Image of Osheyack - Sadomodernism
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At the crux of American-born, Shanghai-based producer Eli Osheyack's debut album, "Sadomodernism", is a question of agency. Borrowed from film theory, the album title was originally coined by writer Moira Weigel to describe a waning European art house tradition that vehemently rejects 'naïve pleasure' - the tranquilizing comfort of conventional cinematic narrative, like mainstream Hollywood - and opts for violence and pain, with the aim of shaking audiences out of cinematic manipulation and into their own position vis-à-vis the malaise of contemporary life.

Echoing the work of sadomodernist auteurs, Osheyacks's "Sadomodernism" is a deeply political project with critical ambitions. The smashing and blending of genres, from techno, industrial, noise and gabber to ballroom and metal, even opera, and spontaneous percussion arrangements, sometimes mixed with distorted spoken word, do not mean to please, but provoke through disorder and chaos. Laden with Brechtian alienation affects, "Sadomodernism" interrogates the notion of autonomy in contemporary music, club culture, and social-political life.


Sil says: As sado as electronic music can get. It requires a certain pallate to appreciate this one. It definitely pushes the boundaries and is as urban as it gets, I guess. At times it is as discordant as low grade sandpaper being used on a stradivarius violin, and other occasions it all makes sense. As noted above, this is postmodern tackle for the open minded fellas.


01. The Body Keeps The Score
02. No
03. Soiled
04. A Rivers Mouth
05. Split
06. Balance
07. Writhe
08. With Us
09. Untitled 6
10. Bordertown

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