Vampire Slayer is a nightmarish work. The mood morphs. Sounds appear to be uneasy.
Everything on the album shifts uncomfortably. Part of its charm relies on this
uneasiness. No actual noise results from the approach. Original soothing drones
are interrupted. By breaking up and playing against the initial expectation Psychic
Hex is able to mess with the listener’s mind. Percussion adds to this level of
confusion. While the drones hover, swaying gently, random percussion comes to
ruin it. Underneath the initial melody the calm is ruined through wobbly
shifts.
‘Bad
Pad’ introduces the album with a rather mellow approach. This and the closer
manage to avoid the level of activity shown on the other tracks. For ‘Broken
Audio Card’ gives the listener a better idea of what to expect. Sounds decay
and die off frequently. Little of it manages to remain remotely stable or even coherent.
‘Desert charms’ takes a similar approach. However part of the joy of ‘Desert
charms’ is the infinite amount of panning Vampire Slayer engages in. For it
will make the listener disorientated as any attempt of a melody is completely
thwarted. Even a basic rhythm or progression is thrown asunder in exchange for
a completely bizarre approach. ‘Global Manipulation’ has fun with its
transformations. Here Vampire Slayer takes a gritty approach.
‘Window
Pepping’ ends the album in the most unexpected way possible. Sounding halfway
between Jan Jelinek and hypnagogic pop it is a sunny ending to an oftentimes
aggressive album. In fact this may be the best track on the album. By ending it
this way ‘Psychic Hex’ shows just how versatile a band they are.
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