Murderous Vision – Voided Landscapes

Murderous Vision – Voided Landscapes CD Live Bait Recording Foundation 2018

Voided Landscapes is the latest full length from American industrial underground stalwart Stephen Petrus who has been recording under this moniker for well over 20 years now, and whose output to date has broadly been categorized by the blurring of the lines between death industrial and dark ambient. Although not being quite sure as to exactly what number album this is, the project has issued in excess of 30 releases during the lengthy period of activity, so this album will certainly be somewhere into double figures.

Musically speaking the abstract industrial rumble and moody minimalist piano of album opening Purity Burns bodes extremely well, while also featuring nature-based field recordings of calm waves lapping at a shoreline and a chorus of seagull cries, which differentiates it from much of the material which has previously been issued under the Murderous Vision banner. The following track Radiate is the categorized by a static buzzing and blast furnace churn and features the first vocals which are heavily processed and agonized in their delivery, and certainly blood boiling and fist pumping overall. Again in a slightly different style, the instrumental Shifting Ash is low key and moody, featuring subtle bass addled drones, random industrial debris and sporadic rhythmic loops which elevate in prominence through the late section. The most deviating track of the entire album is Stale Earth Slumber given its minimalist martial industrial frame of reference, being structure around stoic kit percussion, deep orchestral melody and main spoken vocal, although truth be told it slightly jars the flow of the album given how stylistically different it is. After the quite musically varied first third, the album opts to settle down to a solid display of Murderous Vision’s take on a ‘mid-point’ sound between seething dark ambient and ominous death industrial. The pairing of Concussion and Empty Language both illustrate this strongly, while as the title might suggest Moss and Bone features source material of a more organic sound palate. Voided functions as a heavily layered swirling vortex of mechanized textures, while the final album track Corrosive Materials chooses to go out with heavy impact given its use of a fast paced, massively pounding industrial structures.

Nine tracks over 43 minutes displays a varied stylistic approach and composition, which is clearly rooted in the classic 1990’s era of dark ambient and death industrial, and this feeling is strongly on display, but also without being purposefully ‘retro’ in sonic expression. A 6 panel fold out digi-sleeve on matt card stock and with suitable imagery of urban decay rounds out the presentation of a very enjoyable, sonically varied underground post-industrial release.

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