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Lo:Fi vs. Sci:Fi
Artist: Deitiphobia
Label: Eclectica Records
Length: 18 tracks/68:10 minutes

Samples
Teaser
Deitiphobia's creators were a driving force in shaping techno/industrial/electronica music quite a few years ago and they are still at the front of the scene. First there was Deitiphobia, then the band changed names and won the praise of the masses as Massivivid; now Wally Shaw, Wil Foster, and Sheri Shaw are back and under the moniker Deitiphobia again. The latest project is called Lo:Fi vs. Sci:Fi; essentially the sound track to a concept and story by Wally Shaw and Graeme Udd.

The scene is set:

"The year is 2226.

"The perfection of bio-engineering and nanotechnology has ushered in a New Age of prosperity and wealth for much of humanity, and a Dark Age of poverty and horror for the rest. There is no longer a middle class, only an ever-deepening gap, growing wider with each
passing generation..." - http://vapor.iscool.net

dphb3k, as Deitiphobia refers to themselves on the CD and the web site, take on alter-egos as characters in the story. Sheri Shaw is Starpure, Wil Foster is Punkrocket, and Wally Shaw is Tremor, a singer in a futuristic rock band. The story is about a group of revolutionary underlings and outcasts called Electronauts. They are in search of something that was lost generations ago. The big question seems to be, "Who is Vapor?"

Honestly, I don't know much about 2226 but I can tell you from the CD I have in hand the music is very cool! Deitiphobia has always been masters of synthesized sound, and I guess that will never change. In the future, they will still keep our interest with distinctive, engaging themes and inventive, artful sounds. Even in 2226 Electronauts are still battling with the two natures, the flesh vs. the spirit. Warbling, distorted, and sometimes even clean vocals sing about the battle against the flesh, the devil, and the world but always with infectious beats and industrial sensibilities.

The record starts out with a proclamation of faith and dedication to Jesus Christ, the One who died, and throughout the songs of struggle there is hope along the way. The band observes that even though the life of faith is a pattern of "progression/regression," we must keep our focus upward, outward on the goal and press on. The finish to the CD is a celebration about the finding of real mercy and amazing grace. In the song "Retrofit," the fight for inner freedom finds true peace in the retrofit of a new heart, and a new spirit. Make sure you check out the web site (http://vapor.iscool.net) and read up on what's happening in 2226. You can also find the lyrics to Lo:Fi vs. Sci:fi at the band site. Out in the future or now in the present, Deitiphobia makes solid records.

Tony LaFianza 06/13/2000

For those of you who aren't familiar with Deitiphobia, maybe you've heard of Massivivid. Both of these acclaimed bands are the product of Wally Shaws'  dark, demented Christian outlook. No, his music isn't evil, but it sure wouldn't fit well on a Veggie Tales soundtrack.

Shedding an earlier sound that sounded identical to Nine Inch Nails (Pretty Hate Machine era), they are now a band that could be picked out from the mix. Forging an original sound in industrial music can be a hard task to accomplish, but it seems it was done with ease on lo:fi.vs.sci:fi.You can hear similarities, but not takes, from bands such as Skinny Puppy, Argyle Park, and early Ministry, so if you have even a slight taste for the genre these bands are in, then go grab this disc.

The theme to this album is "Bladerunner-esque" to the core. Dark images of a future world gone bad, will flow through your mind. It's almost like the same concept as Eric Champion's Vertical Reality, but without the glam, and they score big with the concept. The best tracks on the album were "SpitStatic" and "Episinner." These songs use the hard pounding 4/4 beat and a progressive build up that could easily be spun in most clubs. 

To sum it up, Deitiphobia rocks out hard. There's not much negative to say about it, other than it was long overdue.

Justin W. Jones 9/6/2000


 

   
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