Blood Rhythms – Civil War

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.

Entre Vifs – Offranfe et Partage

Entre Vifs – Offranfe et Partage CD Aussaat 2019

Despite having releases extending back 30 years, I am less than familiar with Entre Vifs’ output, but I am aware they are an exponent of a ’bruitism’ approach to music – aka ‘the art of noise’. The material on this new album is derived from live recording sessions using a variety of homemade electronics and noise equipment (as pictured in the booklet), and recorded as a duo March and April, 2018.

Four tracks span 74 minutes of ‘bruitism’ focused sonics, with the longest piece being 23 minutes, and the shortest being nine. Despite what I assume is the improvisational nature of the recordings, the tracks have compositional flow where there is a real sense of ‘cause and effect’ between the presented sounds, which is indicative of interplay between the two members during the recording sessions. Sonically speaking the sound features raw blown out metallic textures, blended with moments of stilted rhythmic pummeling. Further variety comes in the form of creaking atonal junk clatter, slashes of random electronics sonics and wonky bowed springs. Recording wise the tone is textured and detailed and while ‘noise’ derived, it is not harsh noise by any stretch and fits more within a rough industrial noise frame of reference. Consequently this means there is space for the layered sounds to breath within the mix, while sounds rapidly panning between speakers functionally increases the disorientating effect of the mid-paced industrial noise maelstrom. Beyond my more pragmatic descriptions, the title of the third track is also quite an apt descriptor of the album overall, titled A Benevolent Storm Front.

Being sonically textured, highly detailed, chaotic and warped, yet somehow strangely soothing at the same time, Offranfe et Partage is an intriguing and enjoyable listen, even if I am I am not sure to how often I may revisit this. But in being both noisy and clearly artistic in approach, the agenda to functionally realise ‘bruitism’ has been achieved.

Contrastate ‎– An Exercise In Defascination

Contrastate An Exercise In Defascination 7”ep Black Rose Recordings, 2019

With their immediately recognisable darkly surreal soundscapes, which are further characterised by poetically metaphoric vocal narratives, Contrastate have always been an anomaly within the post-industrial underground. It has then been some time since 2012’s last full length A Breeding Ground For Flies, noting that 2016’s No Eden Without Annihilation was not an album proper, but rather a collection of live recordings. An Exercise In Defascination arrives as a precursor to the upcoming full length album, where the liner notes highlight that the two featured tracks: ‘are alternate mixes from our ongoing studio recordings for the next Contrastate album. The album concept is inspired by the Italian giallo films of 1970s’.

The instrumental title track arrives on the first side, and within the first minute manages to span cinematic synths, rolling percussion and pitch-shifted sonics. From there the surreal serpentine soundscape is derived from shimmering textures, abstracted guitars and a myriad of other sonic elements, while a shrill drone and rising strings through the later part of the tracks functions to create tensile and urgent tone. Spasmo takes up the flip side with more shimmering drones and abstracted guitars, but the mood is more stayed overall in a drugged miasma sort of way. Snippets of vocals are present but are sonically warped and fragmentary in presentation, rather than their usual focus of a central narrative based tool. Regardless, the resultant feel is a darkly surreal one.

With this 7”ep effectively being a short taster to the new album, but on their own form a welcomed slice of Contrastate experimental post-industrial eccentricity. It will then be equally interesting to see how these compositions will fit within the greater whole of the upcoming full length. As for this release it is limited to 250 copies.

Schloss Tegal – Psychometry

Schloss Tegal – Psychometry DLP La Esencia Records 2019

Thirteen long years have transpired since the last Schloss Tegal album, so you could have been forgiven for thinking a new album was an impossibility – yet here it is. Granted there was a two track 7” ep Procession Of The Dead (Undead) released in 2017, but that release did not include new music, rather featured a remix of an old track and another live recording from 2008.

Based on first impressions of Psychometry, the stunning sleeve design of the gatefold vinyl with spot varnished geometric patterns needs to be acknowledged. In my estimation this visual presentation does absolute justice the album’s conceptual themes, which themselves hark back to 1999 Black Static Transmission. Although the artwork of that earlier album let it down somewhat in term of feeling slightly amateurish in early computer-based design. Sonically speaking, Psychometry also feels to have clear linage to Black Static Transmission rather than the direct sound employed on 2006’s album The Myth Of Meat (which is explained by its source material having been drawn from sounds recorded in a working abattoir). But apart from focusing on sonic differences, Psychometry still embodies a particular sound established and easily recognized as that of Schloss Tegal. This means it is too sonically forceful to be described as dark ambient, but equally is not abrasive enough to become noise/industrial.

From the outset the album delivers grim maelstrom drones blend with dour muted melodies, while other erupting fissure of sounds seem to articulate the tearing at the hidden fabric of one sub-conscious (refer to Pyschpompus and Incorporeal Being as prime examples). The Invalid Earth is an early standout with its throbbing ritual pulse, swirling drones and disembodied radio chatter. Krononaut (Time Zero) articulates further churning emanations from the void, complete with prominent EVP voices, and based on their scratchy semi-unintelligible it gives off an unnerving and eerie effect (EVP recordings appear on a number of tracks throughout). Black Vessel then delivers a foreboding tumult of layered electronics and is one of the more direct and heavy tracks on display. Moving towards the end of the album Body Farm delivers a tensile, and shrilly cinematic composition, but which is far too short in run time. As for the concluding track We All Become Gods blends deep cinematic tinged textures with widescreen drones and (again) with an unnerving disembodied voice.

Over their discography Schloss Tegal have excelled at sonically articulating a psychic space which blends the real and perceivable with an ‘unknowable otherness’ of inter-dimensional states. Without question Psychometry is another excellent example of this approach. In a general sense this feel of being a collection of individual and separate tracks rather than the sprawling and interlinking movements on Black Static Transmission. But this is only a compositional observation and not in any way a criticism. Not to call Psychometry a ‘return to form’, as that would allude to some sort of prior drop in quality of output, rather Psychometry is a welcomed and long-awaited continuation of unique sound and approach that Schloss Tegal have always displayed. Recommended and absolutely worthy of investment in its stunning physical edition.

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.

 

BJNilsen ‎– Focus Intensity Power / Tape Dekay ‎– Decadimento Del Nastro – Decadenza Di Tutto

BJNilsen Focus Intensity Power LP Moving Furniture Records 2018

Tape Dekay Decadimento Del Nastro – Decadenza Di Tutto CD Old Captain/Narcolepsia 2019

From his first dark ambient project Morthound which had releases on Cold Meat Industry during the early 1990s, BJNilsen moved over to the Hazard moniker in the late 1990s, and from around 2004 onwards opted to record under his own name. Generally speaking, over the last 15 years BJ’s approach has been characterized by an experimental approach to sonically processing various natural and urban-based field recordings. However with Focus Intensity Power being the solo new album, it marks a decided shift away from the use of field recordings as it is a purely studio-based album, which according to the promo notes provides: ‘documents of improvised sessions using modular synthesizers, tone generators and test and measurement instruments’. Sonically this album has greater alignment with early Hazard albums than recent solo output and is certainly welcomed from these quarters. The 15-minute album opener Beam Finder is an elongated exploration of minimalist unceasing mid to lower range bass tones, coupled with micro-tonal static and machine idling drones which appear late in the track. This approach continues with The Sound Of Two Hands, although this is slightly more forceful and varied with the introduction of a ‘ticking clock’ element and other minimalist scattered electronics. The relatively short Flattened Space embodies a muted sub-orchestral tone blended with mechanical menace, while Table of Hours fits cleanly within a dark ambient drone frame of reference. The final of the five tracks, The Limits of Function, starts slow but gradually elevates with layered machine drones, and the second half of the track is driven forwards by a central rhythmic loop. In essence Focus Intensity Power is an effective celebration of sustained tonal atmospheres, which amounts to evocative sounds in their purest form. Sublime.

Moving on to the review of Tape Dekay, this is not a new project but a quite obscure side project of BJNilsen. In fact, before this debut CD only two tracks were previously issued from the project on two separate compilation releases dating from 1999 and 2008. Given that in recent decades BJ has mostly worked under his own name with manipulated field recordings/electroacoustic material, for Tape Dekay the sleeves have been rolled up to tackle the more direct fields of noise. But as might be expected with someone with such refined experimental compositional skills, these have been employed here to generate a clean and loud production. While ‘noise’ is the name of the game, it is also not ‘harsh noise’ by any stretch; this is more of an exercise in experimental noise and an exploration in tone and sonic construction technique. Although select passages build to a certain noise heft, including crumbling bass, static rumble, and slashes of sound, the album is also not harsh by typical measures. Other tracks employ a vague structure of off-kilter factory rhythms, driven forwards with weighty machine-like drones and monolithic industrial loops. With melodic elements being entirely absent (except for what sounds like processed male choirs in one track), the employed tone and the separation of sonic elements function to maintain detailed interest throughout. Likewise, given the level of meticulous construction which has been employed within compositions, there is a real sense of sonic complexity spanning the seven tracks.

Both of these albums from BJ Nilsen are certainly different in approach and equally enjoyable in their own right and chosen musical spheres. But from a purely personal position, Focus Intensity Power is the album which I have kept returning to over many months.

Anakrid – Ugly/Pretty

Anakrid – Ugly/Pretty 7”ep Cipher Productions 2019

This is my first introduction to Anakrid, which is a solo project of Chris Bickel. The project then seems to have been active as far back as 1990, although the bulk of activity has been from the early 2000’s onwards. This short two track 7”ep is of an experimental abstract noise style, which primarily focuses on tone and detail than volume and harshness.

The first track Ugly is somewhat of a misnomer as the track constitutes a composition of elongated warm enveloping drones, which are tonally layered but minimalist in construction and feature a faint melodious resonance. Deep in tonal atmospherics, there is subtle complexity at play and makes for an enjoyable track, but which feels far too short in run time. In flipping over to side B, again it features a misnomer of a title. Pretty deviated stylistically by being significantly more animated with its meticulously layered approach, combining creaking metallics, cavernous tones, shrill mid-toned textures, sporadic gongs percussive like elements etc. At times reaches the shrill intensity of an orchestra string section tuning up, and in a fragmentary sense could be passed of as an atonal and abstracted contemporary orchestral track. But again the composition is far too short and it finishes just as quickly as it starts.

As alluded to above, the main criticism is the extremely brief run-time given how compositionally different but equally engaging these two tracks are. But that minor criticism can also be rectified by giving this a number of spins back to back to sate appetite. Black and white collage artwork rounds out and enjoyable, albeit short and sharp release.