The Mexico City-based net label DNTFCK has released Testimonios Desde el Abismo, the debut album from Argentinean multidisciplinary artist KRXNX.
Although this is his first work, the EP shows a fair maturity and complexity, thanks to the producer’s background. KRXNX made his bones in punk, programming and visual arts, giving him the confidence to manage traces of IDM, ambient, industrial and dembow at the same time. It is not easy to be such an eclectic composer on a debut, but “Testimonios Desde el Abismo” is a work without weak points.
Not to be overlooked is KRXNX’s ability to arouse emotions with his music. The track “Gratitud” – despite the spiky and contrasting percussions – creates a meditative and introspective sound that brings goosebumps. “Horas” is not far behind; “its serene synth leads and subdued dembow rhythms underpin a hymnal refrain that calls to mind the stripped-down vocal treatments of Arca’s self-titled album”, as stated in the premiere published on SBVRSV.
The highlight of Testimonios Desde el Abismo is that KRXNX never overdoes it. The tracks, with their post-IDM structure colliding with an experimental club approach, use only what they need to pursue their eclectic intention. The result is an immaculate sound, devoid of contrived (and useless) ornamentations.
Those who have a lot to tell, strive to be clear, and KRXNX is one of them. On “Bifrost”, for example, he stretches to cacophony, but the composition is so orderly that the track wouldn’t come off as harsh to an underground scene neophyte/casual listener.
The study of a pulsating emotional density recalls a goth approach that KRXNX exalts with Testimonios Desde el Abismo’s wistful music exploration. This is glaring on “Mi Auxilio”, with its dark vocals and well-placed drums: a final track that makes you want to listen to the album again.