Like the nine circles of Hell, U-Void Synthesizer attacks different fronts and techniques of torture. The beauty of crisp synth work that collides over warped samples and screams becomes a safe haven for the sadomasochist who can grip an audience and force them into a digital dungeon. Opening with “The Fortress (The Blood Inside…),” Machine Girl is a charismatic monster that can somehow combine the catchy work of frantic dance tunes and a deeper-rooted love for hardcore and punk that sees a fresh coat of paint. The entire production is crisp here and a perfect leaping point for a new fan to dive into headfirst into a cyber-city where disorder is key.
The first two tracks take such a large array of twists and manipulations that they feel as if they were 10 tracks in one. By the time that the second track, “Blood Magic” hits, Machine Girl has changed beats and form at least four times. Almost as if they were the auditory space monster from The Thing, this foe has no actual distinguishable face. U-Void Synthesizer shifts almost effortlessly it seems and can do so quick enough to always have the listener playing catch up.
Especially shown on “Kill All Borders (2020 Worldwide Fucker)” where the gates of sound are blown off by this rapid-fire automatic carbine of drum and bass with clashing hi-hats and disfigured synths. These are the makings of pure noise barriers that crush the audience. Lyrically, Machine Girl etches to match their punch drunk motion and layers some sense over the constant confusion. They describe, “Imperial demise, 2020 worldwide fucker. Let them in… Kill all borders kill all borders.”
When the guillotine drops and this life comes to an end, Machine Girl stands like a proud effigy to whatever genre they want. They transpose the sound barrier and become addictive with U-Void Synthesizer, even if the addiction is as bad as it is melting your brain.