Simplistix – Invaders Wages Of Sin (2013): A Drum n Bass Gem That Still Kicks
Alright, let’s get into it. Simplistix dropped this banger back in 2013 under the Phantom Dub Digital label, and man, it's one of those albums that sneaks up on you like a ninja in the night. It’s German through and through—cold beats but warm vibes, if that makes sense? The whole thing screams precision-engineered chaos, with just enough soul to keep your head nodding for days.
The album kicks off strong with “In The News VIP,” which is basically my jam when I need something sharp to wake me up. This track feels like flipping channels on an old-school TV while someone’s aggressively typing out conspiracy theories behind you. Yeah, weird visual, but trust me—it works. There’s this eerie sample looped throughout that sticks to your brain like gum on a hot day. Every time it comes back around, it hits harder than before. You know how some tracks just feel... alive? This is one of them.
Then there’s “Wages Of Sin,” which flips the mood entirely. If “In The News VIP” was the chaotic intro, this one’s the brooding middle chapter where everyone starts questioning their life choices. The bassline here is straight fire—it growls at you like a grumpy cat who didn’t get its morning snack. But what really gets me is how atmospheric it feels. Like, close your eyes and suddenly you’re walking through some neon-lit alleyway in Blade Runner. Honestly, it’s kinda haunting, but in the best way possible.
Now, don’t get me wrong—I respect “Invaders” too, but these other two tracks? They’re unforgettable. Maybe it’s because they both hit different emotional notes without trying too hard. One’s all jittery energy; the other’s moody introspection. Together, they make this album feel like a rollercoaster ride designed by someone who knows exactly how to mess with your emotions.
So yeah, Invaders Wages Of Sin. Not gonna lie, when I first heard it, I wasn’t sure what to think. But now? It’s one of those hidden gems that reminds me why I fell in love with electronic music in the first place. And hey, fun fact: every time I listen to it, I swear I hear something new—a little glitch here, a subtle layer there. Feels like Simplistix left breadcrumbs for us to find over time.
Oh, and random thought—what if aliens landed tomorrow and asked us to explain human music using only this album? I’d probably say, “Well, we’re complicated, but also kinda simple.” Then hope they didn’t abduct me.
