Pterygium – Concealing The Past CD Tesco Organisation 2018
The relatively new Australian project Pterygium have returned with their second full length album Concealing The Past, which follows the 2017 debut Grip (issued on a small cassette run on Algebra Of Need and reviewed here). Also of note, Pteryrium had a track on Tesco Organisation’s 2017 Projekt Neue Ordnung II 4xLP boxset, where Tesco has now subsequently issued this new and admittedly excellent sophomore album.
In noting the dual sonic approach of Grip, which blended minimalistic melodic tones with sharper distortion squalls, that approach has been both repeated and further honed here where the tonal range has been further refined and sonic depth amplified. As an album Concealing The Past is structured around nine distinct and individual pieces of between three and seven minutes each, which on the most part follow an understated melodic and minor keyed compositional framework. Being effectively an instrumental album, a variety of discreet sampled ethnic/ religious framed vocals provides an ethereal touch, as does the melancholic elements (such as piano lines, neo-orchestral strings etc.), which evokes a detached yet strongly emotive resonance (such as is immaculately displayed on A Vacant Regret). Yet there is still a willingness to let loose on select with heavy menacing drones and higher-toned noise squalls such as displayed on Entry_Exitpoint which has a raw tonal sharpness which perhaps is indicative of a live in studio recording technique. A pair of late album tracks (Siphon Like Parasites & And Love Became A One Way Street) both balance on a knifes edge between the dual sonic approaches, on the one side featuring crude distortion blasts and choppy loops, which on the other are offset against bass addled drones and swelling sub-orchestral melodies.
Thematically Concealing The Past clearly fits within the broader post-industrial network, but to its credit does not sound in any way typical or derivative of a particular sub-genre. Rather, it draws extensively from various elements to create its own internalized sound and logic and is all the stronger for it, but for comparative sake the multi-faceted sound displayed by Prurient on Frozen Niagara Falls is perhaps a reasonable reference point.
Although some people continue to complain that the post-industrial music is broadly redundant for lack of new ideas and approaches, and further accuse newer projects of being mere copyists of the originators, Pterygium is the effective antithesis of that opinion. Solo member Henry Gillet clearly understands the underground scene Pterygium operates within, but armed with a wealth of musical ideas he has creates a strong and individual sound which sidesteps being in any way derivative of genre confines of noise, industrial, dark ambient and power electronics. If the current and next generation of projects can match the creativity displayed on Concealing The Past, there is still much new ground to be explored and much to look forward to and be celebrated. A resounding recommendation from these quarters.