Brutalismus 3000 Deliver With Debut Album ‘ULTRAKUNST’

Articles, New releases // Thu 27 Apr 2023 - 10:09am

Brutalismus 3000 have always chosen to be musical outcasts from the traditional parameters of the techno stratosphere, and even claimed the scene is “unstylish”. It is this bold anti-techno statement, alongside their interdisciplinary approach to music, that has made them two of the hottest artists in the world.

Victoria Vassiliki Daldas and Theo Zeitner have come a long way. To be more precise, from a Tinder date in Neukölln to world domination. When the pair first met, they had only dipped their toes in the music industry, however, upon discovering their mutual love for D.A.F., they found the inspiration to finally take the plunge and used their time during the pandemic to form what we now know to be Brutalismus 3000. 

As the Berlin-based duo finally released their highly anticipated debut album earlier this month, ‘ULTRAKUNST‘, we can finally grapple with the influential soundscapes that have infected some of their most iconic releases, such as ‘Horíme’, ‘Satan Was A Babyboomer’ and ‘Atmosféra’. 

From Tinder to trailblazing tracks…

The album opens with ‘ALL DIE LIEBEN MENSCHEN’, listeners instantly hear an AI-sounding voice repeating “Bitte warten”, which becomes increasingly distorted and glitchy, cascading into a concoction of propulsive drums and industrial noise, set against Victoria’s half-cooed, half-screamed vocals. As the track ensues, an undulating bassline marks the powerful chorus and we are met with the seemingly playful declaration that the pair make ultra-art, “Denn wir machen Ultrakunst”—reinforcing the name of their album. All the usual hallmarks of a Brutalismus 3000 track are present here, making for an impressively intense and abrasive introduction to the album. 

‘GR3Y’ continues to set the bar high right from the start, however, it opens itself up in a deceiving manner; it positions itself as a one-dimensional track with a simple, deep bass foundation, but as it gradually progresses Dalda’s shimmering vocals become merged with the fuzzy synths and punk textures. The cacophony possesses an addictive quality you can’t quite put your finger on. 

Things get a bit creepy with ‘PONTIAC PARRISSIENE (SKIT)’; the track goes off on an experimental tangent, telling the story of a suburban murder in a child-like voice, overlayed with the haunting cries of a baby. But it is this disturbing quality of the song that makes it all the more interesting—and very uncanny valley—, especially when the vocals and Eurodance piano speed up to create an unpredictably upbeat floor filler. 


The duos’ melodic artillery is sent straight to the frontline on ‘IS U CHEMICAL?’; they deliver a searing concoction of visceral vocals wreathed in euphoria and a pounding bass-groover. It feels a little bit dystopian, and yet it’s invigorating. It’s the perfect track for a sweaty underground club.

Nearing the end of the album, Daldas sings in a trilingual mix of English, Slovakian, and German on ‘SUKA SUKA’. The track instantly demands the attention of its listeners, opening with pops and bangs from a loud car exhaust, and quickly progressing into a hard, heavy beat. And yet, amongst the hissing synths, Dalda’s vocals stand out more than ever; it’s as though her enchanting voice has been luring lusty sailors onto rocks for thousands of years, even if she does “Gimme ket / Gimme ket” at one point.  

With the release of ‘ULTRAKUNST‘, the duo has highlighted their “nu-gabber-post-techno-punk” style, whilst creating some of their hardest and most notable sounds to take over dancefloors. ‘ULTRAKUNST’ is indeed ultra-art.