Falling in reverse to please
I found a cut that doesn’t bleed
A body seen through wet glass transforms into a question. In the Cut, the latest single from Buzz Kull’s Deep Hate EP, draws from darkwave, EBM, industrial dance, minimal synth, and new beat, moving at a measured body-music pace rather than rushing toward release. Sequenced percussion lands with clipped precision, while a dense electronic bass line presses steadily beneath the track, giving it the sensation of forward motion inside an enclosed space. Synths arrive in terse, metallic layers, leaving pockets of air around Marc Dwyer’s voice rather than filling every corner. His low delivery remains controlled and almost impassive, which makes the language of flesh, disease, time, and fractured identity feel colder and more intimate at once.
This restraint carries a sensual quality. The rhythm urges movement, but never oversteps; each gesture appears controlled by an unseen boundary. In Chris Fatseas’ video for ‘In the Cut,‘ Dwyer and Sydney, Australian model Andrea, are in a blue-black room where recognition keeps getting disrupted: skin under translucent fabric, a face distorted by concentric glass, an eye visible beneath a thin beam of light, a mouth momentarily seen before darkness reclaims it. The camera seeks clarity but continually encounters another barrier.
The pair move close enough to imply touch, yet glass, moisture, fabric, or light continually interrupts the encounter. Bodies approach without becoming fully available to one another, as though intimacy itself had acquired a membrane. Condensation clouds the glass. Mesh softens outlines. Plastic clings and releases. Metal returns fractured images. Andrea crawls and arches across a low reflective platform with an almost aquatic grace, while Dwyer appears in sections, his body broken into visual phrases rather than offered whole. Even when both figures occupy the same frame, the image keeps placing something between them.
The title becomes especially suggestive under these conditions. The “cut” can be read as a psychological partition: a narrow division between one version of the self and another, between flesh and the image flesh presents, between the desire to be seen and the fear of what recognition might reveal.
Fatseas renders that divide without gore or spectacle. No blade appears, and no wound needs to. Instead, textured rings travel across eyes and mouths, recalling fingerprints, ripples, scanner patterns, even grooves enlarged beyond scale. Faces become readable and unreadable in the same instant. Identity appears close enough to recognize, yet never stable enough to possess. By the final passage, Dwyer and Andrea remain caught behind patterned glass as those circles pass over their features. Then the image drops abruptly into black, leaving the impression that separation may begin at the skin, while its deepest divisions lie somewhere farther inside.
Watch the video for In the Cut below:
Listen to In The Cut below and order Deep Hate here.
Buzz Kull’s North American itinerary with Kontravoid runs from September 10 through October 30. Normal Bias joins the newly confirmed Brooklyn show, while Spike Hellis and Normal Bias appear on the Spokane, Vancouver, Seattle, Portland, and Sacramento dates.
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The post “The Flesh in Me” — Buzz Kull Shares Video for “In the Cut” Ahead of Tour With Kontravoid appeared first on Post-Punk.com.
