#control records

The genesis of The Neuromancer lets the listener know that it is meant to exhibit the darkness of Francis’ second self, with spoken words relative to old-world poetry from that of Emily Bronte and Carl Sandburg. This use of poetics has lingered in previous William Control albums. “Adore (Fall In Love Forever),” the album’s first musical track is alluring, with his soothing vocals to lead the listener through. For a first-time William Control listener, they may relate the album right away to early Depeche Mode (which honestly, is pretty fantastic).

One of my personal favorite tracks on the album is “Passengers”. It offers a different, maybe even a sensitive side to Francis’ alter ego. It highlights vocal range that reminds me of another favorite of mine, “The Opening Departure” from Aiden’s 2007 release, Conviction. As you become entranced by Francis’ vocals and believe the harmonies will never fade, “The Blade” then pummels you with titilation and heaviness; William Control regains supremacy, with more grime. The Neuromancer concludes with “Where the Angels Burn,” a seven-minute symphony that concludes with more old-world poetics that ties the end to the beginning.

From listening to the album a few times, it is necessary to understand that regardless the genre (which can be interpreted as Electro-goth, or even dark electronica), that his music is indicative of the human condition. Francis continues and accomplishes in his albums to emphasize how both negativity (the dark and dirty) and positivity (finding oneself and love) are universal .The Neuromancer IS dark and dirty. The Neuromancer IS full of poetic love and heartache. So are people, and that is enough.

You can pick up a copy of William Control's The Neuromancer by clicking here [x], and catch him on tour with Combichrist this Spring.