As much as I enjoy the music of KTL, there is a feeling that having heard one album, you have heard them all. This album bucks this trend to some degree; there is a feeling that that parameters that Stephen O'Malley and Peter Rehberg work within are widening. The darkness that permeates KTL's music is blacker than ever but the music has more gravity, pulling the listener in with more force than KTL have shown before.
Editions Mego (EU) / Daymare Recordings (JP)
As a two piece with such specific ways of playing their instruments, it is difficult to expand the sound of the project. While O’Malley mainly sticks to tremolo-picked guitar playing that resembles an arctic wind more than music he is now pulling in some of the staccato playing that he incorporated in Khanate. Rehberg is also expanding the tones he wrests from his electronics resulting in a more charged atmosphere. As a result, IV is less soundtrack-like than the previous KTL albums which works in the album’s favor (only “Eternal Winter” falls into a traditional KTL style).
Without doubt, “Paratrooper” is one of the most crushing pieces of music. The sputtering synthesiser that opens the piece bring to mind Throbbing Gristle’s meaner side and before long O’Malley’s guitar, shards rather than chords, drags the music into even bleaker places. What makes this so much heavier than anything else KTL have put their name to is the presence of Atsuo from Boris. His drumming adds a huge, bestial pulse to the shrieking assault of O’Malley and Rehberg. It is easy to mistake the clamor for Armageddon.
For those willing to spend a little extra on an import version of the album, the Japanese edition on Daymare Records contains a bonus disc of demos (originally released as a very limited edition CD-R last year). The recordings are, by their very nature, rougher than the ones on the finished album. They do not capture the same sense of dread that the Jim O’Rourke production does on the final product (although they still sound pretty sick). These demos and are worth paying the few extra bucks for especially as the collector prices that the original release goes for are far too expensive.
As I discovered with their soundtrack to The Phantom Carriage, their older style works best as an accompaniment to visuals (and this is one thing that is lacking from the earlier releases). Due to the music on IV behaving less like some form of black metal soundscape, it is a lot stronger than the duo’s previous albums. It feels like a standalone album and not like part of a larger picture and because of this, I am already listening to it a lot more than I have listened to KTL’s other work.
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