Totenrune / Insurgence – Totenrune / Insurgence MC Lost Empires Records 2017
Following quickly on the heels of the split with Streicher, Totenrune has returned with another split, but this time with the noise/ industrial project Insurgence, and with the tape being issued on a new French based label.
For Totenrune’s 3 tracks it lead off with a murder confessional sample on ‘Libertine Atonement’ before the raw mass of distorted rumble and heavily treated vocals which provides a rough power electronics slant to the industrial-noise approach, although is also quite laid back in actual sonic agression. Being slightly more tonally forceful, ‘Rapture in Homicide’ then features spitting distortion and loose sense of structure and forward momentum (…although still relatively calm), while the final track ‘Mors Triumphalis’ is built around a prominent grinding loop and looser underpinning echo and rumble (…again being relatively laid back than what might be typically expected). As a general observation when comparing Totenrune’s tracks here to their earlier material on the Streicher split, the mood is more subdued and comes across as being more controlled and considered as a result.
In moving on to Insurgence’s contributions, although not having heard them before I am aware they have been compared to Deathkey, which is a somewhat valid comparison despite not achieving the same over the top fierceness. Regardless of this, the first of 2 Insurgence tracks is ‘Lost Innocence’ and demonstrates a step up in sonic intensity from Totenrune’s contributions. The first segment of the track is based on a prominent ‘stones in a cement mixer’ styled loop (…coupled with samples, static and raw junk metal), before the second segment takes a further step up with blunt-force, churning noise and unhinged vocals (…all force-fed through a feedback grinder and treated with a heavy dose of echo and reverb). The second Insurgence track ‘Shine’ heavily deviates where it commences on ritual industrial routes with chanted vocalisations and cavernous catacomal ambience, before moving back towards to a brutal and chaotic and junk metal noise sound (…complete with shuddering/ burrowing structures and unhinged/ overblown vocals before coming to an abrupt conclusion).
Packaging wise a raw collage is featured on the colour J-card which is stylistically perfectly suited to the sonics on the tape. Obviously this sort of release is not about bringing something new to a raw and ripping industrial-noise / power electronics sound, rather both projects simply deliver a solid dose of underground grit for the faithful.