Dark, Morbid, and Above All
William Maybelline, the artist behind Qual, is very acquainted with dimness. As one portion of darkwave sovereignty Lebanon Hanover, Maybelline's prosperity with the couple has been central: their tune "Gallowdance" from the 2013 album Tomb for Two has picked up about two million perspectives on Youtube. Sable, Qual's 2015 LP, is an accumulation of tracks that addresses the goth, modern, and even techno scenes. Disastrously dim topics, lavish synthesizer soundscapes and sterile drum machine thumps turned into the pith of Sable, a meeting of types that unusually supplement each other. With certainly danceable tunes like "The Geometry of Wounds" and the club top choice, "Tear Doth Thy Scarlet Claws", Qual got the consideration of dismal goths worldwide and furthermore any semblance of techno craftsman Ancient Methods, who frequently grabs the chance to minister such surprising tracks in his mechanical imbued hard techno DJ sets.
It's obvious that since Sable, Qual has not discovered trust but rather has sunk into much more prominent sadness on the new twelve-inch EP, Cupio Dissolvi. The term itself is a Latin figure of speech that actually makes an interpretation of to I wish to be broken down, which, in a Christian setting, gets from the yearning to end life on Earth keeping in mind the end goal to be with God. Notwithstanding, the expression additionally connotes an unreasonable craving for self-demolition—the debauched and extreme feeling of masochism. What's more, for Qual, there has dependably been a foul and masochistic demeanor inside his music, one that is additionally emotional and peculiarly extravagant.
The melody "Cupio Dissolvi" presents the most up to date emphasis of Qual. It is similarly as showy—if not more so—than Sable, but rather accompanies a heavier accentuation on danceability and reiteration. Maybelline's vocals and choir synths add a gothic extravagance to it, marginally dulling the seriousness and instantaneousness of the requesting bass line. The second track, "Wicked Blob", is Qual's verbose admission of self renunciation: "I have a vocation burrowing graves/I burrow my own". The exactness of hardware and the blasting kick summon a sterile void—there is minimal left yet a feeling of fear and confinement.
Each track on the discharge moves assist far from his darkwave synth establishment, impacted more by cruel techno beats and tenacious bass examples. The superbness of the discharge is that nothing feels constrained—it is flawlessly executed with nuances and elegance inside the creation. Such certainty is considered the B-side of the record with the 8-minute long "Assault Me in the Parthenon". It is unrecognizably Qual except for Maybelline's rankling vocals covered in outrage and desire—it is his own skewed understanding of an adoration melody. It's obvious that the music—every melody a stoic passing walk in itself—keeps up the gloomth and despairing of goth belief systems while transitioning towards the grittier range of electronic music. Qual is an icicle knife appropriate to the heart, his words an epitaph to the wantonness of death.
Because of that, I endeavored to uncover privileged insights from the baffling and agonizing William Maybelline about Qual's new bearing, Cupio Dissolvi, and his undying interest with darkness.