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My initiation to Asia's finest industrial metal music scene was during my first few years of secondary school - watching the odd music video and noticing the background music in several Manga animation trailers. Mad Capsule Markets made their mark with a sound so loud and monstrous yet euphorious and pleasing. It was a heavy release of endorphins held captive by the endless rubbish spewed out over the airwaves, gaining a significant adolescent fan-base in Japan and soon enough, small groups of loyal teens all over the globe. With 'OSC-DIS' you have the soundtrack to one b*tchin party with video games, beer, karaoke and the likelihood of wrecking the whole house with doors falling of their hinges, lampshades hanging out windows and footprint shaped holes in the ceiling - Brace yourself. 'Tribe' initiates the albums overdrive introduction with robotic tech bleeps and a strong bass drum pedal that eventually get interrupted by a heavy gain, crunching guitar chord. The singer whispers indecipherable nothings that gain momentum into a loud, screaming chorus line of what sounds like the songs title. Guitar goes back and fourth in an average pattern but the feeling of the song is just brutal and not without some merit - an effect smattered guitar interlude picks up the pace - but it runs a bit stale after 4 minutes. Safe to say there is a time and place for 'Tribe', and you'd most likely be beating someones face in. 'Out,Definition' is instantly annoying thanks to an ever-repeated soundbite from what presumably is a character dying in the famous arcade fighter 'Mortal Kombat'. Faster than the first track at times, it doesn't really offer much more except some buoyant bass and spitfire percussion. Once again the lyrics are next to impossible to comprehend. Then comes an absolute stunner in 'Pulse' - the first song I'd heard from MCM and reason behind following up on its album. Released as a single in 2001 (worldwide) I was barely 11 being captivatingly blown away by a blitzing belter of a track. Some static phrase gets cut out by the most bombastic of drum loops ever conjured - the key focal point that holds the song together - alongside some simple guitar chords. What sounds like "You kill me through hairy cow" is supposedly "You comin' through get in the crowd" a punchy chorus regardless of the content (a bold statement that could sum up the entire record). Its such a good melody that you'll desperately try to sing along despite having next to no idea what the guys are saying - certainly worth a listen before buying or otherwise. Back to more synthetic computerised craziness in 'Multiples' which has an out of place digital hum as its main line - which is plain strange. Loads of chugging guitar bits all over the place and fast rapping like vocals using the same voice mask - cries of what could be "Sit Down!" vary it up a notch but its far too late to save it - one to skip really. The shortest track at 1:49 is 'Mob Track' (30 seconds of which is just head bobbin weirdness breakdowns). A lone note is played over on guitar while the resilient drummer practically attempts to snap both wrists with a non stop high tempo number that stands to reason why it doesn't break 2 minutes. Again though, appropriate here and there.. perhaps a race? 'All That Time In Sunny Beach' is one track that floats about and may have been heard before, in similar songs or original. A circling guitar riff and a zippy upbeat chorus steals the show whilst the verses are a bit unpleasant really (at least compared). Standard gnashing vocal work going on, you can at least this time make out the title and a few 'whoa uh ohs'. Once again, the drummer outdoes himself with a technically sharp job. 'Island' seems to stick out prominently as it sounds like no other on the album. A spindly guitar cries out peppy notes while the singer proclaims "Like an island's sunshine I'm showered, today's going to be an extra off day". Some unexpected whistling and "ooh ooh hoo oo"s later, the long awaited chorus kicks you in the crotch as if to say playtimes over, time to fight. Its at this moment that I personally realised that I wanted that heaviness to jump in.. although I didn't really expect it after being lulled by the first minute and a half of a rather innocent song. I have no idea what "LOW CURE STRESSED OUT" means but at the time of listening, I didn't care, I was far too busy head-banging along, showing some teeth. 'Restart!' sounds like a mental rave party with its techno dodginess intro. It becomes a mess sharpish though, with shouts and descending notes from all. Another one thats not worth the time, even at 2 and half minutes. 'Jag' is disappointing. For me, this could have been another stand out track but it stalls so much at times you just cannot give it much recognition. What sounds like tuning, starts the song but it really kicks off with some more brilliant drum loops, shifting off the hi-hat and toms. A slovenly guitar struggles to keep the intensity. Typically the vocals sound the same in the verses and the interludes are too repetitive. The 2nd verse however sees another guitar put down some quality notes that are super badass. Que some long suspenseful palm muting that threatens to lead to something great and goes straight back to what is already heard. Finally at 3 minutes in and only 45 seconds to go, the guitarist plays that killer riff that could have made the song work on so many levels. Instead it just gets played out several times with an echoing effect, all by its lonesome as if it arrived late to a dying down party. 'Step Into Yourself' is one of the slowest on OSC-DIS and with the same effects and grit as the other songs, its a slight relief when it rolls out the title sequence. Rolling bumbles and mechanical whirls flow through the entire song as does the choppy rapping vocalist. Halfway through and things change rapidly - drums and effects speed up, double time and band members one by one give up the ghost and let the computer phase it out. Sharp radio frequency distortion pains the ears for introducing 'Good Girls' - one song that has the positivity of 'Sunny Beach' and the same melodic patterns as 'Pulse'. The chorus is again sing along attempt worthy but you may be put off your stride by the randomness of a horse neighing... who knows... Still doesn't stop it from being a happy note to start finishing the album but it does follow a similar trend. 'MIDI Surf' announces something I couldn't possibly translate other than the songs title. Followed by more smudging synth noise and the harshest guitar heard so far, it features pretty much everything you've heard on the album - and to my delight at least, had another happy go lucky chorus that stands out like a sore thumb. Grizzly guitars and equally thrashed drums continue into the chorus but with the jolly keys in which both vocalists shout out, its still as smiley as ever. At this point you've been subjected to some seriously boisterous hardcore rock techno beats and will likely need a cup of tea and a lie down because its almost too much to take in. Still, its one hell of a ride and certainly matches a few moods you might find yourself in.