Scorched is very happy to welcome Osheyack, an American-born, Shanghai-based producer. He performs live experimental electronic music using samplers, drum machines, and synthesizers. His live sets are furious and uncompromising, taking notes from Gabber, Industrial Techno, Ballroom and more. Having released music on SVBKVLT, Country Music and CGI….Osheyack is preparing for the release of his debult album via Bedouin Records.

At the crux of Osheyack’s debut album, Sadomodernism, is a question of agency. Borrowed from film theory, the album title was originally coined by writer Moira Weigel to describe a waning European art house tradition that vehemently rejects ‘naïve pleasure’—the tranquilizing comfort of conventional cinematic narrative, like mainstream Hollywood—and opts for violence and pain, with the aim of shaking audiences out of cinematic manipulation and into their own position vis-à-vis the malaise of contemporary life. Echoing the work of sadomodernist auteurs, Osheyacks’s Sadomodernism is a deeply political project with critical ambitions. The smashing and blending of genres, from techno, industrial, noise and gabber to ballroom and metal, even opera, and spontaneous percussion arrangements, sometimes mixed with distorted spoken word, do not mean to please, but provoke through disorder and chaos. Laden with Brechtian alienation affects, Sadomodernism interrogates the notion of autonomy in contemporary music, club culture, and social-political life.