Alberich / Lussuria  ‎– Borgia

Alberich / Lussuria  Borgia LP Hospital Productions 2018

Here we have a reissue of a 2016 collaborative tape between Alberich and Lussira, which according to the liner notes was: “recorded live to tape using Korg Digital Synthesizers”.  With this release then being billed as ‘dark ambient’ it should be relatively clear that Lussuria has had a greater influence over the sound, particularly as what is offered differs substantially from the recognized driving and rhythmic industrial meets heavy/ power electronics sound of Alberich. However at the same time the sound is a fair bit more animated and digital in tone when compare the usual abstract approach and timeless quality which is characteristic of Lussuria.

Album opener Continuum features tensile but melancholic dark ambient styled atmospheres, while the following cut Antechamber amalgamates cyclic drones and washes of crumbling distortion which refract and fold in on themselves. Anti-Renaissance stands out in that pushes towards something resembling an Alberich rhythmic approach, yet here is remains muted in execution and backed with distant and cavernous squalling noise. Untenable is also noteworthy based on its incorporation of smatterings of sparse tribal-esque percussive textures within a maudlin power-drone framework. Alabaster is another offering which appears to be more strongly driven by Alberich’s influence given the programmed driving rhythm and melancholic synth elements, but they still remain understated in the overall sonic framework. For the final track Voice Of The Dagger it is an animated piece which features an excellent blend of of sub-orchestral drones, micro-tonal metallic textures and rhythmic throbbing undercurrent.

Although being billed as ‘dark ambient’, Borgia is varied in both approach and resulting atmosphere and maintains a strong sense of animated movement throughout. Although differing quite significantly from the typical approach of either project, both have a clear appreciation of the use of melancholic elements within an experimental dark ambient framework, meaning Borgia is a very enjoyable collaborative release. An edition of 500 copies (200 in purple and 300 in black vinyl) will likely serve demand, but won’t hang around long either.

Advertisements

Augure Concret ‎– An Act Of Desperation / Cephalophore

 

Augure Concret An Act Of Desperation MC Fall Of Nature 2017

Augure Concret Cephalophore MC Unrest Productions 2018

Augure Concret are a new industrial / power electronics project from the UK who have issued two tapes in relative quick succession (in November, 2017 and February, 2018 respectively), however I have no idea as to the time-frames over which the material on these two tapes were composed and recorded. Regardless of this, An Act Of Desperation is the debut release, featuring eight compact and to the point tracks which are framed around an ominously aggressive mood. Compositionally the track feature layering of caustic loops, deeps slow percussive thuds, raw junk metal type noise, semi-melodious loops and somewhat distant vocals which are still decipherable in their yelled presentation with slight echo treatment. The overall sonic tone is thick and hefty, where the slow plodding motion of the tracks gradually elevates in intensity. Some tracks specifically bring to mind Grunt of Human Larvae and their penchant for using creaking junk metal sound sources as a central part of their sonic framework. Therefore such comparisons should give an indication of the detailed compositional approach and rawer and ripping noise infused edge of the material found on An Act Of Desperation.

Cephalophore is the second follow up tape and demonstrates a clear evolution in sound and approach, given it features four untitled longer form tracks which sprawl out over greater length. Thick and spitting distortion open the album as a backing to a dialogue sample discussing schizophrenia, before launching into a chaotic noise infused ‘rocks in a cement mixer’ loops, while a melancholic synth line cuts through strongly and the vocals are rendered unintelligible through their distortion treatment. The second track is split into two halves, where the first segment incorporates whistling noise, mid-toned tensile drones and roared vocals, while the later section is instrumental in scope and shows a willingness of the project to explore controlled and atmospheric spheres through the use of looped and layered orchestral strings which are underpinned by a plodding bass hum and muted mid-toned static. Excellent stuff. The first track on Side B is a particular standout with its shuddering cascading loops, distant underpinning synth line and semi-buried gruff vocals, with gradually elevating momentum and mid pitched noise.  For the final track it is controlled rather than outwardly aggressive, being subdued and sparse overall, vocals are cavernous and distant and mid-toned, chattering noise.

Clearly both of these tapes demonstrate Augure Concret to have definite level of skill and a wealth of compositional ideas. However in comparing the two Cephalophore stands above An Act Of Desperation, as it is more varied overall in style and approach and willingness to pair back on overt aggression and bodes well for Augure Concret caving out their own niche sound and approach within a power electronics infused industrial style. Best be quick if interested in these as both of these professionally duplicated tapes are extremely limited – 60 copies for An Act Of Desperation and 121 copies for Cephalophore.

Lussuria- Standstill

Lussuria- Standstill 8xMC Hospital Productions 2017

Lussuria may not be the biggest or most well-known artist on the Hospital Production roster, but over the last decade this solo project of American Jim Mroz has issued a large array of releases which draws from a diverse sonic base, including: dark ambient, experimental industrial, muted noise, abstract techno and cinematic soundtrack styled sonic explorations. In then drawing together such a diverse sound palate, it is of interest that the end result contains a vague approximation of each chosen stylistic element, but where they are combined in such a way to sidestep the usual or expected traits of the genres being drawn from, and in the process evokes an intangible and at times mysterious aura.

To then speak of this new release, Standstill represents an exercise in stamina and endurance given that the eight cassettes feature a whopping 33 tracks (formatted as 29 tracks for the digital version), with a combined total playtime pushing almost the four-hour mark. In then choosing to issue such a monolithic release in today’s age of short attention spans, on run-time alone Standstill has to be acknowledged for its rather epic and time stretching efforts. Perhaps then of contextual interest is the fact that Jim Mroz was a contributing member who joined Dominik Fernow on Prurient’s 2017 album Rainbow Mirror – the three hour and twenty minute marathon  meaning Jim is no stranger to releases with an excessively elongated run-time.

When further considering the monumental length of Standstill it might be somewhat expected that it would be most sonically diverse. Upon listening that expectation is revealed to be true, where at times Standstill is the most purposefully musical release in Lussuria’s discography to date and consequently a fair departure from the oblique industrial and abstract techno infused experimentation of earlier works. Yet, regardless of the sheer stylistic diversity on display, the overarching mood is one of a cinematic sound-score which remains as stylistic hallmark of earlier material. Likewise while the fractured beats and rhythms of earlier works make sporadic appearances here and there, more broadly Standstill evokes a deft filmic quality and timeless atmosphere.

To talk of specifics, but without attempting the unnecessary task of describing all aspects of the release, an impression of some of the more notable moments found within the sprawling scope follow. As such the album opens with Tree of Marble, an excellent cut of hushed experimental electronica with strong underpinning tone of melancholia. Another early track Aegri Somnia channels a quite distinct archaic soviet synthesizer sound, while the combined piece Viaticum/ Spear Dance/ Companion Note features driving doom addled beats, minor keyed synth washes, and maudlin clean shimmering guitars to generate a mood driven piece of the highest order. Another combined track Acanthus Leaves/ Of Rage And Denial/ Lashes features emotive drones, radio chatter, orchestral synth washes and tribal percussion which strongly brings to mind the early 1990’s sound of Cold Meat Industry (and specifically artists such as Morthound or Deutsch Nepal), before shifting into a section of muted but driving techno-esque beats. Moving into the middle of the set list, Natura Liberari I-III – plays out as a minimalist and abstract contemporary classical piece of sparse percussion, cello piano and woodwind instrumentation, before later segments divert off into conveyor belt rhythms and looped choir like drones. Twilight Red stands out as a dark ambient track of the highest callable, where the deep sub-orchestral drones are very reminiscent of the best moments of mid era raison d’etre (and when first listening to this my mind wandered and forgot I was listening to Lussuria, where I then momentarily wondered which raison d’etre album I was listening to!). Cliff In The Red Tidal Wave shows yet more variety, by channeling a lurking, suspense styled atmospheric piece of minimalist horror stings and abstract creaking tonality, ritual chimes, and sparse clean guitar. Your Voice To Arise As Incense then completely stands out from the rest, given it is based around sampled male choral vocals (Russian? Not sure), before their tonal resonance of the vocals is harnessed and the track veers off into heady ritual drone territory. As for the final track of the entire set, De Svarta Porten strides into neo-classical and martial industrial tinged territory, but maintaining a forlorn and abstract edge through to the final moments.

With the overall massive run-time being what it is, it was simply not possible to consume this in a single sitting, rather it was approached in larger blocks of tracks over a number of listening sessions. But given the distinct individual focus of the tracks which make up Standstill, it means the material can be approached in this way without hampering its appreciation. In noting from the above description of particular standout moments, it perhaps indicates that not every moment of Standstill is of the same high level. Yet even with that said there is no poor quality or skippable content, which in of itself is an impressive feat when dealing with literally hours of music.

With its monolithic scope and creative diversity Standstill is a stellar release and the most varied and engaging material I have heard from Lussuria to date. But as this was issued in an physical edition of a mere 150 copies (already long sold out), this leaves only the digital version as the means in which to experience this. As a final comment, it is noted that Hospital Productions have previously issued similar 8xMC’s from a number of their artists. So perhaps like Alberich’s original 8xMC NATO-Uniformen from 2010 which was treated to a ‘best of selection’ reissue on 2xLP in 2014, in future Standstill may also be given the same ‘best of’ reissue treatment. We shall see.

She Spread Sorrow – Midori

She Spread Sorrow – Midori CD Cold Spring Records 2018

She Spread Sorrow is a solo Italian project fronted by Alice Kundalini, with Midori being her third album since 2015. In making reference to the first two albums, those were broadly promoted as being of a death industrial and power electronics type, however in truth Alice’s approach was a far more restrained and minimalist take on such styles. Thus by forgoing the typical outwardly aggressive elements, She Spread Sorrow’s sound was (and is) framed around creepy and vaguely disturbing atmospheres. To then speak of Midori, it has taken the base template of earlier material and added a heavy dose of ritual dark ambient tonalities to further widen the sound of the project. The trademark vocals also remain as a constant, where they are clearly recognizable for their drawling whispered style, being delivered in English with an obvious Italian inflected accent. In an overarching sense Midori is an album of tensile widescreen ambient soundscapes with smatterings of noisier textures and sonic elements, but those elements are clearly dialed down in tonal intensity when present. Additionally, Midori has embedded a greater use of orchestral synth pads also pushes the album towards dark ambient expression, yet are also used sparingly for added impact.

The evolution of She Spread Sorrow’s sound is then clearly demonstrated on album opener Escape, being an excellent piece of orchestral washes, muted drones, vague percussive elements, with whispered vocals mixed upfront. Following track Night One is a heavier and grim bass addled piece, but ritual chimes give it a differing overall sensibility. That ritual aspect is further amplified on The House through the use of a central ritual percussive texture against an undercurrent of minimalist layered drones. Who Are You, Midori? is of note as it features the most varied instrumentation of the album, including sweeping orchestral strings, a distant plodding piano create a darkly cinematic atmosphere, coupled with sporadic percussive hits and the trademark vocals. To The Light is an album standout based on its darkly moody sweeping orchestral framework and clearly of a neo-classical tinged dark ambient offering, while the album concludes with End of Midori, and has an almost abstract dark jazz tone due to the slow rhythmic percussion set to sweeping sub-orchestral drones.

Clearly building on what has come before, Midori is the strongest work yet from She Spread Sorrow, being an expertly crafted album which has an expanded sound palate and feels to have been created with a greater degree of compositional confidence. Clean visuals and design of the digi-pack cover rounds out the visual presentation, with full lyrics included to further outline its thematic and conceptual story-line which is clearly implied through the titles of the album’s six tracks.

Alberich – Precursor

Alberich – Precursor MC Hospital Productions 2018

Kris Lapke has been issuing material under the Alberich moniker since 2005 and has amassed 18 releases in that time. But with many of those being issued on cassettes and in small runs, it has made it rather difficult to keep track of Alberich’s output, which in turn has created an elusive aura around the project. However, 2014’s 2xLP reissue of the 8xMC NATO-Uniformen (in a larger edition of 700 copies), functioned to raise greater awareness of the project and showcased the distinct blend of rhythmic industrial arrangements and controlled heavy/ power electronics atmospheres. While Precursor is technically the latest release, in actual fact it is a live recording from 2017, where the title should then perhaps be read as a statement given it has been issued prior to the upcoming and anticipated new full length Quantized Angel.

With Precursor being a live recording, as might be expected it plays out as a singular interconnected 35 minute piece which moves through a series distinct tracks and passages. In the process it then delivers all of the recognized and lauded elements of the project’s style, including: the driving rhythmic industrial beats, the pounding techno-esque movements; minor keyed melancholic synth washes; and sporadic but heavily treated vocals. In fact there are some massive artillery grade and explosively pounding beats on display here, with the melancholy synth washes offsetting those by providing an otherworldly tone.

Being expertly crafted and controlled in its delivery, on face value the recording does not at all sound to be a live recording, so I gather it has been made directly from the soundboard due to the clarity and volume of the sonics. Likewise, with is relatively short run time and brisk pacing of material the tape breezes by and concludes all too quickly, leaving a distinct sense of wanting more – a lot more in fact. So, here’s hoping that such demands will be duly sated by the upcoming full length – which is then pretty much guaranteed given it seems this live set features live versions of various new tracks. In the meantime this is a rather worthy tape to track down, issued in an edition of 300 copies.