Within the first 30 seconds of Imperial China‘s debut LP, Phosphenes, it’s clear what sounds are going to dominate the record: dance-ready samples, squealing dissonant guitars and percussion. Their use of these elements make good on the promise of their first release, the Methods EP: that the trio can effectively combine the elements that defined Dischord’s most prominent bands without sounding like they’re stuck in a time warp.
The most stunning track on their debut EP was an instrumental number called “Radhus,” which layered quick drumming and memorable guitar riffs over loops that change tempo without warning. Much of Phosphenes also takes this layered approach, and the two most excellent tracks are similarly experimental. “Mortal Wombat” uses the same sort of approach as “Radhus,” never staying on one pattern too long, but still running the same underlying loop throughout the song. “Corrupting The Integrity of the Grid,” meanwhile, is the song most likely to be remixed by an enterprising DJ. It’s the most electronic track on the album, mixing more than one danceable loop into the fray before evolving into a blistering guitar number.
Brian Porter’s his vocals are rarely the focal point, and often sound like another layer that happens to complement the overall sound, as in the instrumentally sparing “Bananamite.” But Porter proves his chops on songs like “Go Where Airplanes Go,” a dreamy, slower track that sounds like a Person Pitch outtake. He’s even more potent on “A Modern Life,” where he moves from yelling to singing and recalls a very different heavy act that reigned supreme in the mid-1990s: Tool.
There are a few weaker points on the album. “The Last Starfighter” initially falls flat when placed after the stellar “Go Where Airplanes Go,” and needs saving from some of the more melodic guitar riffs on the album. And “Invincible,” while solid, suffers in comparison to the tracks that sandwich it. Still, if the worst criticism we can muster is that a song is only less awesome, that’s not a bad thing. Not only is this a promising start for Imperial China, it’s a wake-up call to anyone who has bemoaned the death of the “DC Sound.” HarDCore hasn’t died, just evolved.
