Blood Rhythms – Civil War LP No Part Of It 2019
The Blood Rhythms project is primarily helmed by Arvo Zylo who also employs the collective inputs of a raft of other musicians. This collaborative process has led to a broadly power electronics defined expression, but which also flirts with varied experimental elements and musically tinged post-industrial sounds.
The first thing of note about Civil War is the packaging, with the beautifully designed, high gloss gate-fold cover and large 11” sized 16-page art booklet, also printed on weighty high gloss stock and containing a selection of darkly abstracted images. For the sonic side of proceedings (En) Closure (Heart’s On Fire) kicks off the album, and based on the layered atonal horn blasts it is immediately clear that Civil War is far from a ‘business as usual’ power electronics album. Embodying an abstracted dark experimental jazz-noir mood in the first section, by track’s end the jumbled vocals and scratching textures have gradually built into a heady noise piece. Onism (Sick Skin) follows and is very much an exercise in endurance given its high-pitched needling textures which are sustained throughout. With its raw unhinged vocals and overblown noise approach, as a comparison it reminds of some of the nastiest and rawest material to come from the Filth & Violence label in recent times. Locked Away provides some welcomed respite being far moodier with slow crumbling drones and muted melodies. Yet the elevating distortion, driving mechanical whine and slow drawled vocals places the track squarely within post-industrial spheres. Paris Window is the most atmospheric track on offer with sampled film-noir melody and windswept melodious drones, yet a fleeting vein of muted noise is also noted. The Face is perhaps the most song-oriented track of the album, where its digital squelching loop is reminiscent of late era Whitehouse, while the slow drawled/yelled vocals completely sets it apart. Mid track it launches into an atonal jazz saxophone freak-out (where the shrill layering verges on Penderecki style strings), before diverging off into a trial percussive rhythm and noise section. The album is rounded out with Alchemy & Grief (Part I & II). Part I features blown out noise, radio chatter, creaking junk metal and ritual styled gongs. On the other hand Part II is a concluding highlight featuring a sluggish pounding bass pulse, slow panning saxophone melody and roughly bellowed vocals, while detailed noise and general backing clatter fleshes out the throbbing post-industrial sound.
Far from being a power electronics ‘genre’ piece, this is a wildly varied and creative release, where Civil War manages to continually surprise despite its relatively short overall run time. If it is not already apparent, Civil War is a perfect album for those craving sonic diversity well beyond the expected norms of a more typical ‘power electronics’ offering.