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.

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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.

Various Artists – Certified Dead

Various Artists – Certified Dead CD Death Continues Records 2018

Much like printed ‘zines, physical compilation albums are considered redundant formats in the minds of the majority, which is primarily based on the perceived convenience of the internet to be able to quickly check out pretty much any artist or release. Yet that attitude completely misses the point of the compilation format when it is able to maintain coherence around a theme, sound and approach. Certified Dead is one such compilation which clearly understands the strengths of the format, concept and artist and track selection.  As such Certified Dead harks back to the classic 1990’s Death Odors I & II compilations on Slaughter Productions, given it has collected together a stellar collection of ten known and more obscure projects.

Relative newcomer Arum Lilies (Australian project of Mark Groves) opens the compilation with Martin Luther, where a minimalist wonky piano line and creaking/ micro-tonal textures combine with tensile effect, prior to the whispered vocals providing a creepy psychological analytical edge. Being clearly cut from the same sonic cloth as his recent debut Dismal Fantasies (also on Death Continues Records) this track is noted to be of equal standing. Brighter Death Now follow and although Dead Boy does not really matching the quality much of his back catalogue, it sonically differs by being cleaner and perhaps more digital than his usual sound, where the throbbing looped structure is offset with morbid spoken vocals. Grunt’s track Cadaver also deviates in sound from the current material from the project, where this track is a great deal murkier given its swirling mass of caustic noise, punctuated by vocals ranging from whispers to agonized screams. While Necromondo is a previously unknown project, their offering Cadaver Obedience delivers a grim piece of instrumental droning and interweaving oscillations. For Sutcliffe Jugend’s Beyond Perverse, it features experimental scrabbling textures, cavernous drones and thudding overblown bass, while perhaps as expected the vocals bring angst and aggression. On Anapath In Search of Death delivers an excellent death industrial piece, built around revving conveyer belt mechanized loops to generate a general mood of chocking soot and ash, which provides the sonic backdrop for a sample of mortician narrates an autopsy procedure. Great stuff! Femeheim are next and are one of the newer projects featured, where on their track Kältetod it features controlled and intertwined buzzing and oscillating loops, while the spoken vocals are a standout element and provide a morbid edge (achieved through apathetic delivery and a sonically wet treatment). On Wertham’s instrumental track Mourning The Loss Of My Own Shadow, it forgoes the usual bulldozing wall of sound approach and instead opts for an excellent atmospheric industrial noise sound of layered swilling loops and caustic metallic debris and with clearly room to breathe within the mix, the driving loops gradually build with elevating effect.  Another Italian act Today I’m Dead follows and given the project appears to have been inactive since around 2004, I am unsure to if their track What A Pleasant Place is a new recording or archival. Regardless of this the piece fits within a minimalist Italian power electronics style with crude basic structure and a higher pitched central tone resembling a wailing air raid siren and spoken vocals being semi buried within the mix. Perhaps the best offering is left to the last, where on Savagely Mauled Crucifixion Genocide Organ pull no punches with a direct track of pulsing/ driving loops, fluttering textures, morse-code bleeps, angst filled crown samples crowd and heavy as fuck vocal proclamations. Both aggressive and maudlin in mood, Genocide Organ (again) convincingly demonstrate their mastery of a straightforward and direct approach.

As alluded to in the introductory passage, Certified Dead is something of a modern answer to the classic Slaughter Productions Death Odors I & II compilation, while it is also pleasing to see that some of the more obscure acts have turned in contributions to equal or exceed those of more established and recognized names. Overall this is certainly a thematically coherent and sonically enjoyable compilation. As a final comment, I do wonder if the title is a nod to a track of the same name from Brighter Death Now’s classic album Great Death?

Arum Lilies – Dismal Fantasies

Arum Lilies – Dismal Fantasies CD Death Continues 2017

Australian Mark Groves (he of Von Einem, Dead Boomers, Red Wine and Sugar Absoluten Calfeutrail etc.), has recently launched this new solo project and with Dismal Fantasies being the debut album. Taking some sonic cues from Red Wine and Sugar, the minimalist construction and creepy whispered style of the vocals of that project are both replicated here. Yet sonically Arum Lilies see Mark approaching industrial noise and subdued power electronics from an experimental and almost musique concrete angle. Also, while the project moniker may seem slightly abstract at first, it starts to make more sense when it is discovered that the Arum Lily is also referred to as a funeral flower.

On album opener The Maniac ,minimalist panning static and a morbid bass drone feature prior to the whispered vocals articulating lyrics of psychoanalytical type. The later introduction of maudlin piano melody shifts the mood of the track substantially, which then extends through into the following instrumental cut Erasing the Line. The layered, piecing and invasive whistling noise of Venal Dogs generates far more tensile mood, which in turn matches the lyrical dialogue which addresses a series of internalized thoughts and observations in the first perspective.* Musically speaking I find this piece one of the less successful ones on the album due to its needling and invasive textures, but this impression has far more to do with me avoiding music with tones that mirror my own long suffered tinnitus. Yet despite this personal negative, the sound shifts again on Prostituting Their Ambitions, where scrabbling field recordings and low humming drones provide the basis for fragmented one-line descriptors which gradually builds a picture of a lonely suicide. This general mood then arcs through later third of the album, with the tracks furrowing a sound frames around dour drones, minimalist sustained textures, and wonky piano elements for eerie atmospheric result.

With only seven album tracks, it amounts to a relatively short album (only 38 minutes), yet stylistic diversity is displayed within that run-time. Rather than being aggressive in tone, the overarching mood is unnerving and at times harrowing, and which lyrically function to thematically articulate the malaise and underlying violence of contemporary society from a number of angles. It is also worth noting that through Arum Lilies as well as his other projects, Mark is building quite a strong body of work which is forging a divergent take on the more typical tropes of the post-industrial genre.


* – During the review process I asked Mark whether the image on the back cover was associated with the January, 2017 incident, where Dimitrious Gargasoulas used a car to run down pedestrians in Melbourne Australia, killing six and injuring thirty others.  That impression was confirmed to be correct and it was then highlighted that the lyrics of Venal Dogs were based prior social media posts from Dimitrious, which are very revealing as to his state of mind before the attack. Mark also revealed further conceptual inspiration taken from another notorious Melbourne crime, so for those interested, good luck in potentially working it out from cover images and lyrics.

Grunt – Castrate The Illusionist

Grunt – Castrate The Illusionist LP Freak Animal 2018

Grunt return three years after Myth Of Blood (reviewed here), and continues the approach of delivering albums containing a collection of distinct and individual tracks. This follows the pattern already set down by World Draped In A Camouflage from 2012 (reviewed here) and continued on Myth Of Blood. As such Castrate The Illusionist can be considered as effectively rounding out a trilogy of releases, featuring unhinged, noise infused power electronics of the highest caliber.

Of the eleven album tracks are on the shorter side (two to five minutes each), which allows a wide variety of sounds, textures and sonic approaches to be explored. Likewise some quite unexpected sound-sources make an appearance, including a wonky treated accordion sample on The Iron Curtain Of Discreet Silence, which is placed within an instrumental soundscape of clattering junk metal, maudlin choir-esque sustained synths and squelching up front noise. Varied vocals feature across the album, ranging from the rock hard spoken passages to those of the trademark gruff yells and occasional unhinged shrieks.  Of note, the album contains two effective ‘hit songs’, including Hunting Within Civilization and Purge of Violence, both of which rely on heady pulsing textures to generate anthemic fist pumping effect, coupled with raw junk metal smatterings of noise and gruff agonised vocals (…and for the eagled eyed (eared?) both tracks previously featured in live versions on the Swarm of Parasites tape from 2016). Yet to speak of a slight negative, Human Storage seems somewhat out of place among the rest, as it is sonically less resolved overall and feels to be a more of a short, improvised piece.

Beyond describing individual tracks, the general mood and atmosphere oscillates between controlled anger to barely restrained violence, and while there is a clear display of meticulous construction of its varied sound elements, the tone never forges a shredding and raw tonal aesthetic. In an overarching sense Castrate The Illusionist can be considered to be of equal standing to the last couple of albums (as well as the Sacrosanct Imperium EP reviewed here), meaning this is more extremely high calibre material and again demonstrates without question Mikko Aspa’s sonic mastery of his chosen craft.

Abscheu ‎– Pretense

Abscheu Pretense LP Unrest Productions 2017

Although knowing virtually nothing about this project (including even the country of origin), it is again a case of Unrest Productions showcasing young projects who are effectively the new guard of the post-industrial underground. Pretense is the second release from the group, following 2016’ Breviary Of Chaos tape, and while having missed out on the debut, this functions as my introduction to Abscheu and can be quickly heralded as a stellar release.

Although billed as power electronics, the sound of Pretense sits in the militant tinged and industrial infused end of the genre’s sonic spectrum. Six tracks feature on the LP, where the material is framed around a clean and defined mix of scrabbling and unsettled loops, sustained noise, heaving bass thumps and spoken, sonic treated vocal proclamations.  Broadly the sound is stalking and controlled rather than pushing towards unbridled aggression, although the material does build up toward the final title track, which also includes some strong dialogue samples to flesh out the album’s concept *. Given its thematic focus and militant/ tactical sound, an oblique comparison could be made to Genocide Organ’s Under Kontrakt album, albeit here in a more streamlined and direct style. Either way this is a clear indication of the strength of Abscheu’s sound.

Visually speaking, the clean design of the cover illustrates cultural conflict and societal unrest from differing angles, but without lyrics of further detail being presented the listener must engage in detail with the release to better appreciate the themes on display. Without question this is another outstanding release from the Unrest Productions stables and again highlights the label as the current leading underground outlet for uncompromising and expertly executed material.


* – the promo blurb further expands on the concept: “From Europe to Middle East via Sub-Saharan Africa, Abscheu have been watching some of the most determined acts of violence. Studying how bloodthirsty groups wash their hands by adorning their motivation with divine command. Seeing zealots justify murderous wrath by invoking their favorite sacred book whenever necessary. A self-proclaimed court where justice is selectively rendered. A confusing purgatory where hatred is given a legitimacy. A sneaky trickery designed to mislead one’s enemies in the maze of one’s lies. «Pretense» is the exploration of that system from various perspectives. «Pretense» is an unquestionable judgment before men – definitely not before that thing they call god”.

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.