Amph ‎– Control

Amph Control LP Verlautbarung 2018

Amph are a Swedish duo operating since 2010 (well according to Discogs), but I am only familiar with their contribution to Verlautbarung’s 2013 compilation Stein: Interpretationen Eines Geologischen Materials Und Seiner Symbolik. My observations of Amph’s track After Nature was that it ‘opts for a queasy pulse and micro tonal layered sounds which are fine granted and detailed. The track is minimalist in structure but highly animated and rather forceful by tracks end and a great example of tape experimentations with a darker undercurrent’. To then provide context to this review, this earlier impression is equally applicable to this new LP.

Features two lengthy untitled tracks (one each side of the vinyl), there are definitive ‘sections’ and ‘movements’ on display. Early in the first track it features a ritual tinged industrial throb, deep heaving breathing textures, shimmering micro-tonal textures, and disembodied garbled but unintelligible vocals. Through the middle section the track becomes more mid-tone drone oriented, but this is also underscored with looped field recordings, creaking wood and metal which coalesce into quite raucously animated territory, and calms down again through the late section, complete with muted pump organ drone. Side B follows a similar trajectory, but the underlying abstracted field recording elements are looped into subtle rhythmic form. With an open and widescreen production it contains a very organic and rural sonic atmosphere, where wind-chimes and elongated drones maintain a dark edge, and thankfully far from anything remotely ‘new age’. In moving through other sonic segments, it features forceful melodically muted drones, twilight atmosphere of crickets chirping in a field, and creaking micro-tonal textures and other forceful loops.

Although with only a few releases under their belt, Verlautbarung continue to issue extremely strong and sonically divergent releases, with Amph clearly continuing this trend. With the cover featuring an image of a lit match, as a nice physical touch the cover has itself been spot charred with a lighter flame.

 

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Bladh / Urbaniak ‎– On The New Revelations Of Being

Bladh / Urbaniak On The New Revelations Of Being CD/DVD Infinity Land Press Ltd. 2019

Artistically speaking Martin Bladh has always blended a physical and cerebral approach to post-industrial/power electronics, which clearly deviates from the perhaps more typical bare white knuckled rage often ascribed to the genre. This CD/DVD set is a continuation of that process and is a collaboration between Martin Bladh and Karolina Urbaniak who are both behind the Infinity Land Press publishing house, and while I am less familiar with Karolina’s artistic output, she is self described as: ‘a photographer and multimedia producer’. Regarding the collaboration Martin is credited for libretto & voice and Karolina is credited for sound, visuals & production. To provide further context to the release a passage from the promo text states: ‘On The New Revelations of Being is a multimedia work based on Antonin Artaud’s apocalyptic manifesto from 1937. It envisions the end of the world and the death of God through a series of cataclysmic occurrences of Artaudian cruelty. The piece was originally performed as a part of Artaud & Sound: To Have Done with the Judgment of God, at the Visconti Studio, London, on 15th September 2018. This final event in a series of events marking the 70th anniversary of Artaud’s death, after previous events at Cabinet and Whitechapel Gallery, focused on Artaud’s experiments with sound and noise, and on contemporary responses to them. This CD/DVD set contains the full audio recording, the backdrop film and the full libretto from the performance’.

As for the media content both the CD and DVD contain the same 22-minute compositions On The New Revelation Of Being, where obviously the DVD includes accompany visual material. Sonically speaking the ‘music’ sits clearly within an experimental sphere, but one which heavily leans towards and is rooted in the darker elements of the post-industrial underground. Animated drones, scattered noise, sharp piecing tones, sparse percussion, wailing horns, atonal keys, crushing junk metal and sharply edited/panning sonic cut-ups define proceedings, where there is also a distinct use of loud and quiet passages which dovetail with the vocals. As for the predominantly spoken vocals, these are highly animated and enunciated in an occasionally theatrical way, and are distinctively those of Martin’s for anyone who has followed is primary output as part of IRM and Skin Area, while later in the piece rise to a more agonized style for which he is known.

For the visual side of things, a similar sharp editing cut-up style is evident, with a kaleidoscope of apocalyptic imagery is employed, variously including visual illustration of: the immense power of nature (from a human scale perspective), autopsy footage, sex-change medical procedures, crucifixions, the brutal survivalist instincts of the animal world etc, etc. Perhaps the suite of visuals is somewhat expected for post-industrial spheres, yet the slick, clean, rapid-fire editing elevates this far above the realm of mere shock tactics. The overall presentation and particularly the visual component very much places this in a contemporary art sphere and would not at all be out of place as a art gallery video installation. To that end, and while clearly different in its ultimate visual execution, when watching the unflinching and intensely apocalyptic visuals, I was strongly reminded of of a time when I was perhaps eleven years old when I by happenstance came across a video installation in an art gallery of one of Hermann Nitsch’s live actions (and perhaps something which had a pivotal and lasting impact on my artistic sensibilities and preferences).

Apart from the CD/ DVD, it comes with a 24 page A5 sized booklet which provides further images and full presented text to flesh out the detailed theme and context. Noting the literary and artistic slant of On The New Revelations Of Being makes this for a release which strongly appeals to my own artistic sensibilities, by now it should be clearly apparent if this is of interest to you (and very much should be if you are already a follower of Martin Bladh’s output). Limited to a mere 100 copies.

Ochu – Unproduktiw

Ochu – Unproduktiw LP Verlautbarung 2018

Ochu is the solo project of Swede Love Rosenström, and while he has been recording as Ochu since the early 2000’s I am only familiar with recent output (although I then have a vague appreciation that his current material has elevated experimentation and dialled down slightly on a harsher noise and heavier industrial aesthetic).

With the current approach based on meticulous layering and blending of textural sonic detail, Ochu’s material in highly animated and sonically nuanced. Likewise, by avoiding any semblance of stuffy academic experimental music, there is clear force and intent at play where the results are engaging and above all vital. Much of the assembled sonic content appears to have been generated from field recording or contact mic based recording sessions, but those inputs have been further manipulated and abstracted to achieve textural density and complexity. The opening track Struisvogelpolitiek is a great example of this, with tonally load creaking wood and metal, where the ‘micro-tonal’ recordings have been elevated to a loud and overblown tone which bridges the organic and the mechanical. Humos De Existencia Estática is a slow burn of a composition, where a jagged yet muted loop is overtaken by an invasive and incessant drone which fractures and multiplies in intensity, while the other rough echoed loops are used for vague ‘train carriage on tracks’ rhythmic effect.

Förnuftsflimmer (Partiellt Anfall) opens Side B are draws out a minimalist ritualised pulse which is blended with a series of forceful mechanical drones, while further micro-tonal textures are elevated to the forefront of the mix. Contra-tasking functions as a short interlude of a fractured grinding loop, which is followed by the lengthy track Segments of Destination concludes the album. Commencing with a spacious mix and again with a focus on micro-sonic detailing (i.e. rocks, wood, metal), the various elements amalgamate into loosely elevating loops, as a deep, muted bass rumble elevates with storm-front intensity. Yet clear restraint is still employed, as rather than building the track an overblown climax, the storm-front passes by and gradually recedes into concluding oblivion.

In both the sound, style and graphic presentation Unproduktiw clearly side stepped any of the typical clichés which could be levelled at the post-industrial underground, and is an album of passion and dedication to a personal sonic craft. Clearly bridging the gap between musique concrete experimentation and roughly hewn post-industrial soundscapes, Unproduktiw is a clever and expertly executed release. Recommended.

N. – Unworthy

N. – Unworthy 10”EP Cipher Productions 2018

Although N. has issued numerous releases since their 1997 debut on the cult Italian label Slaughter Productions, I am only familiar with the cassette box-set from 1998 (also issues on Slaughter Productions), and the 2017 reissue of Hospital Murders tape (originally issued in 2004). However, it can be generally surmised that N. is concerned with showcasing minimalist death industrial/ power electronics in the same or similar vein to other Italian masters of the genre.

The first side of the vinyl features three short tracks. Unworthy Situation delivers muted static, low end rumble and general sonic crunch, which continues into Images Hunter yet features a wonky organ melody that bleeds into the mix. Relapse, the third track on Side A is far more direct, with forceful choppy pulsations, grim oscillations and forced static washes. Side B delivers a single lengthy track Into Psychosis and is more direct and less experimental that the first side, and all the better for it. Based on dank, rumbling, lofi death industrial pulsations, it emulates the fractured idling of an unidentified machine of ill purpose. Minimalist but layered, the sound is thick and pulsing with a barely discernible medical related dialogue sample within the sonic mass. Clipped atonal rhythms feature (looped door creaking/ closing samples?), as do other background panning textures gradual elevate in prominence.

Like many of the releases issued on Cipher Productions there is a home-made DIY art aesthetic at play, where this is limited to a mere 100 copies features and with a cover which is effectively folded and screen-printed cloth with insert. It almost goes without saying that the pristine white cloth and lurid orange colour of the screen-printing image belies the dank, suffocating and lofi atmospheres pressed into the vinyl. A quality release of stasis and non-movement from this long-standing Italian project.

Institution D.O.L. – Our Love Can Destroy This Whole Fucking World

Institution D.O.L. – Our Love Can Destroy This Whole Fucking World CD TORM Ent. 2019

Three years on from 2016’s Exzess (reviewed here), Institution D.O.L. have returned with a new album and which features a title previously utilised as a manifesto tag line on the last release. To then mention some early pre-release promotion, I remember reading that this would be the final album from the project, but I am also not sure on the current validity of that statement. But onward with the review.

In wasting no time, Invocation blasts forth from the speakers with loud and digitally crisp industrial textures, which are counterpointed by (sampled?) religious choirs and chants and dour organ melody. Throbbing oscillations then characterizes We Are The Black Ones, mixed with a decent dose of echo and raw junk metal crunch and shattering glass, while processed vocals and samples of crowd riots and gunfire ratchet up tension. Structured around mechanized loops and sharp spitting textures You Are All Lost, these tones bleed into the following Abschlachtung, but which is differentiated by deep melancholic sub-orchestral synth pads which underscores the majority of the track. Absolute Hell delivers more heady power electronics, which sonically spans the both rough and clean sonic textures, yet the latter half deviates completely though the use of a tragic toned piano line, which is offset with an evangelical preacher sample. In Dust and Death is by far the most rhythmic track on offer, but it is of a crude and simplistic style and not at all of a dance floor ‘rhythmic industrial’ type, while the title track rounds out the album and is the longest offering by far at twelve minutes. The first segment features brooding overblown noise and cavernous echo, but by the two minute mark the piece opens out into widescreen cinematic tones synths and from the five minute mark shifts to a beautifully melancholic piano melody which extends through to the end of the album (with only subtle noise sweeping and panning in the background). Perhaps the only slight drawback of this track are the vocals, where the emotional overwrought style of delivery detracts from the overall mood, although I am clearly missing the meaning of the words as they are being spoken in Austrian.

As with earlier albums the production sound is top notch but at only 37 minutes this is a very short and to the point album. But even so, it crams a wide variety of styles and sounds into the mix, while still managing to sound as a cohesive whole. Certainly being a solid album, if you have liked prior output of Institution D.O.L, you would no-doubt like this.

Code Neda – Tomorrow Double The Body Count

Code Neda – Tomorrow Double The Body Count MC Unrest Productions 2018

For context, Code Neda’s debut tape from 2017 can be broadly bracketed under a death industrial sound tinged with ritual heavy electronics (reviewed here). However, on this follow up it features a more direct heavy electronics sound, where ten track make up an album length tape.

The streamlined approach is immediately evident when the opening track The Devil and the Child bursts forth from the speakers with grinding bass emissions, sweeping static and heavily processed/ morbidity toned vocal proclamations. System is another display of honed simplicity, with a central mechanised ‘beat’, blended with layered bass pulsations and again with the treated vocals. In its maintenance of a strikingly direct  heavy electronics approach, sonic variation is delivered with air-raid sirens (Europe Was Lost), corkscrew spiralling drones (Jackie Duddy), subdued power-electronics menace (Confession) and fast-paced rhythmic pulsations (Blood On Your Hands), while the tape concludes with the subdued Bloody Ritual with is stilted and repetitive loops and morbid vocalisations.

Clearly Unrest Productions is pretty much a perfect label for material of this fare, and while clearly working within the broader parameters of its chosen genre, Code Neda has demonstrated a wealth of ideas and skill of sonic execution which makes for a excellently honed heavy electronics release. Pro-printed tape and cover round and the physical packaging. You know what to do.

Am Not – Incursions

Am Not – Incursions MC Zaetraom 2018

Tamon Miyakita’s project Am Not is very much a current ‘leading light’ in the underground. With a sound built upon an established bedrock of the post-industrial scene, Am Not have also developed a highly recognisable approach within a heavy electronics/ power electronics/ noise industrial style. In then noting that the key releases from the project being able to be counted on a single hand, Am Not’s discography is already extremely focused, meaning the project is yet to disappoint. This new release continues this established modus operandi, and pleasingly contains an album’s length of new material (approx. 40 minutes).

The tape opens with the track Into Hostile Space and features an archival sample of George Bush Jnr, which in today’s context is far more interesting given the current US political climate. Musically speaking it features all the hallmarks of the best elements of project, where roughly hewn metallic tones are offset against crushing loud and sonically thick loops and mid-toned tensile drones, as the heavily process vocal barrage rounds out a storming opening track. But in moving away from a now recognisable sound Am Not, Incursions is noteworthy for its willingness to experiment and push into uncharted territory. Once such example is Feindes Land with its initial blending of neo-classical and dialogue sampling, which quickly gives way to a swaying, electronica tinged industrial track, completed with spoken vocals courtesy of Hermann Kopp. As for another significantly deviating track, Auf Wiedersehen, Pet could perhaps be playfully described as an unnamed Soviet era project trying to emulate Kraftwerk! Continental Drift III is also sonically differentiated from the rest by the fact of how subdued it is, and is framed around deep sub-orchestral drones, passive echo treated junk metal sounds and spoken Russian female vocals. Elsewhere a perhaps more ‘typical’ highly composed power/heavy electronics sound of the project is employed (i.e. top notch), but one striking example is Irruption where the rabidly intense vocals are immediately recognisable as that of S.T.A.B. Electronics.

Thematically speaking prominent dialogue samples are strongly represented, while guest vocals are employed and feature on a number tracks, where I was later informed that Tamon’s (English) lyrics on the opening track are repeated in different languages on three other tracks (including: German, Gaelic, and Russian), thereby subverting its meaning and message from a singular perspective. Thus, apart from the outstanding strength of the music featured on Incursions, part of the enjoyment of engaging with a release such as this is carefully listening, picking apart and interpreting both samples and lyrics (where detectable). To that end at a most simplistic level the thematic preoccupations of Incursions could be interpreted as a multifaceted analysis of nationhood, identity, sovereignty and associated political influence in a globalised context which has emerged following the Cold War (but as always there are likely to be elements I have perhaps either misinterpreted or otherwise completely missed). Seemingly not short on sonic or conceptual ideas, Am Not are going from strength to strength, where Incursions is yet another mandatory release.