Sat, 6 December 2025
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Logic Lost Releases New Album ‘Disposable Gods’ on Avon Terror Corps

 

Indonesian Experimental Artist Logic Lost Releases New Album ‘Disposable Gods’ on Avon Terror Corps

Press Release Kit (Press Release Indo, Photo, Artwork Cover)

The album is inspired and serves as a direct reflection and tribute towards both historical and

contemporary global revolts, such as in Indonesia, Nepal, and Bangladesh in recent times,

Romania and the Philippines in the past, and of course, Palestine, which have all been met by

the eternally familiar tactic of brute force by their rulers.

DISPOSABLE GODS: The Story

Disposable Gods tells the story of a fictional society on the brink of collapse. Tired of how

broken the world has been made and how much the rights of the people have been stolen

gleefully by the oppressing power, the people fight back. Each track symbolizes a certain event:

1. World of Prayer – The ruined society is introduced: its people oppressed, its streets

filled with despair. The remnants of power are visible in stolen rights, visible inequality,

and a decimated landscape.

2. Insurgents – The silence shatters as the oppressed rise. Crowds flood the streets in

protest, their anguish finally explodes in the form of sound.

3. Fix Bayonets – Tension explodes into violence. Authority forces armed with rifles

confront them and endlessly open fire, but the people fight through endless bullets.

4. Jurang Kuasa – The crowd close in on the leaders’ headquarters. The remaining

oppressors flee as their surroundings burn.

5. Biadab – The oppressors abandon their stronghold and land in an unfamiliar place,

realizing they are now hunted. Their arrogance fades as they try to survive the brutal

reality.

6. Trash Begets Trash – The oppressors are captured, disheveled and broken. Word

spreads of their downfall, and celebrations erupt.

7. Fear of Razorblades – The captors march the oppressors to their execution, their faces

alight with incredible satisfaction.

8. Without Sin – Confusion abounds over what’s next. As the emerging power vacuum

grows, uncertainty creeps in. Ominous voices emerge as a possible new replacement.

Repeat album.

Disposable Gods’ style draws heavily from metal, digital hardcore, drone, and techno, and

stems from Amirio’s desire to make an album based on the metal/hardcore bands he admires,

some of which served as his gateway towards subversive art such as System of a Down and

Godflesh.Disposable Gods features collaborations from Senyawa members Rully Shabara and Wukir

Suryadi, Deathless Ramz of Bandung-based experimental act Deathless, Lody Andrian of

Jakarta electronic project Gowa, and Ferdian Maulana of Bandung metal band Hakkon. The

album is co-produced and mixed by Deathless Ramz, and is mastered by James Plotkin.

The cover of the album is designed by Dylan Amirio and Emma Day.

Tracklist:

1. World of Prayer (feat. Gowa)

2. Insurgents (feat. Rully Shabara)

3. Fix Bayonets

4. Jurang Kuasa

5. Biadab (feat. Wukir Suryadi)

6. Trash Begets Trash

7. Fear of Razorblades

8. Without Sin

Disposable Gods is available for purchase and listening through these links:

https://logiclost.bandcamp.com/album/disposable-gods

https://www.ninaprotocol.com/profiles/logiclost

CDs can be pre-ordered through avonterrorcorps.bandcamp.com.

The album is available on digital streaming services courtesy of Indonesian label Orange Cliff

Records, who will handle distribution in Indonesia. Limited edition cassette tapes of

Disposable Gods will also be available through Orange Cliff Records at a future date.

About Logic Lost:

Logic Lost is the solo project of Dylan Amirio, a figure in Jakarta’s experimental electronic

scene. Known for crafting dense, atmospheric, and abrasive soundscapes since 2015, his work

is shaped by the cacophonous urban environments of his hometown and beyond, using a

perspective rooted in his Indonesian heritage.

About Avon Terror Corps:

Avon Terror Corps is a Bristol-based label and collective focused on releasing challenging and

innovative music from the outer limits of the electronic, experimental, and noise genres, with a

stated aim of “documenting the sound of the underground.