My first introduction to VHS Head was almost a year ago when the Video Club EP was released; featuring a charming mish-mash of ripped VHS movie samples, mangled beats and brutally deformed melodies.

Trademark Ribbons of Gold gives you 20 tracks more, to deliver a perverse, sidewinding rollercoaster of raped electronics. It all starts rather well on the splendid Sunset Everett, which revels in its own form of organised chaos, where sounds and samples collide and play-off each other with resplendent, partially formed, glee.

From herein, however, VHS Delves into a schizophrenic world of self-absorption – not too dissimilar to Greg Gillis’ sample-based mash-up project Girl Talk, the only difference being, here the sample sources are unrecognisable.

There is something initially inviting about VHS Head’s obscure, crunchy audio violence, where dampened industrial beats thud mercurially beneath the odd mutated guitar hook and a plethora of B-movie samples. Spongy cyber bass riffs bob and weave throughout and the odd sliver of Boards of Canada-style synth curvature interlope to add ambiguous, atmospheric pitch-bent melodies, but 12 tracks in and it’s clear that one’s brain is becoming venomously frazzled and ideas wearing painfully thin.

Despite VHS Head’s interesting concept of combining modern editing techniques with 80s heyday uncut horror movie samples, Trademark Ribbons of Gold fails to live up to its ambition as the equivalent of Evil Dead 2 in electronic music form. Could have been better, perhaps should have been – the concept works, but being brutally skull-fucked by it doesn’t.