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United States - California

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Electronic: Experimental Electronic: Industrial Moods: Mood: Weird
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by AntiQuark

Dark experimental but dance-y electronic futurist music with surrealist themes.
Genre: Electronic: Experimental
Release Date: 

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  Song Share Time Download
1. Counting Hours
4:06 album only
2. Lopoff Effect
3:18 album only
3. The Attaq
3:32 album only
4. Whitecane
4:40 album only
5. Nuklear Suicide
3:46 album only
6. Drama Control
4:20 album only
7. Diablitos
4:20 album only
8. King Vulture
4:46 album only
9. Martina
2:26 album only



to write a review

Wincey Finn

Highly recommended to fans of punk-damaged electronic music
With nine songs clocking in at just over 35 minutes, San Diego's AntiQuark manage to convince the listener to re-think whatever ideas they might have about contemporary, experimental dance music. Fronted by deconstructionist diva Maren (also of the Peppermints, described elsewhere as the “love child of Mark E. Smith and Nina Hagen”) with music by Ant (formerly of Italian hardcore band Hex), AntiQuark come off as something of a female Cabaret Voltaire. The songs move through droning, propulsive textures of electro programming, accented with the occasional, mucky wall of filtered guitars (“Whitecane”, “Drama Control”) or tumbling clunk of electronic percussion pads (“Nuklear Suicide”). There's little, if any, reliance on traditional pop structures. Ant seems more focused on conjuring cold, mechanical moods to support Maren's fractured, science-fiction vignettes. One can imagine the pieces being conceived of and built in a dark apartment filled with static tuned televisions all going 24 hours a day. It recalls the best of Gary Numan's early work with Tubeway Army, DAF, Skinny Puppy and Wire in their later more electronic phase. It could be the soundtrack for a yet to be made movie that lands somewhere between “Blade Runner” and “Liquid Sky”. Maren's deep and frequently processed vocals are twisted beyond recognition at points. On the last song, “Martina”, they almost sound like Cyndi Lauper during the scene in “Vibes” where she's speaking in tongues. In other words, despite the strange, claustrophobic atmosphere AntiQuark creates, there is an equally strange sense of humor at work. It's not all dead serious doom and gloom, but it's no hyper-ironic, retro project either. They also have to be seen live to be fully appreciated. Live AntiQuark possesses all the elements displayed on their debut CD. A few dancers/back up singers are usually in tow and the pale, Nordic, six-foot-plus Maren occasionally beats on a large, bent-up gong with a telephone or hammers out frantic, broken rhythms on a worn out floor tom. Highly recommended to fans of punk-damaged electronic music looking for something a little different and not so polished for kiddie consumption.


This is the best experiment electronica I've heard nowadays beside Kinderliebeka
Ant and Maren's grrl-electro-trashpop-riot music is far from simplicity. To live with resemblances, they mix Joy Division with Chicks on Speed, building electronica on punky drum loops, singer Maren's voice sitting firmly in the mix, evoking voices like Lucy Psychophile or Dolldelirium. The music is minimalist and is just perfect for classic moods like the self-ironic wristcutting of dark-cyberpunk PC game Bloodnet or any bar scenes in the Gentlemen's Loser..

Ant, being responsible for the programming, can really be satisfied with what she's done, the nine tracks are all varied and full of ideas - classic oldschool cheesy goth sound (Whitecane) and tambourine-filled pre-90s ravey grooves (King Vulture) are all here, not to mention the noisebient mayhem Martina - the average of the album is an emotionally cold, 4/4-based narrative techno. This is the best experiment electronica I've heard nowadays beside Kinderliebekaos, so I'm real curious about what riot-grrl-punk pioneer Ant had done previously in guitar-based stuff and what she's working on now...