Face Without Face, to me, is the musical equipment of a genre film. It pairs a respected master (Negru Voda) with a relatively new artist (Knös) in a split release of harsh European electronics that offers no surprises nor earth shattering developments, but accomplishes what it intends to. Muffled, bleak and rhythmic, this split is a great throwback to the Tesco/Cold Meat Industry scene from the late 1990s.
Negru Voda, the solo guise of Peter Nyström, is no stranger to this type of art.His project Megaptera is one of the innovators of the sub-sub genre of death industrial, and his work here does not short change that legacy at all.The pieces here exhibit a surprisingly high level of restraint:"Still Death" hovers ominously with a low bass churn and crunchy dissonance that builds, but never becomes too intense."Different Layers" pulls things back even further, leaving a low end rumble and occasionally filtered swells of noise.Throughout it feels like harshness is ready to break out at any time, but never does, building tension beautifully.
An unrelenting drum machine lies at the heart of "Der Scharfrichter," and with the clanging reverb over random voice stabs, it bears a bit of resemblance to some of Esplendor Geometrico’s best works."Distorted Warfare" is more of a crossover piece here, with Knös' Frederik Djurfeldt contributing vocals to Nyström's music.It retains a rhythm, albeit an extremely haphazard and buried one, and leans a bit into the world of power electronics due to the vocals, but kept muted and quiet enough to keep it out of genre clichés.
Knös' half of this disc is not quite as oppressive as Nyström’s, emphasizing the rhythmic passages more."Fasansfull" utilizes muted noise loops that pop up, but sticks more to an ominous hum and galloping drum machine throughout.Menacing synth pads comprise the core of "Mörda Ofta" hinting at a more subtle composition, but soon destroyed by a violent stabbing kick drum that hits extremely hard.The arrangement is really quite basic and simple, but the careful processing makes it very effective.
A helicopter-like panning on "Du Har Fan Inget Ansikte" makes for a dark atmosphere with the low frequency synths matching up with the mood of "Mörda Ofta" but when paired with wet, white noise tinged synth passages it drifts a bit more into the world of noise."Slå Ihjäl Dig" does not suggest noise as much as fully revel in it:the sloppy, metallic reverb enshrouding what I assume to be vocals gives it a clearly old school power electronics feel.The disc ends on a subtler note, however."Tänk om Jag Vore En Elefant" is at first focused on creeping, quiet noise textures, but the heartbeat like kickdrum and respirator like electronic swell leaves the album on a clinical, disturbing note.
For a style that can be as overwrought as this is at times, both the old master and the young neophyte focus on the strengths of the genre, mostly the dark, bass heavy moods and fractured rhythms. Just as impressive is how they manage to ignore the traps of just slathering reverb onto every instrument and mumbling into a microphone here and there.It might not redefine a genre or style, but it is an exceptional work that embraces the strengths of the sound without falling into the tired traps many succumb to.
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