Disco Of Doom - Alice Cooper (Masons Schools Out Rework)

Techno afficianados Disco of Doom have gifted us with a release of dark and otherworldly tech house that’s both a series of polished and efficient club anthems as much as it a hectic, unhinged portrait of the back alleys of clubs and plagues of the not-too-distant future.

“Invader” starts off the package with a bang, sounding like Zombie Nation driving a rickety Sedan into a lamp post and then stumbling down an empty street at midnight with a broken arm. With a bit of an acid house tinge laced in around its rougher edges, it’s tech-house meets weird-house meets a burning down house in the middle of the suburbs.

Arveene & Misk’s rework of “Invader” sounds like the inside of that burning house, electronics short circuiting and the smoke alarm sending out a perfectly pitched screaming synth warning while smoke fills up everything in front of you. Pitching the vocals up and down while a barrage of wheezing, hazy chords race overtop, it’s destined for big things.

“Doomsday” is filled with schizophrenic stuttering vocal samples, crashing cymbal kicks and squelchy synth stabs that are perching on the cusp of spilling out of the speakers and congealing in a sludgy dark pile in the corner of the club.

Continuing his year of exceptional work, Bowski produces another perfect jam, smoothing out some of the rougher edges and distilling “Doomsday” to its humid essence with a riff that spirals and oscillates around the vocals while a percussive woodblock keeps time above everything. It feels like you’re ascending out of hell on a slightly malfunctioning escalator, dreamy and unsettling at the same time.

“Space 2.0″ is a song about one of those times when you’re wearing sunglasses because anything in daylight feels like it’s going to scorch your retinas straight off your eyeballs..

Finally, “Alice Cooper” likely refers to the period in his career before he started golfing, back when face paint, boa constrictors crawling around your shoulders and a stage show featuring (fake?) public executions were the defining points of Cooper’s character. The track embodies a resurrection of that early 70’s druggy territory, filtered through a satanically possessed MPC. Mason’s “School’s Out” rework may cash in on the cheap thrills of the track’s title, but certainly keeps the vibe of the original pulsating with its echoing drums gaining momentum as they wind through the track.”