Blitzkrieg Baby ‎– Homo Sapiens Parasitus

Blitzkrieg Baby Homo Sapiens Parasitus LP Neuropa Records 2019

Strictly speaking Kim Sølve’s Blitzkrieg Baby project is quite incongruent to the typical coverage of Noise Receptor Journal. Yet there is something quite special in the cynical black humor and heavily sarcastic lyrics wrapped up in a diverse song-based approach, spanning elements of cinematic/orchestral dark ambient, martial industrial, and more streamlined song-based industrial. In fact, the Looney Tunes inspired cover artwork ‎– which strongly speaks to my own childhood ‎– is an excellent visual presentation of this thematic and stylistic approach (the artwork is by Trine + Kim Design Studios, which is the graphic design firm Kim runs with his partner and showcases their talents as graphic designers). Likewise, the self-described tag of ‘Norwegian Dystopian Electronic Music’ further emphasizes the approach.

Album opener Hip Hip Hooray displays the cynical and darkly playful nature of the album, with a track of mid-paced bass guitar-driven swagger, while the spoken vocals break out into a chorus chant of the track’s title. After a short instrumental interlude with an industrial/orchestral dark ambient track (Apocalypse To Go), comes Boys Will be Boys, which is a perfect example fusing martial beats, orchestral synths, and dark pop-focused chorus line hooks, with the end result being swaggering rather than martially stilted. The pairing of tracks like The March of Human Progress I & II bring a more serious tone, which is mostly due to the instrumental format, thereby the cynical element brought about by the vocals is absent. On the musical front it strongly reminds me of the martial ambient industrial sound of Toroidh, given the slow dark ambient throb, sub-orchestral elements, and marching music samples. Perhaps for my own listening preferences Praise The Pig comes off as the only misstep due to the prominent chugging guitar riff (but that says more about my personal aversion to guitar-based industrial). Yet despite this criticism, the tolling church bells and chanted male vocals which appear late in the track effectively win me over. Moving towards the album’s end, the dour yet playful nature of the album is again in full flight on Pre-Cum Of The Apocalypse, with a slow brooding dark ambient/martial industrial track, where the lone piano line rings out with reverb, while the vocals are sung choir style which belies their cynical slant. The album closer, Homo Sapiens Parasitus & the Countdown to the Apocalypse is an industrial pop stormer of a composition, driving ever forwards with stoic rolling beats and vocals ranging from whispered to full rousing male choirs.

Despite its vein of cynical black humor on the thematic and lyrical front, the music itself is treated with utmost seriousness, and done exceedingly well, avoiding any notion of being ‘cheesy’ in the end result. This is no mean feat, given the use of any level of ‘humor’ in post-industrial music usually predicts my total uninterest. Wildly divergent – yet recommended at the same time.

 

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Mz.412 – Svartmyrkr

Mz.412 – Svartmyrkr LP Cold Spring 2019
Over their now 31 year career Mz.412 have never been the most prolific group, but equally have made their core releases iron clad statement of intent. Likewise, rather that sticking to a single sonic approach over the decades, they have managed to cover quite some stylistic territory under the broader ‘black industrial’ banner. That has variously included: rudimentary ‘factory floor’ framed industrial (Macht Duch Stimmme and Malfeitor); satanic inspired black industrial (In Nomine Dei Nostri Satanas Luciferi Excelsi); black metal infused black industrial (Burning The Temple Of God); militant industrial/ power electronics influenced black industrial (Nordic Battle Signs); neo-classical tinged black ambient (Dominie Rex Infernum); and bombastic neo-classical framed black industrial (Infernal Affairs).

When excluding their live albums, Svartmyrkr is the eighth formal album from the group and a long twelve years on from Infernal Affairs. With myself holding a personal mindset
that there may have not been another Mz.412 album, I was OK with that prospect, given the strength and importance of the back catalogue. But in 2019 we have been graced with a new album Svartmyrkr, which thankfully both meets and exceeds hype and expectation. Ten tracks constitute the 45-minute album, where the pounding drums, male choirs of the short Antra Helstraffet functions as the album’s short intro. This is followed by the brooding to bombastic neo-classical track Öppna Helgrind driven forwards by mid-paced militant percussion and strong gruff vocals of Nordvargr. With its
distorted industrial furnace blasts Codex Mendacium mines the earlier black industrial sound of years past, while Ulvens Broder sees the group at their most bombastic with a rousing militantly tinged neo-classical track. Ulvens Bleka Syster is of note by featuring crawling and seething orchestral strings of a clear Penderecki strain. The albums also contains some surprises, such as the moody black ambient track Burn Your Temples, True Change with its central acoustic guitar courtesy of Kristoffer Oustad. Likewise, the late album pairing of She Who Offers Sorrow and We Are Infernal, qualify as effective
album ‘hits’, with both being militant and bombastic neoclassical driven black industrial tracks of the highest order.

With Svartmyrkr released in early 2019 and appreciated over a number of months, it is clear that it is an effective culmination of everything which has come before. Not being a
mere pastiche of earlier elements, rather it has drawn together core sonics elements into a complete and unified whole, where Svartmyrkr both compliments and builds upon the significant legacy of Mz.412. Wholeheartedly recommended.

 

Am Not – Unpunished : Appendix

Am Not – Unpunished : Appendix 10” EP Unrest Productions 2018

In its first version Unpunished : Appendix was issued in an extremely limited edition of 24 deluxe cassette box-sets. Only being available at a live performance in Paris, needless to say it sold out immediately, so having a repress of the four tracks on 10” vinyl is certainly welcome. Although the title refers to this being an ‘appendix’ I don’t get the impression that this is leftover material, rather new material which builds upon the themes and concepts explored on 2015’s exceptional album Unpunished (reviewed here).

Sonically speaking, the four tracks follow the now recognisable sound of Am Not, which, while being meticulously composed power/heavy electronics, does not forgo a suitably rough and raw industrial sonic edge. Opening track And Then We Shall Know commences relatively calmly with two intertwining loops (deep throbbing bass and higher modulated tone), which soon gives way to heavy and raw pounding industrial structures, and the proclamation-style rough vocals, achieving the typical blending of Am Not’s sound. Dark Star Kinshara follows and is another track of rough industrial-tinged heavy electronics that ups the intensity slightly and is also underscored by a dour organ-style drone. Intriguingly this track is: dedicated to the ongoing Congolese space program’, which it turns out is an actual thing, but one with a lengthy and chequered history with alleged links to Nazi scientists and the Soviet Union during the Cold War era. Side B offers another two distinct tracks, with Extremophilia II being a mass of thick pulsing loops and swirling mid-toned textures, with prominent dialogue samples and a rough vocal barrage framing the lyrical theme. The final of the four tracks, the instrumental State Funeral, is the most surprising of the lot, blending rough junk metal timbres with highly cinematic, neo-classical elements. With its stoic martial industrial percussive leanings and central dour organ melody, this on first listen is not immediately recognisable as Am Not, yet is a stunningly great track all the same.

As for presentation, the packaging is as slick and considered as the music, including four postcard inserts and four-panel booklet with mini interview to provide further information on the group and its thematic/lyrical preoccupations. Another mandatory release from Am Not and Unrest Productions.

Announcement: Spectrum Compendium book cover released!! 

I am extremely proud to reveal the finalised cover of the Spectrum Compendium book!

After a couple of design options, in the end it was decide to go with a cover design both keeps and builds upon the feel and aesthetic of the original Spectrum Magazines, which to my mind has come out as a very strong and striking visual.

The book layout is still being worked on by the publisher, but evidently I will have a copy to proof and approve this month (October, 2018).

More details on publication date will be announced later when known but getting very close now!!!

Eidulon – Combustioni

Eidulon – Combustioni CD Malignant Records 2018

For background context Eidulon issued their debut CD Idolatriae on Malignant Records back in 2007, but then receded into the shadows for over a decade before returning to issue this second album. Although perhaps in truth there was not complete silence from the group following the debut, as in the intervening 11 year period contributions were made to a number of the respected Malignant Records/ Kalpamantra compilations between 2009 and 2018.

With reference to the first album, it was a quite minimalist and abstract take and experimental and industrial tinged dark ambient, Combustioni is an altogether different beast. Being a solid blend of sub-orchestral dark ambient, martial tinged industrial and apocalyptic neo-classical expression, Combustioni is varied in its sonic execution, which is perhaps partly explained by guest contributions on various tracks including: Nordvargr, Kammarheit, Naxal Protcol, Caul and Luca Soi. Specifically speaking, the guest vocals of Henrik Nordvargr Björkk are unmistakable on A Shimmer In The Void and The Hierarchy Of The Inner Planes, but perhaps coincidentally the backing music is not too dissimilar to Nordvargr’s last storming full length Metempsychosis, albeit more doomy and orchestral in execution here. Luca Soi also provides guest vocals on two tracks, with the first being on Grande Rosso which are in a croaked rasp more resembles an underground metal style, while the musical backing features towering orchestral brass horns and slow booming martial drums. Yet in a complete opposite form of vocal expression Luca’s vocals on Immanence are presented as clean sung and chanted, which is a standout element of the album and highlights yet further stylistic variation. Late album track Averni Flammas Transivi features contributions of Kammarheit which results in a droning soundscape which elevates to moments of shrill orchestral strings, while Stratificazione Settima concludes the album as an instrumental dark ambient offering containing muted sustained melodies and floating/ droning textures.

Not an overly long album at 42 minutes, it still packs a multitude of strong ideas in that run time. While the first CD was minimalistic in scope and sound, Combustioni is anything but, where the music is memorable with strong and rousing impact. To round out the physical presentation, the slick graphic design of the high gloss digi-pack includes stunning grey-toned imagery and full lyrics, which has been formatted to fold out into a Maltese Cross. A worthy release.

Puissance – Let The State Collapse

Puissance – Let The State Collapse 3xCD Infinite Fog Productions 2018

In terms of historical context, Puissance (the Swedish duo of Fredrik Söderlund, Henry Möller) spearheaded and were a front runner of the martial industrial/neo-classical movement of the mid 1990’s. That sound was particularly big by the turn of the century and extended through to the mid 2000’s, but the style gradually fell out of favor due to the scene being flooded by lacklustre second tier acts and bland releases. But in parallel to that, Puissance gradually honed and evolved their own approach, and garnered strong praise and a loyal following with their apocalyptic and misanthropic worldview set to rousing neo-classical infused martial industrial movements.

Noting that Puissance been mostly inactive over the last decade (save for a single track Nox issued in 2014 on the Pylons Of The Adversary split album), Let The State Collapse functions to collect together various scattered threads issued outside of the main albums, including: the first two demos; a number of 7”EP’s; various compilation appearances; interlude tracks written for other bands; the Hail The Mushroom Cloud EP; the War On compilation collection; as well as a number of previously unreleased alternate versions. Although for reasons unexplained, it is noted that 1997’s Totalitarian Hearts 7”EP has been omitted from this set.

CD1 starts from the earliest Puissance works with the inclusion of the fledgling steps of the group as illustrated on their first two demos. The first demo Krieg from 1995 sits squarely within a rough post-industrial soundscape style, where the muted and ominous mechanical drones and stilted factory rhythms evoke abstracted orchestral undertones, but overall Krieg is a minimalist death-industrial affair than a neo-classical one. Releases the same year, the second demo Obey, Hate, Die then showcases a marked shift towards orchestral neo-classical sound and martial drumming sensibilities, which would become the main focus of the debut album Let Us Lead released a year later in 1996 (in fact, a number of songs from Obey, Hate, Die where included in upgraded and more powerful versions on the debut). Apart from archival completion, the importance of the inclusion of these demos here is that they illustrate how quickly Puissance evolved over an extremely short space of time, where the following collection of seven tracks from various 7”EP’s highlights the further honing of their sound. Of particular note is A Call to Arms from 2000, which is a rousing track framed around a melancholy infused piano line and strident martial rhythmic backing. Anthemic and apocalyptic is the best way possible.

Moving onto CD2, it functions to collect together five tracks from various compilations; eight interlude tracks contributed to the albums of underground black metal bands; and three previously unreleased alternate versions. In an overarching sense the majority of the tracks on this set are short instrumental neo-classical/ orchestral pieces, which reflects their role on the original releases. This however makes for slightly patchy listening and flow between tracks, and where some tracks suffer from a slightly over synthetic orchestral sound. But these are also minor issues, given the benefit of them having been complied on one CD for convenience, and for which many of these I have not heard before previously. Standouts of this CD include: Speak My Voice (instrumental); An Incarnations Dream (which features rousing sampled choral vocals and pounding militant rolling snare drums), and the beyond epic unreleased version of Biological Waste and A Call to Arms (instrumental).

CD3 rounds out the set and collates the Hail The Mushroom Cloud EP and the War On compilation. Hail The Mushroom Cloud was originally issued in 1999 shortly after the third album Mother Of Disease, where the four tracks are titled Act I through Act IV. With each track being instrumental, they are noteworthy for the first use of a purposefully synthetic programming sound for the underpinning militant beats and rhythms, which would become a mainstay of Puissance’s sound through the mid 2000’s. Sampled choral vocals also feature heavily to further amplify the neo-classical bombast of these tracks. Following the Hail The Mushroom Cloud EP is the War On which in its original form was a remix complication of sorts. Featuring eight tracks it effectively lifted two of the most militantly bombastic/neo-classical songs from each of the first three Puissance albums (Let Us Lead, Back In Control and Mother Of Disease), provided those tracks a sonic refurbishment and update, and combined them with a further two unreleased tracks. The inclusion War On tracks here is clearly welcomed addition, as it again illustrates the rousing Wagnerian heights Puissance reached with their martial industrial/neo-classical hymns.

For me personally, this collection strongly showcases the rapid evolution of the project and hits a particular sweet spot of Puissance’s martial industrial/neo-classical sound which extended to through to the early 2000’s. The period showcased on this set was somewhat superseded by the albums from the mid 2000’s forwards, which shifted to a more streamlined song based format, with a much heavier focus on programmed rhythmic beats which at times bordered on militant and misanthropic angst-pop structures. But to conclude on this release, the lavish digi-book cover and newly designed artwork does this set complete justice. Apart from being a beautiful physical archive piece, it has been a very rewarding and nostalgic experience to revisit the early and most productive period of the project. Recommended.