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At War with False Noise/Basses Frequences/Bloodlust!/Small Doses
The change and evolution of their sound is immediate once "Inverted Ruins" launches. The carefully controlled feedback of Andre Foisy’s bass guitar and the simple echoed stabs of Terence Hannum’s synths could be on any of their releases, but the addition of live drums from Velnias member Andrew Scherer and the distant, disgusted vocals of Bloodyminded’s Mark Solotroff push the sound closer towards rock territory, while synthesizer drones and digital noise pull it in the opposite direction. The song slogs along at the pace of stoner rock, but there’s far more noise experimentation going on for it to drift into caveman riff-heavy Sabbath territory.
The long "Procession of Ancestral Brutalism" embraces the squall of black metal, but with a distinct sound and structure that contradicts the genre’s infatuation with muffled flatulent production and cookie monster vocals. Aided by Nachtmystium’s Blake Judd on vocals and guitar, it’s not surprising that it conjures images of black metal, but the complex layering of guitars over Hannum’s almost prog-rock synth lines and Scherer’s freak out drumming, all with a cavalcade of vocal parts sounding like Mayhem and Can battling it out with neither side dominating the other.
The closing "The Columnless Arcade" features the same line-up, with the addition of Yakuza’s Bruce Lamont on saxophone. The screamed tortured vocals and rapid staccato guitar also give a metallic sheen to the proceedings, but there is a greater aridness to the track, a bit more light let in. Shades of the post-punk guitar sound that appeared on the recent 7" split with Harpoon are here as well, giving a purer tone and color than other artists are usually able to muster.
Between these longer pieces linger a few shorter, more sparse instrumental bits that are no less captivating. The sustained organ and insect saxophone of "Between Barrows" have a meditative quality that fits well between the louder, more boisterous tracks. Similarly, "Antediluvian Territory," which sits as the penultimate track, is a sparse duet of organ and guitar, which soars and rings on with a melancholy beauty that calls to mind, at least in mood, some of the best moments of the Cure’s Seventeen Seconds for some reason.
This time last year I thought these guys were doing something different in the field of drone metal, which has continued to be an overly cluttered genre, but I wasn’t sure exactly what that difference was. While I have been concerned at their prolificness over the past year, their output has never been superfluous or unnecessary. Territories stands as the full realization of the tapes, EPs, and split 7" singles that the band has issued in this time, perfectly encapsulating their dark, dystopian sound with the ideal balance of pure heaviness and pensive drone. Topping this one will be tough, but I’m thinking they will be able to do it in time.
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Going Places commences in a very promising way, with the blackened, crackling ambience of “Foiled.” The piece is built upon a simple, murkily haunting melodic figure that likely emanates from a treated guitar, but it is buffeted with a volcanic cascade of dense white noise, strangled feedback, and rumbling. It sounds simultaneously massive and ruined, like a Brian Eno song that is being devoured by a swarm of metallic insects while a fire blazes out of control. Such a thing is not completely without precedent, as it treads similar territory to Tim Hecker or Peter Rehberg, but it is pulled off extremely well.
The lengthier piece that follows (“Opt Out”) remains in a similar, but more muted, vein. The subdued white noise still makes it sound like the somber droning is emerging from an inferno, but the sound expands a bit with subtle psychedelic elements like echoing shudders and scraps and something that approximates a gentle kalimba. The washes of static and mangled guitars cohere into a hypnotically rippling pulse for much of the piece’s build up, but that subtle rhythm is gradually buried beneath a dense white noise avalanche as it glacially culminates. Notably, the music never sounds harsh, despite the fact that violently unmusical noises are occurring fairly constantly. This is largely due to the album’s production, which is heavily compressed. While this certainly sacrifices some definition and edginess, it ultimately proves to have been a very good idea, giving the album a shadowy, drugged atmosphere that is easy to get enveloped in.
Of course, that homogenizing fogginess also means the songs all blur together a bit. While that does not necessarily mean that the rest of the album yields diminishing returns, it does feel more like one very long, subtly evolving piece than six unique, differentiated works. There are minor variations, of course, but the distant, slow-moving drones and the patina of artfully constrained electronic noise chaos remain both constant and central. The duo departs from the formula slightly with some vocal howls in the more cathartic closer (“Going Places”), but more textural range would have been a welcome addition to the album. Going Places is a very formidable, listenable, and thematically coherent swansong, but I suspect Peter Swanson and Gabriel Mindel may have called it quits before quite reaching their peak.
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I can't listen to Kyle's music without thinking about Stars of the Lid. And for the same reasons I am reminded of Arvo Pärt, Brian Eno, and even Richard D. James. As such, Mr. Dunn's vocabulary is probably familiar to anyone who has heard any of those musicians. He combines violins, guitars, and other strings to paint long, gossamer tones, utilizes low frequency vibrations to generate weight, and creates forward movement with concise and appealing melodies and harmonies. On the other hand, Kyle's work can be easily distinguished from that of his influences. He is less physical than Stars of the Lid, more bombastic than Pärt, and more complex than Aphex Twin, but sober where Eno was often psychedelic. So while his technique is derived from familiar sources, his music is far from being counterfeit. Of course, two years ago I couldn't say the same thing about Dunn's music. Fragments & Compositions of... was a good record, but it was hyper-focused to the point of being narrow. I could hear where his music was coming from, but I couldn't see its destination. I guess the title goes a little way in explaining why the record sounds so incomplete, but that fragmentary quality also keeps me from hearing Kyle Bobby Dunn over the sound of his mentors.
On A Young Person's Guide Kyle pulls the curtain away, breaks free, and lets his creativity run loose. His music is still slow and laconic, but he's injected it with more movement and variety than before. Far from producing anything like pure drone, Dunn's music sways and dances with the reverberations of horns and strings, as well as processed audio. He includes piano this time around and fills his audio space with a low-end frequency so deep it can shake a room (at the right volume). He also toys with strange harmonies from time to time, blending tones so that they warp and fall into dissonance. A field recording pops up here, treated distortion there, and from beginning to end Dunn moves in unsuspected ways. "The Nightjar" is an especially surprising piece. Dunn populates the song with little eruptions of noise, which sound like a cross between a horn and one of Tangerine Dream's synthesizers. It is a very quiet, but conspicuous flow of sound hums behind these eruptions, resonating like a bell or a water bowl. The effect is far more surreal than anything on the rest of the record and it stands out to me as one of the better songs on either disc. At its conclusion he inserts a little sample, presumably taken from a conversation or an argument. The effect is unsettling and unexpected: it completes the song and the album perfectly, adding yet another little nuance to an already excellent and diverse record. It leaves me thinking of how different A Young Person's Guide is from Dunn's past work and it also compels me to start the album again.
I should mention, however, that some of these songs come from the same time frame out of which Fragments & Compositions was put together. I have no way of knowing which songs come from which time period, but this says a lot about how important a few surprises and sequencing can be to a record. A Young Person's Guide isn't just better than Fragments & Compositions, it's leaps and bounds beyond it.
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Even in a genre filled with iconoclasts and loners, Rose stood out as an individual. Received wisdom would have solo guitar music be a ponderous, mostly technical exercise for hermetic aesthetes. Rose studiously avoided that cliché. In fact, he toyed with those expectations throughout his career. The title of his 2008 live album, I Do Play Rock and Roll, is an inversion of Fred McDowell’s rallying cry for blues fundamentalism. Rose never fit in completely with the traditionalists or the avant-garde. He often switched between the two modes, often more than once within the course of a single song, as in the title track off Luck in the Valley. It starts off slowly in a minor key, the perfect intro for somber ragas that defined Rose’s earlier albums. Instead, he transforms the piece into a jubilant, quick-footed blues piece. The switch feels unforced, like a card trick played among friends.
For all his technical ability, Rose’s playing often had a raucous, unkempt manner. This reflects the music’s origins in the barns, brothels, and gambling dens of the early 20th century. Though Rose played mostly in concert halls and art galleries, his music still kept roots in folk dance and early popular music. Three out the ten songs in Luck in the Valley are covers, and they are among the album’s highlights. The closing track, “West Coast Blues” by Blind Blake, demonstrates Rose’s knack for breathing life into older material. The rapid fire riffing between guitar and banjo resembles a bar-room hustle more than a pious reconstruction. Rose’s talent for old time music isn’t confined to covers, his original material can be just as direct. “Lick Mountain Ramble,” a rollicking bluegrass piece, possesses an exhilarating joyousness that stands apart from any art-music pretention.
Luck in the Valley is a solo album in loosest sense of the term. Rose is joined by a multitude of other musicians, including Glenn Jones as well as the Black Twig Pickers, a bluegrass band from rural Virginia, who collaborated extensively with Rose on his last albums. These players are more than just sidemen. The accompaniment plays as much of a role in Rose’s compositions as the guitar does, as with the sweet rush of fiddle on “Lick Mountain Ramble” or the hollow twang of the banjo in “Moon in the Gutter.”
Excellent as the collaborative tracks are, there is still ample space on Luck in the Valley for Rose to display his talent for solo arrangements. The opening track, “Blues for Percy Danforth,” comes closest to a true raga out of any of Rose’s compositions. He lays down fluid, buzzing lines on the lap steel guitar to the accompaniment of jaw-harp, bleating harmonica, and subtle tambora droning. The tempo gradually swells, brassy tones undulating like the sun reflected in some derelict harbor. More than any formal connection with raga, “Blues for Percy Danforth” retains the forceful serenity of North Indian music. “Tree in the Valley” possesses a stark beauty as well, but with the passionate vigor more naturalistic than it is holy. Over the course of six minutes, Rose plays dizzying flamenco-like guitar riffs that twist and turn like the gnarled branches of some weather-beaten oak.
Rose was no prodigy. He took up finger-style guitar in his late 20s and practiced for years before bringing his music to the public. The resulting completeness of style along with Rose’s traditional repertoire often hid the restless innovation in his music. His rejection of twelve string guitar, the instrument that he built his reputation on, is just one instance of the artistic chances he took. It is vain to speculate on what Rose could have accomplished had he lived longer, but if Luck in the Valley is any indication, he kept his talent and vision to the very end.
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The long opening track "Heleneleh" is intentionally simple droning electronic hum, pitched near the 60hz hum of a guitar amplifier to resemble one sitting far off in another room. The rise in pitch approximately three minutes in is a drastic one, given how intentionally static the track is. The tones eventually join each other in harmony before being met with a third, almost ringing bell type tone. Towards the end a resonant, almost orchestral texture arrives, the various pitches existing together and generating independent harmonics, all with the familiar warmth of an analog synthesizer.
The short "Linear to Circular/Vertical Axis" is a veritable beehive of activity after the frozen layers of the previous track, consisting of reversed surges of tone with significant underlying variation. There is a crunchy lo-fi digital rust to the sound that makes it stand out compared to the purity of the other longer pieces. "Circle One: Summer Transcience" takes a much different approach, beginning immediately with a high frequency tinnitus ring that stays present for the entire duration, but is presented at a restrained volume that keeps it from becoming too disturbing or irritating. An ultra low frequency sub-bass enters, eventually oscillating rapidly. It’s an intentional study in extreme sound variation, the high frequency is psychologically effective, the low end is far more physical.
"Observation Wheel" meshes almost bird-like chirps and swelling low frequency drone with rhythmic stabs of white noise. There is a subtle variation throughout, but it has a warm ambient quality, with the slowly undulating low end sound slowly pulsating like a boat in the ocean. The closing "Rotational Change for Windmill" keeps a chirping electronic tone through the first half that is repetitive enough to encroach on annoying, but never crosses the threshold. Even at low volume, a combination of ultra and sub-sonic tones and abrasive tones can be heard, almost like an old Whitehouse album being played from a few doors down.
When I say enhanced and hindered by being on CD, I think the format does wonders for the purity of sound: Eleh is known for low volume pure tones that are presented here with pristine clarity. However, the digital purity doesn’t give the disc an overly clinical or sterile sound at all, there is still the analog warmth of the source material that shines through. On vinyl though, the interaction between the imperfections of the medium and the Spartan tones would give a unique listening experience each time. So it is neither a plus nor a minus fully, it is simply a difference.
Eleh’s first foray into the digital realm is one that doesn’t hinder the warm analog glow of the sound in the slightest, and allows instead a full pure transmission of their simple, yet inviting electronic drone. Minimalist in the classic sense of the world, it is the kind of album that demands full attention, played in a setting without any distraction or intrusion. Under those conditions, it is a perfectly engrossing hour of beauty.
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Carve Out the Face of My God isn't about technique or pomp but rather about precision. Each track is deep with rife, as Parker's noisier tendencies war with his elegant strokes. The album's opening salvo, "Dive," requires immediate obedience. The title not only suggests the musical choices of Parker throughout Carve, but provides a gentle command to the listener. Without giving yourself up to Parker's brand of homogeny, you are fighting your inner urges; those that compel you to dream of drowning in borderless seas and jumping into bottomless canyons. "Dive" begins with a singularly held note; trapped in white noise amber. Like the chrysalis frozen in centuries of molasses and mud, "Dive" is a moment of time fixed in Parker's own primordial goo. It takes patience to let "Dive" unravel but when Parker cracks its shell and watches it begin to rediscover movement, the noise subsidies and all that is left is a beauty only 18th century masters once touched.
The collision of classical aesthetics and modern technology is far from new but Carve Out the Face of My God approaches the crash in the aftermath, scavenging through the debris to find only the most useful and unexpectedly pristine. Parker finds the face of his god—whatever it may be—within this wreckage. Wisps of synthesizer waft above the mangled pile of machine and flesh, lifting Parker's vision into the heavens it promises to chisel. As one might imagine, the product is as uplifting as a godly epiphany. "What They Wanted to Be Useless" is a chorus of angelic background noises carefully lifted to the skies on a backbone of pipe organ. The metallic strikes of "Sunshine" act as the cleansing storm to wash away our robotic sins; those forged direct contact with bluetooth accessories and plastered atop regal entertainment centers overflowing with miles of loose cord and liquid crystal displays. Tucked submissively within these shouts to the gods are two-minute mantras to clear our minds and ease our hearts.
Parker's creations offer repentance for our ignorant mistakes, whatever they may be and to whomever needs our apology. It is from this idea that Parker's connections with Beethoven, Bach, and Handel are easy to find. These men of classic build crafted songs meant to divine truth from the actions of their god. It is here we find Kyle Parker, wrapped in the shroud of his own devotion to an idea far greater than any man could ever fathom. It is within this idea that we are found and offered musical salvation. Carve Out the Face of My God is a prayer for everyone to a being that will never answer and is likely to have never been. The willingness to say it anyway in front of anyone who will listen is what draws power into Carve, ultimately doling it out to those of us who submit to Parker's will. In music there is power and Parker has plunged his fingers into its heart.
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Why some bands will always be heralded for the appropriation of their influences and others forever doomed to jeers and insults is well beyond me. If there were any consistency to the praise or defamation perhaps I could discover the math necessary for choosing who should get my approval and who my censure. Such calculation and consistency constitute a phantom, however, one that unjustly haunts records according to this or that writer's whim. In 2005, Heat was just such a victim. Some publications caught on to its dance-oriented rhythms and stark melodies, but more often than not Tan caught flack for liking New Order and Joy Division a little too much. Nevermind that Colder is probably more indebted to Gary Numan, David Bowie, and Brian Eno, Joy Division and New Order are two unanimously loved bands with plenty of lauded followers, derivative or otherwise. Mentioning either one in a review only to hold them over a band's head like a threat isn't just ridiculous, it's lazy.
Besides, Heat is where Marc steps out of their shadow and into his own shoes. Dub and post-punk still figure heavily into his brew, but to them Marc adds a darker attitude ("On My Mind"), jazzy flourishes ("Your Face" and "Fade Away"), a more band-oriented sound (especially "To the Music"), and an even more distinctive sense of rhythm than is found on Again. As to the latter, it might be Colder's most distinctive feature. Tan's rhythmic sense is at once funky and awkward. Even when a song is thumping forward in standard time, Marc manages to make the rhythm sway and stagger like it's ready to fall apart. In some cases, he'll use every one of the instruments in a song to help create a kind of dizzying effect, as on "Wrong Baby" and "Losing Myself." In both cases, the entire ensemble throbs and reverberates together, creating a mechanical effect that's as hypnotic as it is cold and robotic. To that extent, perhaps Neu! and Kraftwerk are better points of reference than anyone else mentioned in this review. In any case, before hearing him sing, or even before one of his already distinctive and simple melodies pop up, I can tell Colder apart from almost any other band thanks to Tan's rhythms.
But, Heat isn't beyond criticism. Its lyrics are thin in places, though they match their songs well enough and are way more forgivable than the junk certain other media darlings pass off as lyrics. If Interpol can get away with singing about couches and... whatever the hell they're talking about... then certainly Colder can get a pass for being a little repetitive. It's a happy coincidence that Heat's biggest and most obvious flaw is also one of its more endearing qualities. Marc obviously tried very hard to make Heat more diverse than Again, but in some places it shows too much. The second half of the record is mostly successful in its blending of different styles, but "Downtown" stands out like a sore thumb and the start of "Tonight" is just too bright to fit comfortably anywhere in Colder's discography. Everything eventually falls back into place, however, and the album ends with some sinister organ-laden arrangements and a beautifully melancholic closer.
Heat deserves better than the grief it was given. Without a doubt it is a layered and complex record, but it's also very catchy and concise. The melodies are as solid as they come and the songs are sharp and memorable. That's his greatest virtue: Marc Tan writes excellent songs. This alone puts him head and shoulders above other bands playing the same game.
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Picking through songs both old and new, Oldham and his band take the most country-ish elements of Oldham’s songs and amplify them. Mandolins, banjos and fiddles are backed with a double bass, bringing the music back in time to an era where artists like Johnny Cash and Merle Haggard were clearing the path for whippersnappers like Oldham. Already acknowledged by Cash (who covered Oldham’s “I See a Darkness”), Oldham in turn tips his (pink baseball) cap to Haggard with a cover of “Ramblin’ Fever.” Elsewhere, a cover of The Stanley Brothers’ “Hemlocks and Primroses” brings attention to the influence of bluegrass on Oldham’s writing. Taken together, these covers show how wide-ranging Oldham’s writing is; he amalgamates so many different styles of songwriting into his own idiosyncratic style, cherry picking the best of each style for his songs.
With the Picket Line backing him, “Wolf Among Wolves” loses all its sinister undertones and instead sounds like something that Patsy Cline would have sung (although maybe she would have drawn the line at howling but who knows). The transformation reinforces the wolf in man’s clothing imagery in the song, the bite of the words hidden beneath all the prettiness. Cheyenne Mize’s backing vocals on “Lay and Love” may be less dramatic than Dawn McCarthy’s original vocals on the studio version but Mize imbues the song with an equal amount of tenderness and a quiet beauty. Mize’s vocal contributions throughout the album act as a suitable foil to Oldham’s own cracked singing.
Although Funtown Comedown can be viewed as a stopgap release before Oldham unleashes his next album (The Wonder Show of the World coming out in March according to a saucy internet viral video), it would be erroneous to discount it as being just for completists. Just as his last live album Is it the Sea? stood proudly beside his classic studio output, Funtown Comedown also rubs shoulders with his best work. Granted the songs are all familiar (even if I’ve never heard Oldham sing them before) but the spin the band give on the songs make them sound new again.
This review was made from the vinyl version of the album, so unfortunately there are no sound samples at this point in time, apologies!
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Before Red Mecca, the full-length releases from the Cabs had been a bit less than cohesive. Mix Up and Voice of America were both great albums, but had a lot of abstract tracks that felt more like experiments than fully fleshed out songs. The band’s singles were great, but showed a band unsure of what they wanted to do. For every chilling "Eddie’s Out" there was a snotty, punk-ish "Nag Nag Nag". Three Mantras, with its two side-long tracks, was just as experimental on its own, but heralded some of the sounds that would gel here. The amalgamation of rock tendencies in "Western Mantra" and use of tape manipulation in "Eastern Mantra" set the stage for this sinister, bleak album.
Titled due to the band’s interest in the growing issues in Afghanistan and Iran at the time (1981), it was the culmination of American Christian fundamentalism and Muslim extremism taken to its possibly apocalyptic end. The material doesn’t overtly reference any of this though: the Christian preacher samples that would characterize their later work are nowhere to be found. The mood, however, is one of corrupt spirituality: murky sounds that are symbolic of murder for the sake of religion. Given how little things have changed politically in the near 30 years since this album's release though, I just wonder how the situation hasn’t inspired the same level of brilliance in other artists.
Opening and closing with faithful covers of Henry Mancini’s "A Touch of Evil," the Hollywood bombast and grandeur of the original theme is reduced to sparse bongo drums and reptilian synths and horns slithering over a rudimentary bass line. The chilling tone of the track foreshadows what’s to come: unidentifiable bits of sound hiding amongst the familiar instrumentation.
The "lighter" moments, or more appropriately the less dark ones are scattered throughout the album’s all too brief running time. "Sly Doubt" ranks up there with the funkiest tracks the band ever recorded, with its up-front bass line and treated drums from Nik Allday casting an alien shadow. Richard H. Kirk’s nauseous guitar stays low in the mix, as does Chris Watson’s organ drone, leaving the focus on Stephen Mallinder’s bass and vocals, the latter delivered heavily treated and with a hiss to render the words nearly indecipherable. For all its obtuseness, there is enough overt sleazy funk that would make it playable in a strip club…but more appropriately one run by the Order of the Solar Temple where all the girls try and hide the significant scars of ritualized abuse.
"Red Mask" opts more for the rock side of the band’s sound, with Kirk’s mangled guitar and Watson’s electronic organ leads functioning as some dark, mutated take on 1960s psychedelic rock, bolstered by the buzzing spring-reverbed metronome drums. "Black Mask" on the other hand, pushes the sound more into modern dub territory, with Mal’s bass and the drums leading the charge, with electronics and voice samples acting as minor accents to the sound. The swirling effects and damaged horns of "Spread The Virus" resemble a more song-based take on the "Eddie’s Out" single, though here it uses the same proto-techno drum machine beat from that single’s flip side, "Walls of Jericho." Rather than the pure demented tape manipulations of "Eddie’s Out," the sound here is one of schizophrenic mania, with the treated drums and rhythmic bass clashing with the spastic horns and Mal’s hateful ranting.
The remaining tracks are more restrained; yet still ooze that same red-lit murky darkness of the rest of the album, perhaps even more so. The short instrumental "Landslide" showcases Kirk’s vaguely Middle Eastern surf guitar playing over heavily treated drums and Watson’s organ set on "horror movie" that comes off as wonderfully sinister, but not ham-handed or forced. So many bands try and be "scary" with their sound, but it always sounds so cliché or trite. Here it just IS dark.
"Split Second Feeling" matches the same guitar sound with more conventional organ and Mal’s heavily echoed and delayed vocals that actually sound far less agitated than on the rest of the album, but still have a sense of unease and sickness about them that puts it squarely in league with the remainder of the disc. Rather than the lurking menace, there is more of a sense of despair and fear conveyed.
The album’s centerpiece, and highlight, is the ten minute dirge "A Thousand Ways" that slowly begins with funeral church organ tones rising out of dark reverberated passageways. Mal’s bass keeps the track moving, as does the simple, whip-lashed rhythm. The vocals, which mostly consist of angered ranting a bit too far behind the microphone, are met with Kirk’s positively anemic guitar sound, sounding like the audio equivalent of malaria, pushing the track even further into the bowels of hell.
Even the full package of album art furthers this image: the multicolored, melting abstract image on the front is coupled with stoic looking portraits of the band inside, posing with large, ritualistic cymbals in front of them as if preparing for some blasphemous incantation. The fez-wearing statue head in the final page of the CD booklet is far beyond creepy, to say the least.
After this album the Cabs would go on to create the also-brilliant 2x45, which added a healthy dose of jazz to this formula, which I feel diluted some of the force and darkness that’s here. After that, Watson departed for the Hafler Trio and the remaining duo of Mal and Kirk began mining their own paranoid, survivalist form of funk influenced synth pop, and quite successfully so. I’d be remiss to not consider the trio of Virgin albums (The Crackdown, Microphonies, and The Covenant, the Sword and the Arm of the Lord) amongst the most brilliant electronic pop recordings ever, but the band was never as dark and frightening as they were here. While the greedy side of me is of course upset that there were no other albums like this, the rational side knows that such a situation would have diluted the impact of Red Mecca.
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The single improvised track begins with overt reverberated scrapes from a rake and other found sounds, (courtesy of the Sons of God) baked in reverb and far too jarring to be rhythmic. The scrapes are eventually paired with a distant electronic tone that haunts in the distance. The constant study of the metallic grind of the rakes surprisingly doesn’t get dull or tedious, as both Leif Elggren and Kent Tankred use the humble tool as an instrument more than just a sound effect.
Subtle synth punctuations by the Skull Defekts guys slowly enter and make their presence known. The constant dull pulse of the keyboards contrasts the otherwise dynamic improvised sounds. Eventually the synths win this battle of sounds, dominating the mix with massive sheets of low end swell that casts the scrapes into an entirely different light: the darker feel of the track sounds more like chains being dragged through a dungeon than electro-acoustic improvisation.
The synthetic sounds become the focus even more as the track goes on, waving a dronescape that stays static while the improvised sounds skitter across. The sound is definitely abrasive, but the textures are not harsh. Instead, the track continues to lurk around in the shadows. The electronic sounds become more varied, but always remain cautiously guarded among the chaotic noises.
The final third of the track allows the noise to flow, with the overdriven synths matched with violent crashes and bangs from the gardening implements. It reaches that fuzzy grind that rivals some of the best noise artists working today. After this violent outburst, the sounds retreat into an echo chamber of synth waves, random clattering and bashing around to conclude the performance as it began.
As best as I can tell, the proceedings are exactly as they occurred in Studio Dental a few months ago, which exemplifies the skill and nuance of these two projects. There are other artists out there who seek to create similar sounds through the use of constant sound manipulation and digital treatments, but this the result is one of purely organic collaboration. Kudos also to Utech, for releasing this and delving into even more abstract realms than the drone metal and noise the label is known for.
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There’s no pretense or interludes here: disc one, track one, "Shivering Aurora" immediately cuts in with shirll guitar feedback and swells of noise, undulations building into rhythms via delays. There’s a slight hint of Lou Reed’s Metal Machine Music to be found, but in a more organic, natural sense rather than a "fuck you" to a record label one. "Gateway to Blasphemous Light" is similar: all midrange painful noise that doesn’t relent, but there is still obviously a guitar buried amongst the distortion and reverb. Over on disc two, "Star Konstellation" is a similar piece of pure guitar squall.
Bower and company aren’t afraid to inject some heavier sound treatments and electronic effects into the six string revelry: "City of Dis" sounds like someone vacuuming over a guitar solo while a broken synthesizer and emergency sirens wail away in the background. "Basement of an Impure Universe" is feedback, heavy undulating static and shrill electronic squeals far more than any traditional guitar sounds.
The remainder of the tracks combine both elements to some extent. "Starlit Mire" focuses on deep droning buzzes and massive, infinite expanding guitar squeal as opposed to the aggression that comprises the other tracks. "Enochian Tapestries" meld swelling waves of noise and distorted guitar notes that are left out to decay, the sound positively rotting. "Blackened Angelwings Scythe the Billowing Void" sounds like a tortured guitar solo blasting inside an empty parking garage, simple but effective.
"Nibelungen" and "Rheingold" both rely heavily on guitar noise and feedback, but on both tracks there’s a vibe that they’re going to launch headlong into the blasted stoner rock that characterized the older Skullflower, but neither ever does. For that reason alone it’s the noise equivalent of blueballs….the whole time I was hoping for some massive drums and detuned bass to crash in, but they never do.
In the sense of a spectacle, this disc definitely fits the bill. There’s something to be said for over an hour and a half of unabashed guitar squall, but "Nibelungen" and "Reingold" both leave me wishing for some of Bower’s rock stuff to show up amongst the feedback and noise. There’s no reason both can’t co-exist, so how about something more like Xaman here?
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