144 to 88 BPM across the very first transition: 'Testo Skin Part 2' opens at full tilt and its own first part, sequenced right after it, pulls the plug. That inversion sets the rules. On 'Harmony', Brutalismus 3000's second album and their first since 'ULTRAKUNST' (2023), tempo doesn't draw a curve — it draws a sawtooth. The Berlin duo cuts without warning between 144-155 BPM assaults ('Gore Louvre', 'A Milli', 'Garland') and 68-100 valleys where the pulse nearly flatlines ('Leonard Cohen' at 76, 'Mother Bug' at 68, the slowest of the lot).
Three guests, three tempo jobs
The collaborations aren't placed where they'd make the most noise, but where the flow needs them. 'Friends At The Pigshed' with Underworld — named after the British duo's Pigshed studio, as they told Dazed — is the longest cut (3:57) and anchors the first valley at 100 BPM. 'Morning Is For The Happy', Anya Taylor-Joy's spoken-word poem, runs 1:17 and works as a 113 BPM hinge between two fast blocks. And Boys Noize, who also co-produced the album alongside 100 gecs' Dylan Brady, shows up on 'I Bring My Gun To The Function' at 150 BPM, right in the second peak.
Sequencing this in the booth means accepting the record's logic: there is no ramp toward a climax, only pairs of tension and release. The fast blocks never last more than two consecutive cuts before the brakes slam, and the ending confirms it: 'Garland' hits the ceiling at 152 and 'No Friends In The Company' switches the lights off at 82, in the same F minor as 'Mother Bug'. The duo told Dazed they set out to make a toxic record called 'Harmony' that kept getting lighter along the way; the tempo map tells exactly that story, aggression and calm taking turns until the final minute.
Sources: RA · Dazed