Troum's final part in their Tjukurrpa series comes with its own warning right in the title. Those familiar (and fond of) the powerful drones this German duo is famed for might be taken aback by the prominence of both rhythms and pulsations all over the record.Transgredient
From the opening "Ignis Sacer," the percussion takes the center stage, with a harsh and abrasive loop. Throughout the disc, the rhythmic loops get decreasingly harsh, lending more to the open drones the group is known for. Like the first two in the trilogy, part three was recorded over a period of time, which may account for somewhat of an uneven sound between tracks in comparison to last year's Siquan.
The firt two tracks go on painfully long and are sadly lacking in a depth I have come to expect from Troum due to a sound that is primarily in mono. By track three, "Saiwala," the rhythms have become less piercing but provided by pounding drums in a very Non/Death In June vein. However, at least Boyd and Doug knew how to end a song quickly (at this time the tracks are going on way too long).
It isn't until the fourth song, "W√°ian / Moys," that the music truly connects with me by the inclusion of faint vocals by a girl named Nina and a motioned progression that is quite the opposite from the somewhat painful first three tracks. It's at this point a good stereo separation also takes place. Slight pitch bends and thunderous echoes are hypnotic and warmly welcomed. Time seems to stand completely frozen.
True melodic movement comes through in the haunting follower "Reigen Taumelnder Geister," the reverse rhythms of "Wheaio," and mystical moonlit midnight music of "Airpeins." Perhaps some of the Eastern themes present could be a nod to Muslimgauze or Rapoon, or the group is getting ready to score an epic. Either way, for a disc whose opening half I completely hated, it surprisingly goes out fantastically well.
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