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SUPERDENSECRUSHLOADFACTOR

RIO/Avant-Prog • Australia


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Superdensecrushloadfactor biography
SUPERDENSECRUSHLOADFACTOR is a one-man project created by multi-instrumentalist Gabe BULLER in 2011. Gabe started playing drums at the early age of 6, began writing songs on guitar at 13, and has since recorded most of his material in the comfort of his own bedroom. Gabe upgraded his recording facilities (digital 4-track), found the one-man-band name, and uploaded his music to various internet sites. The music itself is predominantly instrumental and can range from dark avant-metal to prog-tinged pop/rock to jazz fusion, experimental and many things in-between.

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SUPERDENSECRUSHLOADFACTOR discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

SUPERDENSECRUSHLOADFACTOR top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 2 ratings
Understand Non You Do Odd
2011
3.73 | 7 ratings
Decease Estates
2012
0.00 | 0 ratings
One in the Flood
2013
0.00 | 0 ratings
Themes
2014

SUPERDENSECRUSHLOADFACTOR Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

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SUPERDENSECRUSHLOADFACTOR Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.90 | 2 ratings
Superdensecrushloadfactoid
2012

SUPERDENSECRUSHLOADFACTOR Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

SUPERDENSECRUSHLOADFACTOR Reviews


Showing last 10 reviews only
 Decease Estates by SUPERDENSECRUSHLOADFACTOR album cover Studio Album, 2012
3.73 | 7 ratings

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Decease Estates
Superdensecrushloadfactor RIO/Avant-Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

4 stars It doesn't happen often in a one-man project, that the man is mainly a drummer. Usually one- man projects are keyboardists who make good use of sequencers or at least guitarists or bassists.

In this case we have an excellent drummer sometimes able to compose good melodies, but this is not his first purpose, with a good experimental attitude that is evident since from the first track, with an acoustic guitar (I suppose it is) played with something like a zippo, a kind of sound almost recurrent, together with the guitar strings played above the bridge and untuning the string to pick up the right note...something that a guitarist would find horrible to do.

But what has surprised me more is the fact that even between the dissonances and sometimes the noise of a heavy distorted guitar we can appreciate structures and melodies which may have granted a place for this project even in the post-rock subgenre, but the most impressive thing is the drumming. It's not the usual "play something and I'll drum on it" in which even most famous players have fell into (I think to Carl Palmer on Works). On this album the drumming is totally integrated with the other instruments and sometimes is the "zippo on guitar" which provides the rhythmic base. In particular the tracks from 3 to 7 are the core of the album and should be listened in sequence.

In brief, not an easy album as usual within Avant music, but not too challening for newbies. Just get used to the kind of sounds utilized, including the zippo, and this album will reveal itself also to whom is not much used with this kind of things.

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 Decease Estates by SUPERDENSECRUSHLOADFACTOR album cover Studio Album, 2012
3.73 | 7 ratings

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Decease Estates
Superdensecrushloadfactor RIO/Avant-Prog

Review by HolyMoly
Special Collaborator RIO/Avant/Zeuhl and Canterbury Teams

4 stars Being a one-man band has its ups and downs. On the up side, you have total control of what comes out and how it's realized. On the down side, you actually need to come up with all the parts and be able to play them - not live, but overdubbing yourself in a manner that hopefully still sounds natural and loose. It's on this latter point that Gabe Buller, the one-man band in question, especially impresses me. While this album doesn't really sound like a live band, there's a sense of interplay between the parts that gives the impression of a band of individuals playing off each other. Each song is very tightly structured (it has to be, for a project like this), but also very unpredictable, fresh, and presents a natural flow of ideas -- each song is Going Somewhere.

That said, the opening track is a bit misleading and off-putting. "That One With Gapeworm" opens the album deceptively with a repeated, comical guitar figure that merely serves to tell the listener: "warning: this album may be a bit weird." Happily, though, the extended two-part second track, "Vandalize Stock Photos", presents Superdensecrushloadfactor in a better light. This rambling, relaxed track has such a cool sound to it. Consisting mostly of acoustic guitar and drum kit, it feels almost as if the jazzy drums are playing the melody. It reminds a little bit of the junkyard jazz sound of prime Sun City Girls.

Each succeeding track offers a slightly different take on this approach. "Subliminals Repeat Until They Become Blatant" contrasts midtempo acoustic sections with fast metallic electric guitar sections. "Key to the City" and "Progress" are both brief sung pieces, still complex but putting on just a little bit of a "pop song" sheen. "Oppressed Ones Take to the Tyrant With an Axe" (where does he get these titles?) gives the bass guitar center stage, a very oblong avant-rock piece that reminded me of some of the instrumental sections from Beefheart's "Lick My Decals off, Baby" album - listen to this piece while thinking of Rockette Morton's work on "Bellerin' Plain", for example. After a brief acoustic interlude, the album finishes with the energetic, optimistic title track, kind of a 3 minute recap of what the album is about. A nice ending.

My favorite things about this album are the rhythmic complexity (albums that are hard to count along with are always fun to try to figure out) and the way he develops the pieces in a way that makes sense yet remains unpredictable and exciting. The home-demo quality of the recording holds my overall rating back somewhat, but do realize that this is good, imaginative composition which offers no end of surprises. Somewhere between a 3 and a 4 certainly. While when I first published this review I leaned towards a 3, further listenings have upped it to a 4.

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 Superdensecrushloadfactoid by SUPERDENSECRUSHLOADFACTOR album cover Boxset/Compilation, 2012
3.90 | 2 ratings

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Superdensecrushloadfactoid
Superdensecrushloadfactor RIO/Avant-Prog

Review by colorofmoney91
Prog Reviewer

4 stars Avant tranquility.

Had I not known that Superdensecrushloadfactoid were compiled of unreleased tracks, I would've assumed that it were just an EP, the next step in Superdensecrushloadfactor's (so far) short but delightful discography. Ultimately, this really does sound like a rather effective EP effort than tracks that didn't make it onto, or possibly weren't seen as good enough for, the two previous albums. Regardless, it's nice to see that these tracks now see the light of day.

Though this compilation does share the same DIY recording production as the previous two albums, the overall mood is a bit different. Personally, my absolutely favorite moments on Decease Estates were the quiet, emotional passages that felt like a more organic, authentic, and interesting version of emo heavyweights American Football. Almost as a gift from the heavens, Superdensecrushloadfactoid is a 23-minute expansion on that one sound -- not short enough to feel insignificant, but not long enough to feel one- note. The production and the effects used on the instrumentation (and overall submerged- in-water feel) remind me of the sound on Boris' beautiful droney post-rock epic, Flood. In fact, the guitar solo on "No More Ordeals" shows a similar fuzzy tone to that of Wata (Boris), and the two-part "Needles" suite uses echoed guitar loops not unlike those used by Robert Fripp.

There is a bit of a post-rock influence on this album, but, again, the songs aren't long enough to get boring but aren't short enough to seem pointless -- they're right in the middle, just perfect as little vignettes of emotionally charged composed sound.

One thing that might be missed by fans on this release is the powerful drum sound of the previous albums -- on this compilation, there are only two songs with percussion (one of which, "Fftsta", is entirely tribal solo hand percussion). "Sterile Rooms", a super- condensed mini-epic of sorts with five parts in under three minutes, is the other track with percussion and is the closest to sounding like material on previous albums. It serves as a great introduction to the album, starting off with a familiar style, before diving into the remaining tranquility. Even then, though, "Dilapidation Log" is quite a dark, atmospheric, acoustic track with a droning low note that is slightly unnerving and anxious, before the "Needles" suite lays down a dreamy soundscape. The most unnerving part of this release, however, is the "Emotional SONG", a short dissonant soundtrack to a grotesque haunted circus that nearly made me jump out of my seat, recoiling as a reflex to the potential horror which may have been set loose upon my fragile mind. Fortunately, "Sedge" works a great acoustic-based closer that fits my emotional requirements. When I hear it, my mind paints a picture of sitting on the edge of a mountain, overlooking the misty tops at dawn and the rivers below.

Despite being a short collection of unreleased tracks, this compilation works well as a tranquil EP counterpart to Superdensecrushloadfactor's previous two albums, confirming my belief that Gabe Buller is as well versed in pure emotion as he is in complex, avant-garde composition.

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 Decease Estates by SUPERDENSECRUSHLOADFACTOR album cover Studio Album, 2012
3.73 | 7 ratings

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Decease Estates
Superdensecrushloadfactor RIO/Avant-Prog

Review by colorofmoney91
Prog Reviewer

4 stars Superdensecrushloadfactor is a relatively new musical project brainchild of Australian multi-instrumentalist mastermind Gabe Buller, and his second album, Decease Estates, is a very bizarre and eclectic foray into avant-progressive rock composition.

Upon first hearing the rattling, slithering guitar intro "That One With Gapeworm" that basically screams of oddity and goofiness, it should become apparent that this album is going to be different, but this intro serves as a strange mask that covers up the abstract beauty and avant-gardist tinges contained on further tracks. The beauty that I speak of is most noticeable on the second track "Vandalize Stock Photos", which starts out with powerfully played controlled-yet-loose, impressionistic drumming accompanying an interesting guitar melody with hints of traditional Chinese music (whether this was intentional or not, I am unsure). After a bright and slightly dissonant solo guitar bridge section, the song becomes led by an emotionally affecting, nearly post-rock acoustic guitar melody accompanied by equally emotional drumming, and together sounds similar the '90s classic emo sound of American Football but with more sincere playing and sans- whiny vocals. This song alone is very much worth the time it takes to download this album and is one of the most beautiful progressive songs I've heard in recent memory.

And after that beauty, of course, comes a sludgy, gnarly beast of a tune -- "Subliminals Repeat Until They Become Blatant" blasts off with a barrage of sludgy avant-metal riffing and wild percussion before bright lounge-jazz guitar playing take over, which is slightly similar in flavor to some of the more difficult moments on Yes's unique Relayer album, though done more tastefully, in my opinion. But as an 11-minute long progressive monster, things don't stay the same for long, as more hard-hitting metal riffing and bright jazzy clean tones constantly change places while powerful, interesting drumming fill the peripheral spots with a considerably sharp but stylistically unique edge.

The next two tracks, "Key to the City" and "Progress", are complex avant-prog pop songs that are as catchy as they are musically intriguing, showing shades of influence from the diverse Cheer-Accident. "Oppressed Ones Take to the Tyrant With an Axe" in another progressive mini-epic that marks the return of dense, sludgy guitar and bass and dark imperialistic drumming. This 9-minute track is dark and grimy throughout and really lives up to it's sinister title. The title-track finale is a return to the off-kilter beauty displayed earlier in the album, but with enhanced with a well-deserved sense of strength and pride.

Something very noticeable about this album is the very DIY production sound, which gives Decease Estates a very earthy, organic sound that is usually only reserved for indie rock and black metal, but it works very well with this style of music. Specifically, the production on the drums sound amazing, resulting in a sound that is almost like Gabe Buller is intimately playing his kit within your physical vicinity, for you personally, and each individual drum and cymbal is distinguishable from the others. Everything just sounds so real, which is very refreshing in a time when most modern music is so overproduced and digital sounding. The musicianship on this album is also incredible -- never outwardly flashy playing, but always sonically interesting in a way that helps along each composition from start to end in sounding like finished, comprehensive pieces of modern musical art.

I'm at a loss when trying to compare Superdensecrushloadfactor's Decease Estates to other artists and albums, but the best comparisons that I can think of are like a more lo-fi version of maudlin of the Well's Bath, Kayo Dot's Blue Lambency Downward, and Cheer-Accident's Introducing Lemon, but it still stands on its own as a unique avant-garde progressive rock album that leaves me personally hungering for more. Decease Estates is a unique and innovative album, one of the best avant-styled albums in recent memory, and you'd be doing yourself a favor by checking it out.

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 Decease Estates by SUPERDENSECRUSHLOADFACTOR album cover Studio Album, 2012
3.73 | 7 ratings

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Decease Estates
Superdensecrushloadfactor RIO/Avant-Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

3 stars "Decease Estates" is the latest project from Superdensecrushloadfactor, a multi instrumentalist Avant prog artist, Gabe Buller. On this followup album Gabe again composed and produced the album using a 4 track recorder. He plays drums, guitar, bass, keyboards and mandolin and all vocals are courteous of his good self. His music is atmospheric RIO jazz fusion improvised using primarily guitars. This album resonated with me as a break from all the symphonic and Heavy Prog I have been listening to lately, and as an Avant album it is refreshing that it is not focussed on disturbing the listener.

'That One With Gapeworm' begins things with a repeated guitar phrase that locks in as an estranged slide guitar is heard moaning underneath. Simple structures of music make a fun way to begin proceedings and the twanging mandolin is a nice way to merge into the next piece of weirdness.

'Vandalize Stock Photos' is a lengthy piece with some outstanding free form drumming. A melodic mandolin motif chimes in giving the listener something to latch onto that may resemble an actual tune. The Avant approach is definitely present throughout but it is still accessible due to a high emphasis on creating an atmosphere that at times feels Oriental. Once again the drums are sporadic and delightfully urgent and off kilter especially the timpani and high hat interplay. The music continues with some acoustic that almost sounds like the guitar is out of tune, but I love how it is consistent in putting together chords that should not go together naturally, but Gabe makes them feel natural.

'Subliminals Repeat Until They Become Blatant' begins with some static that reminded me of Godspeed You! Black Emperor for a moment. There is quite a dark feel with the insertion of heavy notes that are dissonant and compete with natural figures. The metrical shapes on percussion are more consistent but still rough around the edges. Later the guitars are distorted and the heavier approach is welcome after all the jangly jazz playing. The drums really crash down hard and balance off the metal riffing.

'Key to the City" is a shorter blast of dissonance with off kilter guitars and augmented with vocals that are surprising after all the instrumentation. The vocals are processed and filtered giving it an unearthly sound.

'Progress' is a real strange one with actual vocals and lyrics that are esoteric. The lead break is all over the place with a rhythm that is consistent but the guitar sound is more like The Residents. I like the twin lead guitar at the end and this actually feels more like a song and therefore wonderfully out of place. The diversity of the album is compelling as one never knows what to expect next.

On cue the next track 'Oppressed Ones Take to the Tyrant With an Axe' (great song title), returns to the dissonance with sliding guitars sounding like a bottle pressed against the strings. The rhythm is fractured and again it reminds me of The Residents sound, minus the bizarre vocals. The guitar plucking in the middle is disjointed free form and very laid back, not even keeping to a time signature. It feels improvised but still keeps to the main melody, and it takes up most of the song, but I was waiting for the axe to come down. Sure enough, eventually drums crash in without warning and blast away with hyper speed and some lead guitar licks. After this shock of sound, it again settles into a nice relaxed style to finish off before cutting off abruptly.

'Vandalise Stock Photos in Your Sleep' is a very short 52 second piece dominated by acoustic finger picking. It makes a nice transition into the title track.

'Decease Estates' is the last track and the experimental jazz feel is strong. Guitars play switching from acoustic fingering to crunches of distortion. The drumming keeps a steady tempo for a while and then the cadence speeds up considerably. The track is one of the heaviest with the crashing drums and metal distortion.

Overall this is a solid Avant jazz fusion album with enough diversity to hold the interest. It is great to see that artists are maintaining an original approach to music these days, and it should appeal to those who are into experimental Avant music with strong atmospheric resonance.

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 Understand Non You Do Odd by SUPERDENSECRUSHLOADFACTOR album cover Studio Album, 2011
3.00 | 2 ratings

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Understand Non You Do Odd
Superdensecrushloadfactor RIO/Avant-Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

3 stars "Understand Non You Do Odd" is the debut album from Superdensecrushloadfactor, a one man experimental jazz Avant prog artist, Gabe Buller. Gabe wrote, composed, engineered, produced and created the whole thing. He is obviously a talented artist as he plays all instruments including mandolin, guitar, bass, keyboards and drums, and even sings some vocals in places.

The album is an instrumental project overall that is concentric in generating atmospheric RIO fused with layers of jazz improvisation, and a multiple progressive disorder of atonality. One of the reasons I even bothered to listen is Gabe is an Australian artist, from my country, and I always support rare Aussie prog artists when I can. I am the first to admit I am no mega-fan of Avant or RIO, as it gets too bleak and disturbing often, though I have time for The Residents and Frank Zappa due to the brilliant compositions and albums. Gabe's music is full of discordance and is very unpredictable switching signatures at will and stylistically is diverse fusing metal with jazz and reflective acoustics that search for a melody. This album is definitely his heaviest in terms of implementing metal distortion and fast tempos, and therefore it is my preference of the two.

'Syntax Defect' is a very experimental instrumental that is powered along by relentless jazz percussive shapes. The guitars switch at will from clean finger picking to a distorted chugging metal riff. The heaviness of this track outweighs most of the music on the followup album and for my tastes I prefer this heavier approach. The track is one of the more complex compositions from Gabe in terms of structure and interplay of generic styles. This is perhaps my favourite track from Superdensecrushloadfactor.

'I Fell Down A Whole' has vocals that are rare on these albums and I was immediately reminded of Zappa the way it is sung with a kind of low key approach. The guitars are very grungy and there is even a metal riff that locks in at 1:30. The drums sound a bit more removed from the mix on this piece. The guitars are relentless and aggressive and I like the lead guitar lick towards the end.

'Disjointed' is a track with hyper experimentation with polyrhythmic metrics and a very fractured time signature. The high hat work is excellent keeping things jazzy. The guitar licks are again present and the way the time sig switches abruptly almost at will is a master touch. There are some nice guitar sweeps and chord changes and again like the way it keeps the listener guessing as to where it will lead next.

'Recollection' is acoustic reflection and has a pleasant breezy atmosphere with some interplay of finger picking overlayed. This is a very accessible track in comparison to what has transcribed previously.

'ADHD Apes (Stopped Dead in Tracks)' is a short sharp shock of proggy distortion and off kilter drumming that blends into some twin acoustic work. It ends with a cool jazz groove that had potential to go longer and build with other instruments but it cuts off, stopped dead in its own tracks, I assume.

'Subtropical at the Red Couch' is a jazz guitar instrumental that is one of the more accessible musical pieces from Superdensecrushloadfactor. It makes a nice breakaway from all the weirdness and is jazzy throughout. Back to the high strangeness in earnest with 'Ship Emerging From The Fog', especially the backward swells of guitar chords. This is a very atmospheric sound and really does conjure images of a ship slowly moving through dark waters to its doom. I wish it was a bit longer as I really enjoyed this sound.

Mandolin dominates 'Ding Trudge' and it is another diverse sound maintaining my interest. The percussion and pulsating bass create some jazzy textures until an odd guitar sound begins a new phrase. It crashes suddenly and the cadence becomes totally ruptured.

'Understand Non You Do Odd' is driven with a heartbeat of bass that sounds like an encephalogram machine. The hypnotic cadence is augmented with a chime effect. It breaks into a free form jazz improvisation that seems to wander aimlessly. At 3:50 some killer drums explode and then it settles into a slow paced hook. The sporadic percussion is a key feature on this track and the way the guitar interplays with its own time signature competing against the drums.

'The Goats Milked Carton' is next with more time signature switches and then surprisingly more vocals come in and are very brief but appropriately breaking up the dissonance. The lead guitar is well played on this song and the odd structure reminds me of Mr Bungle in places.

'Total Flight' is the final track dominated with beautiful crystalline acoustics. The minimalism is very contemplative and serene; a real breath of fresh air. This tranquil dreamy music is a nice way to close after all the atonality and dissonance previous.

Overall this debut album is a refreshing slice of Avant jazz and I really love how the time sig switches dramatically, as it makes for a dynamic listening experience. I rate this more highly over the followup as it appeals to my senses more, but both albums are worth a listen and are very different in themselves (3 and a half stars for the debut, 3 for the followup), There are more highlights on this album for my tastes and I appreciated hearing something very unique and diverse.

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