I believe this is the third album from this Vienna-based duo, but it has been a while (eight years) since they last released anything and they are entirely new to me. Rdeƒça Raketa is a collaboration between composer/double bassist Matija Schellander and Slovenian singer/artist/force of nature Maja Osojnik and they achieve quite a memorable and compelling collision of aesthetics. At its best, ...and cannot reach the silence feels like a Weimar-era cabaret, a killer noise/industrial show, and gripping performance art all beautifully mashed together. While that seems like an aesthetic that should not work (like Marlene Dietrich fronting Throbbing Gristle), the execution is so masterful that Schellander and Osojnik make that unholy union seem perfectly natural. Admittedly, the train occasionally derails a little bit or a song might take an exasperatingly long time to catch fire, but the album's minor flaws feel completely irrelevant when everything locks in place and Osojnik starts seductively singing and ranting like a classic femme fatale diva gone feral. Given that, Osojnik's magnetic vocal presence is understandably the focal point of the album, but it is also worth noting that the pair are unusually good at crafting wonderfully heavy and gnarled industrial rhythms. This is easily one of the year's most memorable albums.
The album is composed of three lengthy pieces whose titles form a poem of sorts ("the night is spilling across the room‚Ä¶like gasoline. waiting it out."). All of the texts come from Osojnik, and the poem abstractly alludes to the album's central theme of rampant misunderstanding and the "tightening of incompatible parallel 'realities.'" I would be hard pressed to come up with a theme that better sums up the current state of the world than "incompatible parallel realities," but it would take a close reading of the lyrics to grasp that overarching theme, as ‚Äã.‚Äã.‚Äã.and cannot reach the silence primarily feels darkly libidinal with a healthy side helping of churning industrial menace. The strongest pieces are the first two, as they are more song-like than the closing soundscape. On "the night is spilling across the room," a ghostly haze of feedback gradually coheres into something like a Birchville Cat Motel gig unsuccessfully attempting to drown out a sultry cabaret chanteuse. As it unfolds, it hits quite a striking balance of eerie beauty, gnarled industrial maelstrom, and smoldering sexuality. It even stays great after Osojnik's fiery central performance subsides, as floating vocals swirl above a heavy industrial beat that feels like one of Downward Spiral-era NIN's more experimental moments. The following "like gasoline" picks up right where its predecessor left off, as a heaving mechanized rhythm is strafed by static and ghostly backing vocals fade in to set the stage for another volcanic Osojnik performance. There are a few moments that feel a bit too intense or bluntly sexual for my taste, but they are handily eclipsed by how much everything else is crushingly brilliant. It's like a great industrial noise band was unexpectedly blessed with a strikingly charismatic, sensual, and spontaneous femme fatale vocalist hellbent on tearing through the scene like an erotic hurricane. Consequently, it is fitting then that the final piece (‚Äúwaiting it out‚Äù) is mostly a howling storm of noise and electronics. It is an impressively nightmarish one too, but the comparative lack of Osojnik's vocals makes it feel less "human" and distinctive than the previous pieces (though I do like the part where her garbled voice fleetingly appears to ask "who are these people?"). The three pieces cumulatively add up to quite a wild, wonderful, and uniquely heavy album, as Schellander and Osojnik seem blissfully immune to any impulses that might dilute or diminish the primal intensity of their art.
Samples can be found here.