Orginally part of the soundtrack for a theatre piece of the same name, Raised by Wolves takes the chaos of the world's media monologue and binds it into a snapshot of the times. Walking a line between soundtrack and avante-garde, Darrin Verhagen recompiles the global village ethnicity of Shinjuku Thief's Bloody Tourist days with the conversant electronica of Shinjuku Filth's Junk.
Raised by Wolves builds its picture of dystopia by layering snatches of infommercials, tribal percussions, white noises and bleeps. The cutups thicken into a sound that layers up in this short release, as if Verhagen compresses the music into the release's short time frame. Each layer resolves into discreet components depending on where you choose to listen, but there is always a lot going on. More than a musical gimmick, Raised by Wolves seems to capture something of a hyper-real media experience.
Raised by Wolves does not rest, setting moods that are always on the move. The "Credit Sequence" is powered by an driven electro percussion, but "The Art" is more like Verhagen's orchestral Shinjuku Thief work under attack by ambient sounds. "The Birth" is noise built out of the ashes of a Regurgitator sample (who also featured in the original production) and chaotic white noise.These different methods are all coordinated with the Verhagen's trademark cinematic sense that does not categorize easily. It is not the pure electronica that some may have expected after Junk, but the diverse sound is enough to make this worth the exploration.