Ruby My Dear demonstrates how inexplicable visions of mesmerizing shapes and other lifeforms come into existence through the abductive mechanics of sound on new EP Altaïr.

Release date: November 15, 2019 | Love Love Records | Facebook | Bandcamp

Ruby My Dear is a delightfully quirky Disney nightmare, coming into life by means of surprisingly violent post-breakcore and a touch of EDM, releasing a new EP called Altaïr on November 15 through Love Love Records. Being the aesthetical successor of last year’s full-length Brame, the five tracks pack a very intense punch, hitting lower and deeper this time. Continuing the familiar trait where each release connect’s to each other on an emotional level but has their own, wildly different tones and colours, Altaïr will either draw you closer to the soothing vortical lunacy or push you further away from it.

“Möbius” is a short and flickering intro that already comes clean with the fact that Altaïr is approached very differently than the previous works. Staying out of the futile and forced field that intros usually lay in, the 87 seconds build a fine bridge over to the crackling start of the first actual track, “Uber Bass”. While the music box melody is a hint of the beauty found on this EP, the title kind of gives away the rest of the track. The mechanic, pummeling beats attack constantly, offering only brief moments of air in between. Just when the incessant hits start to feel nauseating, the track evolves into an eerie and almost transcendent outro, before giving way to “Mumy”. Keeping the low frequency rumble to minimum, the third song’s like an alien interference bowing to the direction of the preliminary album.
Thematically, Altaïr tells a story of an abduction of sorts, and despite being wordless, you are fully absorbed by the idea of being swept from your feet and lifted into an alien mothership to witness visions you can’t describe. The sentiment’s pushed further on “Chewbacca Orgasm”, the beautifully powerful grand moment of the EP. Not to get too caught in metaphors and euphemisms, but the track feels like a culmination point, a gateway to inner completion and release. Once you get over the rather icky mental image, the fairness and graceful fulfillment achieved here is pretty damn sensational.

The last track “Mezzotinto” is a labyrinthine closer. Fueled with classical instruments colliding with the industrial blows, it goes to show that Altaïr is heavier on the later end, both emotionally and musically. It’s easy to picture the artwork as one of the mesmerizing visions you can’t quite comprehend, as the brutal and grinding flutter turns all the more absurd and surreal, before coming into an end. The psychedelic artwork is designed by TAPT who, by the way, offer a full clothing line based around this release, as well as the possibility to design your own related merch. How’s that for being aberrant and peculiar?

There is something very hypnotizing in Ruby My Dear‘s output – mainly how all the pieces click seamlessly with each other, and how perfectly balanced and coherent the glitch-ridden patchwork manages to be. Altaïr delves into its own corners when compared to the other releases, and succeeds in being the entrée sized portion of absurdity it’s supposed to be. It most likely won’t offer any grandiose experiences or surprises if you know what you’re getting into, but the trippingly punishing atmosphere will make you chuckle uncontrollably, in a good way. Smooth experimentalism shakes hands with colourful imagination and weirdly shaped contrivances on a level that’s only achievable through praxis, and that in itself makes these twenty minutes worth a listen.

Leave a Reply