Fast Forward - Minamata

Emerged from the limbos of a hidden parallel world, a particular formation that develops a sound as a reaction on the cleanness that seems to have taken control of our congeners.

For those who love extreme music, this patronymic as a reference to the high BPM they pour out, is not unknown. For the others, it wonﾕt stay like that much longer.

Born in 1998 out of the union of Gjalp (Gothic, General Dub) and Didier Ambact (the drummer of formations like Requiem, Treponem Pal and Micropoint), they will be joined in 2004 by Nitroben (the guitarist of Stup伺lip, Collapse, Marousse and General Dub).

Since its beginning, Fast Forward merges styles like hardcore, metal and industrial, working out a universe shaped like a sound guerrilla, where all kinds of kicks seem to be permitted. Maxis and ep’s follow up each other on the labels Xunk, Moloko +, Epileptik, Toolbox, PKG, Epiteth …

Revolution goes its way driven by punching beats, inflammatory guitars and devastating vocals. Walls tremble each time they pass by. Ears get hauled over the coals.

Fast Forward develops music without concessions that sees crash the fears and agonies of a world in decay, approaching chaos each time a little more, not willing to give a message of any kind.

Inspired by Gallic writings from the middle-ages (telling the story of the Gallic Kingdom, mixed up with Celtic mythology), origin of the title Mabinogion, the new opus of Fast Forward is a dive into the mould that finds its energy in the rage, deeply buried in each one of us, that we had to learn to canalise, in a daily life governed with kicks of the ruler and codes we had to bend ourselves to.

A music that draws upon the roots of our history that some of us nowadays try to change or make forget by the means of a galloping globalization, erecting the structures of a new egalitarian and totalitarian society, where the good taste will be the privilege of a certain elite.

To support the diversity and the open-mindedness even if it means losing ourselves in a maze of confusions, texts alternate languages, switching from German to Gallic, passing by English and French, primitive and warlike odes that call for the obscure forces of reason.

The climates are heavy and weeping on “Revenge”, vocals remind The Young Gods. “Sacrifice” makes dance floors being invaded by hordes of moving rhythms of whirling guitars, the open Charley’s have fun by making dance the dead on an open-air battlefield.