Trapdoor Tapes final batch 2017

Browning Mummery – World of Shells MC Trapdoor Tapes 2017

Browning Mummery are a long standing and somewhat obscure Australian experimental/ industrial project whose activities dates back to 1983 (including a couple of early tapes issued on the cult Extreme and Zero Cabal labels). Being primarily the creative vehicle of Andrew Lonsdale, the lineup has also sporadically featured the late John Murphy, in addition to the contributions of many others over the years. While not having been necessarily the most active project (and there seeming to be a gap of activity between 1996 and 2008), World of Shells arrives five years after the last full length, and was recorded in 2014 as a collaboration between Andrew Lonsdale and Yvan Volochine The tape features four lengthy compositions to span around an hour of material, where the sound covers some diverse sonic scope within a broad experimental industrial style.

Predominantly the sound of the tape features deep cavernous tones framed around layered washes of muted industrial distortion. Being mid-paced and slightly muted, the tracks surges forwards with idling/ misfiring machines, squiggly sonics and a decent amount of ‘creak, crunch and clang’. By being meticulously layered, there are a multitude of sounds and textures to focus on throughout, and while loosely structured there is still clear composition as play (including some disorientating left/ right channel panning and wonky mid to high toned whistling sonic treatments). Of note, the third track Fibroscan 1 deviates from the rest given it is more meditative drone in execution, where some playful disorienting sonics build to a muted rhythmic thrum and the material coalesces into headier territory.

While not being overtly dark or morbid in tone and quite playful on occasion, World of Shells wears an ‘experimental industrial’ tag like a badge of honour in delivering a worthy release.


Halthan – Live at Obscurex Kontti MC Trapdoor Tapes 2017

As per the title of the tape, this is a live set which consists of five distinct tracks spanning around 30 minutes. Crude and back to basics power electronics is the name of the game from this Finnish project who I have not checked out before, despite them being active from around 2004.

In general terms loose rumbling looped structures act as sonic bedrock, while the vocals are spat in an agonised roar and heavily echo/ flange treated to create a result quite reminiscent of those vocals of Survival Unit. Likewise with its thick grinding industrial debris, hollow tonality and repeated semi-buried samples also reminds (positively) of The Grey Wolves approach to lofi industrial noise infused power electronics. As for the recording the sound is raw and slightly distant in feel, which I am not sure if this is down to the recording or is perhaps representative of the live venue sound (as I understand it the venue it was performed in is in fact a metal shipping container, which would no doubt impact on any live sound created and any recording made thereof). Regardless, the sound is still hefty and thick, with the mood being one of subdued anger with occasional aggressive outbursts (i.e. vocals).

Overall this live tape is no frills and lofi, but definitely to the point, and very effective for it.


Kultur Operating P:N:S – Repeat Offense MC Trapdoor Tapes 2017

Knowing virtually nothing about this project, it seems they are more commonly known as K.O.P., where the three letters are variously used to stand for different interchangeable phases (as per the protocols established by early industrial pioneer SPK). From what information there is available, K.O.P. is a Japanese project active back in 1988 when the first tape was issued, and with a further six tapes, a 7”ep and CD issued through to 1993 before the project disappeared. Now some 25 years later the project has returned with new recordings dating from 2015-2017.

Having not heard earlier material from the project, I can comment on how this sits as a ‘comeback’ recording, but from listening to this the sound is rough, chaotic and crude in a general noise/industrial style, but also leaning more towards a nosier aesthetic.  Twelve tracks spanning around 45 minutes of material features on Repeat Offence, where Some tracks are based around fiercely raw and chaotically overblown distortion which is staunchly analogue (perhaps derived from junk metal sources?). Conversely other tracks are of an apparent digitized source and rapid-fire style, with a clean and sharp sonic tone. Yet to speak of unifying elements, the mood and feel is chaotic and choppy throughout, and where there is limited overtly rigid structure, rather being freeform and amorphous and where tracks abruptly cut out before lurching into the next piece.

With myself personally not being an avid noise listener, it is those compositions which slightly dial down on the higher pitched and harsher overblown textures which (for me) work best (such as the ambient noise mixed with radio chatter which closes out the tape). But equally that description alone will give a clear idea of whether Repeat Offense is right up your ally.


Neurasthenia Psychological Reincarnation MC Trapdoor Tapes 2017

Neurasthenia ‎is a new Japanese/ Australia collaboration born out of a recording session when Luke Holland (of Armour Group, Mshing, Word Of Life Church SS, Trapdoor Tapes etc.) and Tom Miller (of Word Of Life Church SS, Psychward etc.) toured Japan in September, 2016 and met up with Hiroshi Hasegawa (of C.C.C.C., Astro, Mortal Vision, Nord). According to the notes on the cover, the two tracks on this 60-minute tape (one lengthy track per side) were recording live in a single take and delivers a solid dose of archaic industrial noise.

The title track features on the first side of the tape and steps through a number of distinct passages. Commencing with detailed dynamic noise and spitting/crumbling static, the mood gradually moves towards a passage of hollowed out industrial rumble and the inclusion quasi ritual elements provided by junk metal clatter. Later segments feature crude loops and sparse crumbling textures which resemble the distant thunder of heavy waves. Cardiac Neurosis follows on the flip side and is a more subdued and controlled offering. Initial segments are sparse and cavernous in tone and complimented with ritual chimes, before a rough base of sustained and modulated ‘catacomb’ distortion is set down and gradually tweaked and twisted.  Late sections are further augmented with radio frequency type scanning noise and garbled semi-buried vocals, before ramping up to more chaotic and forceful intent in the final segment.

Given the ‘live in a single take’ method of recording, based on the end results it appears there would have been some clear discussion and pre-planning, as this sounds to be much more than a basic improvised session and particularly given its careful balancing of chaos and restraint (and being able to strategically pull back on the harsher elements throughout the tape for added sonic impact). So, all in all Psychological Reincarnation is a convincing and enjoyable tape in a style which radiates a sound of decades past than anything remotely modern.


 

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Phurpa ‎– Chöd Ritual / Grotta Santarcangelo

Phurpa Chöd Ritual / Grotta Santarcangelo CD Old Europa Café 2017

Phurpa has been a rising name in the underground in recent years, which is somewhat expected given their distinct sound and approach which effectively sees this Russian group performing Bon ritual music in a Tibetan Buddhist tradition. Primarily based around chanted vocals of a Tibetan throat singing style, this is mixed with an array of abstracted and minimal traditional ritual instrumentation including horns, cymbals and various percussive implements. Having previously heard a couple of albums from the group, I was then surprised to discover that they now have 26 releases to their name which have been issued over the past decade. Although I have not been able to confirm it, I have an impression that the majority (if not all) of these releases are straight recordings of live performances, rather than studio albums.

On Chöd Ritual / Grotta Santarcangelo the album features a single track spanning close to 80 minutes, and which displays the sonic hallmarks of being a direct recording of one of Phurpa’s live rituals. Sparse percussive sounds provide a droning introduction to the album, before the low guttural throat singing chants arrive full force at around the two-minute mark, and by this stage the catatonic pacing of the vocal driven soundscapes has been firmly set. On occasion the mood elevates to crashing crescendos of cymbals, deep drawling horns, higher pitched atonal wailing thighbone trumpets and a general subterranean percussive thrum, where structurally these instrumentation driven passages are used to bridge and interlink the sections of the cavernous throat chanted vocals.

Having heard this album, in comparison to the others I have also heard, they are noted to be broadly in the same sonic palate and style, where it raises the question of whether you need to hear more than a couple of albums to gain a decent appreciation of what the collective is about. Personally I have enjoyed the experience of becoming acquainted with Phurpha’s atypical musical style and approach, but equally I perhaps don’t anticipate myself regularly revisiting these albums either. I also suspect that there is a far greater inherent power in being able to hear and experience Phurpa’s music in a live ritual setting, where an element of its sonic impact is likely to be lost in the recorded album format. Whether or not I get the opportunity to see the group perform live remains to be seen, but albums such these album’s do at least provide an opportunity to experience the ritual works of Phurpa.

Linekraft ‎– Apocalypse Factory + Liberated Treatment Area Of Bedlamite

Linekraft Apocalypse Factory + Liberated Treatment Area Of Bedlamite CD/ MC Aussaat 2017

Linekraft is the solo project of Japanese artist Masahiko Okubo but rather than being of a ‘Japanoise’ type, this is raw noise from the industrial end of sonic expression. Appearing to be predominantly derived from rough and ripping junk metal sources, it is assumed the material has been further edited and mixed in a studio setting. Apocalypse Factory is the latest album and is the eleventh release since 2008.

The only material I have previously heard from the project is the Bouryoku Kikai CD from 2012 (reviewed here), with Apocalypse Factory being an effective continuation of a partly composed and partly improvised approach. Each of the seven albums tracks is between four and eight minutes in length, and providing ample variation within an experimental industrial noise style. Apocalypse Factory-1 is an early album standout with multitude of elements including pulsing loops, squelching noise and chaotic sonics which are highly detailed and engaging in its tonal layering (and elevates to nastier intent through the middle and late sections). For variation Polluted Body includes slightly off kilter programming and jumbled dialogue samples, while Public Bondage is another noteworthy piece which flits between wonky loops, burrowing noise and pounding industrial structures.

Liberated Treatment Area Of Bedlamite is 10 minute bonus cassette, limited to 50 copies and only available directly via the record label. Featuring a single track (repeated both sides of the tape), sonically it slightly deviates from the sound found on the parent album. With reference to the title, the word ‘Bedlamite’ is an archaic English word for a lunatic or insane person, and fits nicely with the sonics on offer. Musically speaking it is a sprawling, murky yet overblown mass of sound with semi-buried junk metal clatter, while a deep rhythmic pulse provides depth and cavernous/ windswept atmosphere.

Although Apocalypse Factory leans towards a rough and raw approach rather than a clean and composed sound, it is still not harsh noise by any stretch given it effectively sits at the mid-point between industrial and noise. Displaying a high degree of experimentation in its delivery of raw and energetic industrialized noise, from this description alone it is assumed you will already know if this is likely to be to your liking. But certainly Linekraft embody a sound and approach where you can literally hear both the obsession and commitment of the artist.

raison d’être – Alchymeia

raison d’être – Alchymeia DLP Cyclic Law 2018

Firstly, it is important to acknowledge how integral the works of Peter Andersson/ raison d’être have been to my music appreciation over the last 23 years, which ultimately means any new release from the project is welcomed beyond measure. In a discographic context a further four years have already passed since 2014’s Mise En Abyme album (reviewed here), with the new album seeing a move to Cyclic Law, which indecently is the label which has become the home for many former Cold Meat Industry projects.

Thematically speaking it is necessary to highlight this is not melancholic music for the mere sake of it, rather on Alchymeia (and to quote from the promo blurb): “….Peter Andersson scrutinizes the paths of Carl Gustav Jung’s notions of archetypes and the individuation process. Alchymeia is diving deep down to the shadows of the unconsciousness, and back to a dawn of the true Self. Confronting the shadow within is the darkest time of despair. There seems no way forward, only down. All is blackening and decomposed. Suddenly, through an enantiodromia, the ever deepening descent into the unconscious transmogrifies and becomes gradually illuminated. The melancholia is being purified. The melancholia is being purified. Alchymeia is in a sense the “raison d’être” of raison d’être, a shadowy journey through our unconscious the individuation process and archetypes”. So, certainly a strong thematic context to frame listening and appreciation of the album.

Noting that Alchymeia spans just over 70 minutes, perhaps as expected the mood and pacing of the four album compositions are slow morphing, sacral toned and religious choir/ chant framed dark ambience.  Each of the four compositions are then noted to be freeform and amorphous, effectively shifting through difference passages within their run time but also interlinking into a greater whole. However of particularly note are the various sonic elements which arc back to the sound and tone of earlier albums. Such examples of this include: the wind-chimes from Enthraled By The Wind Of Lonelienes; strongly composed/ percussive and vocal driven passages of Within The Depths Of Silence And Phormations; the floating melancholy drones and treated choirs from In Sadness, Silence And Solitude; and not to forget the atonal metallic scrapping textures from The Empty Hollow Unfolds. Yet equally, these recognisable aspects are blended with new sonic elements which include: the prominent church organ timbred drones on Albero; the slow and deep rhythmic ritual drums of Citrinitas; as well as the minimalist contemporary piano melody and deep sustained power drones of Rubedo to name a number selected elements. Noting that each of the four tracks are between seventeen to eighteen minutes each, that has allowed each to neatly fit on a side of vinyl LP, and therefore has allowed the album to be issued on double gate-fold vinyl, and which constitutes the first time that raison d’être have issued an album on this format, in addition to the usual CD and digital.  Likewise the artwork is noteworthy for being darkly stunning and visually symbolic of the musical landscapes.

Personally, there are albums within raison d’être’s discography which are untouchable classics, so it is too early to say how this new album will compare in the longer term, but before hearing this I already anticipated I would appreciate whatever was to be presented. Yet even with such a high degree of expectation, I am still surprised by how creative and vital this album sounds and feels, and particularly with it drawing together sonic threads from the last decades of the project and blending these with new avenues of experimentation. In essence Alchymeia another peerless example from an established master of cerebral, introspective and meditative dark ambience of the highest calibre. Recommended.

Mz.412 Vs Folkstorm ‎– Live Ceremony

Mz.412 Vs Folkstorm Live Ceremony CD Old Europa Café 2015

With Mz.412 having infrequently graced the stage over the years, it was way back in 2000 (18th August) when two of the three members (i.e. Henrik Nordvargr Björkk and Jouni ‘Ulvtharm’ Ollila) teamed up to perform at the Collapse festival in Rostock, Germany. Being billed as Mz.412 vs Folkstorm at the time, this goes partway to explain the harder and harsher elements of this recording which incidentally was previously issued via Pagan Dance in 2004 in a limited edition of 412 copies. This has now been reissued by Old Europa Café with new artwork and the inclusion of additional bonus tracks not included on the original version.

Having previous heard the Mz.412 live album Hekatomb (recorded at Cold Spring’s 21st Anniversary show at The Garage, London, 5 March 2011 – reviewed here), that recording illustrated a more refined presentation of their existing studio works in a live setting. However on Live Ceremony, the recording is a far rougher sonic affair which would seem to reflect an approach of only partially relying pre-recorded segments of music, in order to focus on the live generation of distortion and feedback. Without the inclusion of actual track names, the seven live tracks have been referred at as Act I through Act VII. But by way of example, Act I includes a short fragment of the classic track God of Fifty Names which cuts through live scattered noise, while an additional dialogue sample more thematically aligned with Folkstorm. Vocals are also present in the live setting, but which are heavily treated and again reflect the Folkstorm angle to the live proceedings. As with Act I, a number of recognizable snippets of studio works are used over the seven live tracks, such as on Act III when Der Kampf Geht Weiter from Nordic Battle Signs is blended with the introduction of Deklaration Of Holy War from Burning the Temple of God. But these recognisable fragments of albums function as short interludes which bridge the live sections of loose distorted noise and on occasion tribal/ ritual rhythmic movements, while he final short Act VII relies on sample of a Penderecki styled choral work to conclude the set.

As for the bonus tracks, the two Folkstorm tracks are solid examples of the spitting noise and raw militant industrial meets power electronics material that the project was producing in the early 2000’s. However perhaps of greater interest are the two-short bonus Mz.412, where there is no indication as to which era these are derived from (although Nordvargr later confirmed these are from around 2006/07).  Mors Solum Initium Est is the first of the bonus offerings and is a darkly ritualistic affair with a deeply cavernous atmosphere, rattling metallic tones and distant wailing textures, and perhaps more reminiscent of early Archon Satani than typically Mz.412 – but an excellent track all the same. Congregation of the Abyss follows to round out the album and slightly differs given its focus on intensive multi-layered garbled to guttural roaring vocals and sweeping sub-orchestral undercurrent, which overall is a replication of the sound of the Domine Rex Inferum album and another decent track.

Being a generally loose, and at time chaotic live recording, this is a worthwhile document of the live performance, but perhaps not an essential release in Mz.412’s discography. But even in saying that, the inclusion of the two bonus Mz.412 tracks gives clear incentive to track this down.

Stromstad ‎– New Devoted Human

Stromstad New Devoted Human LP Malignant Records 2017

This debut release from Stromstad is revealed to be collaborative album between the Finnish duo STROM.ec and Norwegian Kristoffer Oustad – and what a debut it is. With STROM.ec being recognized for a highly refined blend of industrial and heavy electronics and with Kristoffer Oustad inhabiting an evocative industrial smeared dark ambient sound, the creative collaboration between the two was always going to be an interesting one. Yet the creativity and flair on display completely exceeds any initial expectations.

Noting that each of the eight tracks are relatively confined (between three and six minutes each), this functions to generate a sense of urgency across the album, where its shifting and morphing elements draw from abrasive mechanical programming, controlled noise, lush sub-orchestral pads and gruff processed vocals. As an example, the fizzing/ buzzing looped static of the album opener Inherent Resurrection soon gives way to rolling tribal percussion and rough yelled vocals (clearly recognisable as those of STROM.ec), and functions very much as a statement of intent of what is explored over the balance of the album. Fever Wave Dream Function quickly following with woozy drones and off-kilter metallic clatter, shimmering synths and all underscored with a throbbing programmed element which leaps into heavily rhythmic section late in the track. The central buzzing tonality and stilted mechanical textures drives Blood Consciousness and when coupled with the gruff, slightly treated vocals is perhaps the piece most comparable to a straight STROM.ec composition.  The sub-orchestral strains of Nattsvermer constitutes the first effective respite of the album, being a semi-melodious cinematic drone-scape which reminds of mid era raison detre (and particularly so where some distant choir textures are used). In a somewhat unexpected guest contribution, Grutle Kjellson from Enslaved provides vocals on Reluctant Traveler, another track of stilted mechanical rhythms and buzzing fissures of static mixed with moody orchestral textures, while Gruttle’s vocals range from spoken, guttural chants and urgent yells (a late track guitar gives a partial nod to the current prog metal direction of Enslaved). The title track is positioned towards the album’s ends is in some ways the most straight forward with rapid fire looped beat, tempered static and vocals relegated to the middle of the mix, but in the later half it veers off into moody sub-orchestral territory, while the final album track Kosto then deviates the most, with a synth derived neo-classical piece of moody swelling strings, and with a definite modern sci-fi edge to the sound.

Not being an overly long album, all the same it delivers a heavy impact across its multiple creative arcs, and which consequently makes it feel to be a much longer album than its actual run-time. While New Devoted Human could be said to be of the genres it draws from, at the same time it steps well beyond them given its inspired use and application of such influences. Effectively the album excels by the fact of how vital the finished result sounds, and in the process generates new creative ways of approaching recognizable genre sound elements. Issued on vinyl in gate-fold sleeve, CD or digital formats, it is simply a matter of taking your pick of preferred format. But as a word of advice, do not let this album pass you by.

Arktau Eos ‎– Catacomb Resonator

Arktau Eos Catacomb Resonator CD Aural Hypnox 2017

By way of background, the Finnish duo of Arktau Eos released their first three albums via Aural Hypnox label between 2006 and 2009, while the fourth and fifth albums were then simultaneously issued on Svart Records in 2012. Now after a 5 years absence Arktau Eos have returned with new material and again issued via Aural Hypnox, and although Catacomb Resonator is billed as the new ‘album’, in reality it features only a single track of 37 minutes in length.

Although all projects on the Aural Hypnox label can be broadly slotted under the ritual/drone/dark ambient categories, in the past Arktau Eos have displayed a greater degree of musicality and instrumentation than other roster artists, which on early albums made compositions feels to be more akin ‘songs’ than sonic ‘movements’. Yet that established approach has been forgone on Catacomb Resonator, given it has opted for a sprawling drone and vocal chant oriented framework. As I understand it, this album is a predominantly a vocal based work, where this both provides the focus and source material which has been subject of additional treatment and coupled with a minimalist backing of electronics (‘archaic bells’ are also noted on the cover as a sound input, but these are not individually detectable).

The use of word ‘catacomb’ within the title perhaps gives an immediate clue to the tonal depth and sonic reverb employed, which allows low deep chants to rise from the depth to central prominence, to then cyclically fall away only to rise and build again. Those vocal elements are then counterpointed by spartan synth elements which follows the same cyclic rise/ fall pattern.  Vocally speaking the chants do not appear to be articulating specific words or lyrics, and given the applied sonic treatments they resemble a drone ambient element. Likewise given the meditative and catatonic pacing of the track, it is very much a dark and minimalist sound you have to immerse yourself in to get the most out of it.

For me personally, I already have established favorite releases from the group which includes Mirrorion, as well as the sprawling double album Ai Ma Ra.  While for me Catacomb Resonator does not surpass either of those releases, this says more of its deviating approach than any sort of lack of quality, as regardless of my personal preferences all Arktau Eos releases to date have been of excellent quality (this included). Presentation wise Catacomb Resonator has been issued on both CD with screen printed foldout 7”ep sized cover, and on LP in two colour variations for the screen printed sleeve.