Despite its dark, unrefined edges, End Gorge is comparable to a wide range of both underground and popular Japanese electronic music. You can find a likeness in tracks such as 'The Struts' with that of Yellow Magic Orchestra in it’s sparse percussive sections and the development of distinguishing sounds which have ultimately birthed the Tokyo underground's ambitious approach to electronic music. Much in the same way YMO differed from their European contemporaries and reached their own conclusions, Hanali is a figurehead in the Japanese Gorge scene who is doing exactly that, if not on a much smaller scale.
What really stands out in these recordings is the energy: 'Static Method' finds itself on the borderline of panic reaction, akin to a boss stage in a 16-bit scrolling shooter. The energy in tempo and tribalistic atmospheres portrayed in these recordings are what set Hanali apart from the ever-growing scene of online Gorge producers.
A very specific sound palette is what Gorge artists refer to when building tracks; made up predominantly of tom drums dominating the low end, but in Hanali's case; synths feeding back and crashing like overhead jets in the higher frequencies and taking the listener out of their comfort zone with subs that fight off the previously balanced EQ and hold the intricacies of higher percussive elements hostage. Each track opts for flickers of vocoded voice samples which act as time keepers in what can be fairly complex rhythms; gliding and dropping in like ghostly, malfunctioning robots or unnervingly emotional AI’s. It’s the sound of the Tokyo underground and its dominant Gorge scene; direct from one of it’s founding members.