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‘First Contact’ – Volruptus HOUSEMATES REVIEW

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You are being hidden the truth. A group of very wealthy and influential individuals are influencing every major political and societal decision all across the globe. They act swiftly yet discreetly, and have existed undetected for millennia. These people decide what we do, what we wear, what we see and what gets chosen for the weekly Sweet Sixteen. What’s more is that this exclusive secret circle aren’t even people… they’re Reptilian Humanoids. For generations, the motives of this species have been an enigma. Where did they come from? Why are they controlling us? Most importantly, what music do they play at the club? This time, the lizard people haven’t been so slick, and they have let slip an important piece of information. 

The lizards allowed the release of ‘First Contact’ by Volruptus, under the disguise of bbbbbb records. You may recognise this lizard puppet from the Hessdalen EP released under Nina Kraviz’s Trip records, or from being played by Jensen Interceptor on Boiler Room. A solid hour of tail shaking, scale shedding electro that is certain to brainwash your next party or club night. Supposedly from Iceland (whatever galaxy that’s in), Volruptus keeps the energy high with a persisting sense of paranoia that can only be shaken with a bit of a boog. After a grimy introduction “Tapetum Lucidum,” we are shot straight to top gear with the zappy “We Are The Cyborgs.” There’s only about 4 words on this track (see if you can guess what they are), but that’s one less thing you need to pay attention to on the floor. This track and sibling track “Butt Shakin Freaks” recall early Daft Punk, acid tinged electronic with low levels of lyricism (not important) yet the same impressive amounts of production.

‘First Contact’ features other standouts such as “TOP 20 FACTS You Didn’t Know About ANCIENT CIVILIZATIONS!” and “Top 10 BIZZARE Discoveries Science STILL Can’t Explain…” which are substantial tracks beyond their unwieldy titles. The album closes out with some overarching anxiety throughout the final three tracks, which drift more towards wavy synth pads rather than staunch acid electro. While this album does draw from quintessential electro infuences such as Drexciya and Aux 88, it walks the line between tradition and innovation deftly without falling into formulaic electronic territory, and refreshes classic sounds with modern grit and saturation. Optimised for both human and lizard ears, once we overthrow and make peace with our reptilian overlords we can dance together to the booming 808s.

A strong effort from a (lizard) man of mystery, 8/10.

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