A duo of Wilhelm Herich and Brigant Moloch (both of Anenzephalia and also half of Genocide Organ), this new project is unsurprisingly bleak and gray synth heavy industrial. It does, however, separate itself pretty well from the duo’s other projects by focusing less on oppressive atmospheres and noise outbursts and more on a depressive rhythmic pulse and a focus on their industrial heritage.
Ke/Hil is distinct, but not completely different from the other projects that the two artists work in. To me it feels more in line with the early days of industrial than the harsher noise stuff people usually associate with them.Even though Genocide Organ has started to move in this direction: the recent :Under-Kontrakt: album comes from a similar restrained place, buteven on there there’s still a vibe of oppression and heaviness that is deemphasized here.
This becomes evident pretty early on in the album, with the long opener "Mirror of the World of Mirrors."Even though the opening nasal sine wave wouldn't be out of place on a more harsh album, when the subtle, almost melodic undercurrent rises up it sets the track apart.The closing minutes are even farther out there, with calm, mostly untreated vocals and actual guitar audible above the grinding synths.
The title track especially reminded me of those early Industrial Records releases with its effected, spoken vocals having more than a passing resemblance to Genesis P-Orridge's work with Throbbing Gristle.Musically, it's a mix of deep, gurgling synth stabs arranged into a plodding dirge, rhythmic, but lurching slowly.
The use of what sounds like wartime or riot field recordings all throughout "Ephedrine" wouldn’t be out of place on some of the older Genocide Organ albums, but the requisite Korg MS-10 abuse is more subtle and textural than the heavy, oppressive layers a power electronics band would use, giving a violent edge to the otherwise atmospheric backing. This isn't to say that there isn't a chunk of harshness to be had here and there, however."Black Snow" cranks up some distorted layers of synth that get a bit shrill, but the slow, heartbeat like thump and ambient undercurrent keep it from being a generic noise track.Similarly, "Adrenalin" pushes out a heavy blast of overdriven noise, but there’s enough layering and variation in the mix that makes it a distinct piece.
Ke/Hil is as bleak and depressive as I'd expect from a Tesco release, but it is far more complex and structured than people would expect.Overall it does feel like one of the most faithful antecedents of the early industrial days, and even though it dabbles in power electronics and noise, it never loses sight of its roots.
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