EVERLASTING PILL recorded: 2008 / released: 2011 label: Bankruptcy (BMP007) format: Digital Download issue: unlimited running time: 36:19 aka: Antimony/Antinomy

01: In Girum Imus Nocte 02: Late Night Idol Talk 03: Pleasure Electronics 04: Cloue a Terre 05: Egyptian Days 06: Black Fasting 07: The Night So Long 08: Et Consumimur Igni

After long eons wandering in the desert picking fresh beats from stunted, dying trees, Chapeau -- Ontario's enigmatic gift to fat beats, strange noises, and devolved experiments in electronica -- is back. The opening track, "In Girum Imus Nocte," fades in with grinding machine noises and a mournful piano line, and before long a jaunty synth bass line and drums are joined by hellish black metal screeching; as time goes on, the beats grow more intense and the howling more protracted, until the beats evaporate and everything dies away in a wave of noise like cars colliding. You'd never think so many different styles could interlock so well, but they do.. oh, how they do. "Late Night Idol Talk," powered by a tick-tock beat and a warped synth riff, incorporates more squealing noise and sonic effluvia without ever losing sight of the almighty beat, and there's plenty of grotesque noise content in the deceptively-titled "Pleasure Electronics" as well (along with more muted black metal screech). "Cloue a Terre" opens with buzzing, grinding noises and slowed-down vocals that fade into a heavy martial beat accompanied by muted hum and, eventually, synth drone and more slowed-down vocals as the song's intensity grows exponentially until it cuts off abruptly; "Egyptian Days" follows in similar fashion, but leavened with some truly paint-scraping noise that comes and goes, like the ghost of techno possessed by diabolical noise spirits. "Black Fasting" hearkens back to the techno-driven sound of the earlier tracks, and is pleasant enough, but the album takes a stark turn into seriously dark territory with "The Night So Long," in which news samples dealing with rape and necrophilia are equally matched in ugliness with stuttering, lurching bursts of white noise, and the final track "Et Consumimur Igni," where the techno beats and occasional wild sheets of noise are welded to a morose black metal sensibility. Swank, my troubled little losers; oh so very swank. - The One True Dead Angel, 2012