Transnecropolitan TNP 2 (2022)

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Plague Pits is a collective from Bern, Switzerland. Inspired by the D.I.Y. electronic tape underground of yore, they play disco dirges for the Anthropocene cold wave for a heating planet.

The bourgeoisie cannot exist without constantly revolutionising the instruments of production, and thereby the relations of production, and with them the whole relations of society. Conservation of the old modes of production in unaltered form, was, on the contrary, the first condition of existence for all earlier industrial classes. Constant revolutionising of production, uninterrupted disturbance of all social conditions, everlasting uncertainty and agitation distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices and opinions, are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life, and his relations with his kind.“ 

"There’s a certain perversity to invoking the revolutionizing of the means of production while invoking a distinctly throwback style of synthesized music, but it certainly seems like Plague Pits are cognizant of the friction between those ideas, and the energy it produces. Take for example “Divide Subtract”, where their dry, minimal synthpop contrasts spry leads that ping pong across the stereo spectrum with a dour vocal that laments the reduction of human life to easily digested and measured numbers. Or how the snappy drums and chittering synths of the title track have a claustrophobic menace to them, complimenting a simple and wistfully delivered paean to a promised future that never seems to arrive and the wonders it might have possessed. Harnessing that early continental synth sound so ably, even on instrumentals “Future Poetry” and the robotically funky “Desiring Machines” is half the battle, but the other half (as evidenced on the sampled political screed that accompanies “Spectators”) is creating some contextual framework for its digestion and reiteration so many years after its heyday." 

- Alex Kennedy, I DIE:YOU DIE -