * "Fluxuati" was the first album. It is the most surreal of the ECR catelog, and can be fluid and connected in one moment and a dramatic shift into static in the next. * "The Human Design," the follow-up release for ECR, is often considered the best. The album was inspired by a conversation between Trochlear artists on the topic of redemption and damnation. The music for the album focuses on glitch-hop, with many instrumental elements to retain the higher ambiance. The track titles, album art and music have all been crafted as a whole, to be experienced together. * "The Diatone Sessions." The third ECR album kept a thematic approach, but returned to a more surreal instrumentation. The tracks, or "sequences," have a beat that evolves from the previous one. This includes cut-up house beats at one point. * "Morningside Bloodpattern" was a series of tracks put together separately in various EPs. As Epileptik Cerebral Reactor continued to evolve, this album was given many different faces. Due to the album art of two skulls and the artist's name written in blood, it was nicknamed "The Bloodskullz Album." It was finally released to the public as ECR's fourth album, remains the least cohesive of the five. * "Lambchamber Volume One" was the last album Jared Newby would work on before his death. He began with project Epileptik Cerebral Reaktor, and ended with the same. The track names reflect the sudden descent. It is the most distorted of all five albums, with only short breaks where instrumentation carries the space between beats and glitch-elements.
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