Kontinent – Pornography of Power

Kontinent – Pornography of Power MC Unrest Productions 2018

As an initial comment I am not sure if Kontinent should be referred to as a ‘side project’ of Kevlar, however putting such designations aside, Kontinent is the solo project of one of the duo behind Kevlar. In then noting that Kontinent’s past releases have broadly been within a modern post-industrial/ power electronics style, this is no different to what is displayed on Pornography of Power, albeit there is a noted increase in aggression and sonic fieriness.

This new release follows relatively quickly on the back of 2017’s album Statis, where Pornography of Power is another expertly crafted release, featuring eight brisk and focused tracks within an industrial meets heavy/ power electronics framework. On the thematic front, song titles such as Pure Power, Bring Back The Violence and Higher Civilisation provide a hint at preoccupations, given the vocals can only be deciphered in a fragmentary fashion due to sonic treatment. Yet the cover imagery provides further context, which of note includes an image of Anders Breivik and a quote appearing to be attributed to him, being: “violence is the mother of change”. As for the sonic content, the detailing and layering of the tracks provided variation and complexity throughout, where looped elements converge and intertwine, while gradually falling in and out of sync to disorientating effect. The distorted and echo treated vocals make them a standout element in their anger infused, proclamation styled delivery.

To some degree there is a certain blurring of lines between the sound, style and approach between Kontinent and Kevlar, which is be expected given who is involved. Yet there is simply no complaint on this point if the high calibre material such as this continues to be issued from both projects. With Pornography of Power being limited to 123 pro-duplicated tapes, I suspect this may get a re-issue on vinyl at some point, which would be a welcomed prospect.

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Compactor ‎– Technology Worship

Compactor Technology Worship CD Oppressive Resistance Recordings 2018

Compactor is the latest project from long standing New York underground musician Derek Rush, who is perhaps best known for Dream Into Dust, as well as other collaborative projects A Murder Of Angels and Of Unknown Origin. Yet within the context of Compactor, Derek has forgone using own name, instead adopting the moniker ‘The Worker’, who is an employee of a corporate entity known as Waste MGT (aka Waste Management). To then set the scene for this review, prior to listening to this album I had heard a couple of Compactor tracks here and there, and from those noted a fair dose of influence from underground club-related genres. In truth, those elements were not typically to my liking, but by way of comparison they are effectively absent from Technology Worship, which then functions to frame this album far more towards my own listening preferences, namely post-industrial sounds of power electronics and noise-infused industrial.

To first speak of the sound of the project, this deviates quite significantly from the musical approach which Derek has produced in the past. On face value this would seem to be derived from the approach of using a range of obsolete technology, and bending and abusing the output to desired effect. On select occasions it perhaps leaning towards the cleaner and rhythmic sounding end of the underground industrial spectrum (i.e. that labels like Ant-Zen typically deals with), where album opener Ease Of Use is a clear demonstration of this approach with its mid-paced pounding industrialised rhythm. Yet equally, there are numerous other tracks which are in no way rhythmic derived or focused, rather focus on varied frameworks of distorted loops, flayed noise and splitting and glitched distortion. Vaporware stands out from the bulk of other material given the greater spaciousness of its industrial noise soundscape, although the track evolves into a harsh crumbling distortion workout at the end. The partly rhythmic but fully ominous and tensile structure of Screen Hypnosis is another excellent track, but at just short of three minutes is far too short.  Final album track Church of Virtual Reality spans close to eleven minutes, being a good sonic representation of a grinding distortion and furnace blasting sonics.

In essence Compactor is effectively the most straightforward and direct music I have heard from Derek to date, but where he has applied a heavy degree of compositional focus and control which in turn has achieved a tonally varied output. By embracing elements of sonic chaos but bending these to structural and focused effect, Technology Worship is an solid and direct listen within a clean industrial noise and power electronics infused style, further bolstered by a strong thematic concept.

Serration ‎– Machine Survival

Serration Machine Survival MC Unsound Recordings 2018

Via the sub-label Unsound Recordings, Unrest Productions have signing yet another new and strong project to the roster, this time being Serration from Detroit, Michigan (based on information listed on Bandcamp).

Seven tracks of focused and controlled industrial/ power electronics tracks feature on Machine Survival, ranging from three to six minutes each. Looped distortion and grinding drones are used in relatively straight forward formations, while the vocals as perhaps expected are processed into a layer of echoed distortion that bleeds across the middle of the sonic spectrum. The mood of the tape broadly one of ominous dread than overt aggression, although the pulsing distortion of Sacrifical Deployment and air raid siren noise of The Inevitable Desolation are certainly tensile and anything but relaxed. Thematically speaking the song titles and imagery allude to a focus on the military/ industrial complex, and while the utilised samples might have provided more context, their message alludes detection due to being buried deep in the mix.

If any criticism is to be leveled at this tape, it would be that it aligns too closely with the sound, feel and direction of other releases on issued on Unsound Recordings/ Unrest Productions. While this does deliver in terms of sound and approach, it perhaps suffers by not having significant differentiating elements to make it stand apart. Yet even with that said, this is a completely minor observation, particularly if both the project ad label continues to maintain this sort of standard. Limitation of 80 copies, so you know what to do.

Nil By Mouth batch reviews

ANTIchildLEAGUE / Cronaca Nera Bruises and Bites MC Nil By Mouth Recordings 2017

ANTIchildLEAGUE (aka the solo project of Gaya Donadio), has teamed up with Cronaca Nera whom I have not come across before. Although it appears they are an Italian project who issued two release back in 2001, which was then followed by a period of 13 years silence before reactivating in 2014, and now seems to be a trio including the involvement of Andrea Chiaravalli (aka Iugula-Thor).

For this collaborative tape Bruises and Bites features sonically fierce power electronics, and at times sounding completely psychologically unhinged based on the veracity of the vocals courtesy of Gaya. The title track opens the tape and complete sets the scene for the entire tape. Featuring saturated fried static, pulsating and grinding noise and aggressive echo and distortion treated vocals, these sonics elements have been cleaved into thick and punishingly loud structures which are pushed to overblown intensity. To then speak of the vocals, these are a standout element, where depending on the track, the voice appears to be barking orders and demands, and set against a secondary voice of variously choking, rasping and crying tones. Although sonically the material is choppy, loose and at times quite chaotic, there is clear compositional focus and intent which is clearly detectable under the more outwardly unhinged sonic elements.

The six distinct tracks span in the order of 30 minutes of music, which is further housed in a faux leather slip-sleeve, with further printed insert and postcards featuring group imagery in an S&M style. Issued in an unknown limitation, this is harsh, hard and high-calibre modern Italian power electronics.


Instinct Primal / Purba Forest Ritual MC Nil By Mouth Recordings 2018

Here is a collaborative release between Instinct Primal (the solo project of Jan Kruml), and Purba who is a Russian musical project focusing and Bon ritual music. Purba in its current form is the solo project of Svyatoslav Ponomarev, but of note is that an earlier incarnation of the group included the membership of Alexei Tegin (from 1996-2001), who is currently recognised as the leader of the Phurpa and who also play ritual music in the Bon tradition. But aside from that point of interest and link to Phurpha, this is a Purba release where evidently Forest Ritual is the first recordings made in 18 years. Musically speaking the material on Forest Ritual, features two lengthy ten-minute tracks and is as archaic as they come, with the basis of the recordings made in October, 2016 in a forest close to Kutna Hora, Czech Republic, which is the town where the infamous Sedlec ‘Bone Church’ is located. The cover then identifies the music is: “featuring snow, wind, trunks, stumps, and rusty nails in an ambient ritual of earth and fire”.

Day Forest Ritual (Part One) Holy Fire sonically features a myriad of field recordings including: frozen winds whipping through trees; creaking branches; footfalls tramping in the snow; and wood chopping for thudding percussive impact. Mid track contains some static noise hum before receding again and making way for throat derived vocal chants which are raw and animalistic in their delivery. The final section has the feel of being a studio treated recording of a roaring fire but elevated to shrill intensity. Night Forest Ritual (Part Two) features yet more forest derived sounds merged into vague ritualistic soundscapes, but here with a more prominent droning framework (again assumed to be the result of post recording studio treatment), and late passage contains a lone ritual drum and low garbled voice.

Definitively organic and ritualized in all aspects of sound and presentation, this is evocative and obscure in the best way possible and sits alongside the more abstract ritual sounds from the Aural Hypnox collective. The packaging also suits the feel of the music perfectly with the tape and multiple inserts with forest and nature imagery wrapped together with stained cheese cloth, twine and wire. At this point of the review, clearly you will know if this is an underground ritual obscurity for you.


Naxal Protocol The Stasi File MC Nil By Mouth Recordings 2015

Being a couple of years old already, I have had this tape for some time but only recently learned that the project is helmed by Piero Stanig of the older Italian experimental noise industrial project Cazzodio. To then highlight differences, with Naxal Protocol ‎the sound is originated towards a controlled heavy electronics style, where two tracks of around ten-minutes each feature on The Stasi File.

Stop And Frisk Induction features first and is a track of ominous cyclic drones with controlled bass driven undercurrent of vague rhythmic elements and buried samples of ill-defined and undecipherable meaning. Tumultus Et Urbanae Seditiones follows on the flip side and is choppier in execution, with rough thick distortion and friend noise hewn into rough looped structures, with occasionally detective crime interview dialogue samples, but mid paced and controlled overall. Mid track the loops elevate in intensity to more direct impact, before receding again into the final section.

All in all this is an enjoyable albeit short release, where the special packaging of a ‘top secret’ envelope with various printed inserts addressing societal control via police/ government/ military force is a nice touch (and limited to a 130 copies).


 

Ausströmen – Immobilise

Ausströmen – Immobilise CDr Faktion 2018

Ausströmen is a name I recognised from somewhere, which was then revealed to be due to the inclusion of their track Pornography Of Violence on Tesco Organisation’s lavish 4xLP compilation boxset Projekt Neue Ordnung II from 2017. That track is also featured here on along with another nine tracks, and with a total run time of 45 minutes it provides an indication of the compact nature of featured material.

Sonically speaking Ausströmen’s debut Immobilise is of an industrial and power electronics style with a thick bass driven approach, where the production of is clean, sharp and loud, while the sharper textures are mid-toned rather than higher pitched. Musically the ten tracks are clearly composed and of a definite song style based on programmed beats and structured layering of hostile pulsing textures, fizzing tones, and rupturing electronics. At times the approach leans towards a heavy rhythmic industrial sound, such as is displayed on Slow Burn, Pornography Of Violence and Dead Machine, yet at the same time it stops well short of being dance-floor focused or oriented. Male vocals are also present, but partially buried in the mix and deviating from apathetic spoken passages to partial proclamations. Perhaps the less rhythmic and more sonically abstract tracks as Voyeur, Faktion, Keppra, Glass appeal more to my own personal preferences, yet there is still both variation and sonic coherence displayed across the album as a whole.  The concluding track Solar Decay is also of note, based on its militantly maudlin approach of plodding rhythmic beat and deep moody drones. Given the honed, clean and at times clinical production, I would perhaps surmise that there is a degree of influence from the Galaktorro label (and particularly mid to late era Haus Arafna), and if this comparison is in fact incorrect on my part, it does at least serve to indicate where Ausströmen’s approach sits within an underground context.

To speak of chosen format, usually I avoid CDr releases like the plague, due to the bad taste left from the slapdash approach to the format within the underground during the late 1990’s and early 2000’s. Thankfully this is not the case here, where the lavish slider box with silver foil blocked/ embossed logo houses a pro-printed disc in a black clam-shell, along with an 8 page booklet and individual Polaroid photo. Sonically and visually Ausströmen have delivered a strong debut, but with the original limited edition of 50 copies already sold out, it would seem logical and sensible for a less limited repress to be issued.

Augure Concret ‎– An Act Of Desperation / Cephalophore

 

Augure Concret An Act Of Desperation MC Fall Of Nature 2017

Augure Concret Cephalophore MC Unrest Productions 2018

Augure Concret are a new industrial / power electronics project from the UK who have issued two tapes in relative quick succession (in November, 2017 and February, 2018 respectively), however I have no idea as to the time-frames over which the material on these two tapes were composed and recorded. Regardless of this, An Act Of Desperation is the debut release, featuring eight compact and to the point tracks which are framed around an ominously aggressive mood. Compositionally the track feature layering of caustic loops, deeps slow percussive thuds, raw junk metal type noise, semi-melodious loops and somewhat distant vocals which are still decipherable in their yelled presentation with slight echo treatment. The overall sonic tone is thick and hefty, where the slow plodding motion of the tracks gradually elevates in intensity. Some tracks specifically bring to mind Grunt of Human Larvae and their penchant for using creaking junk metal sound sources as a central part of their sonic framework. Therefore such comparisons should give an indication of the detailed compositional approach and rawer and ripping noise infused edge of the material found on An Act Of Desperation.

Cephalophore is the second follow up tape and demonstrates a clear evolution in sound and approach, given it features four untitled longer form tracks which sprawl out over greater length. Thick and spitting distortion open the album as a backing to a dialogue sample discussing schizophrenia, before launching into a chaotic noise infused ‘rocks in a cement mixer’ loops, while a melancholic synth line cuts through strongly and the vocals are rendered unintelligible through their distortion treatment. The second track is split into two halves, where the first segment incorporates whistling noise, mid-toned tensile drones and roared vocals, while the later section is instrumental in scope and shows a willingness of the project to explore controlled and atmospheric spheres through the use of looped and layered orchestral strings which are underpinned by a plodding bass hum and muted mid-toned static. Excellent stuff. The first track on Side B is a particular standout with its shuddering cascading loops, distant underpinning synth line and semi-buried gruff vocals, with gradually elevating momentum and mid pitched noise.  For the final track it is controlled rather than outwardly aggressive, being subdued and sparse overall, vocals are cavernous and distant and mid-toned, chattering noise.

Clearly both of these tapes demonstrate Augure Concret to have definite level of skill and a wealth of compositional ideas. However in comparing the two Cephalophore stands above An Act Of Desperation, as it is more varied overall in style and approach and willingness to pair back on overt aggression and bodes well for Augure Concret caving out their own niche sound and approach within a power electronics infused industrial style. Best be quick if interested in these as both of these professionally duplicated tapes are extremely limited – 60 copies for An Act Of Desperation and 121 copies for Cephalophore.

Alberich – Precursor

Alberich – Precursor MC Hospital Productions 2018

Kris Lapke has been issuing material under the Alberich moniker since 2005 and has amassed 18 releases in that time. But with many of those being issued on cassettes and in small runs, it has made it rather difficult to keep track of Alberich’s output, which in turn has created an elusive aura around the project. However, 2014’s 2xLP reissue of the 8xMC NATO-Uniformen (in a larger edition of 700 copies), functioned to raise greater awareness of the project and showcased the distinct blend of rhythmic industrial arrangements and controlled heavy/ power electronics atmospheres. While Precursor is technically the latest release, in actual fact it is a live recording from 2017, where the title should then perhaps be read as a statement given it has been issued prior to the upcoming and anticipated new full length Quantized Angel.

With Precursor being a live recording, as might be expected it plays out as a singular interconnected 35 minute piece which moves through a series distinct tracks and passages. In the process it then delivers all of the recognized and lauded elements of the project’s style, including: the driving rhythmic industrial beats, the pounding techno-esque movements; minor keyed melancholic synth washes; and sporadic but heavily treated vocals. In fact there are some massive artillery grade and explosively pounding beats on display here, with the melancholy synth washes offsetting those by providing an otherworldly tone.

Being expertly crafted and controlled in its delivery, on face value the recording does not at all sound to be a live recording, so I gather it has been made directly from the soundboard due to the clarity and volume of the sonics. Likewise, with is relatively short run time and brisk pacing of material the tape breezes by and concludes all too quickly, leaving a distinct sense of wanting more – a lot more in fact. So, here’s hoping that such demands will be duly sated by the upcoming full length – which is then pretty much guaranteed given it seems this live set features live versions of various new tracks. In the meantime this is a rather worthy tape to track down, issued in an edition of 300 copies.