Deaf Machine – Transistor / Found Noises

Deaf Machine – Transistor CD Raubbau 2008

Deaf Machine – Found Noises CD Raubbau 2008

The label Rabbau seems to be similar to myself, in that they have a soft spot if not all out obsession for early 1990’s Swedish industrial obscurities.  Deaf Machine is one such project whom were a short lived project of Mikael Svensson who was also a founding member of Megaptera before his departure leaving Peter Nyström to carry on. Deaf Machine also have a loose connection with the early era of the Cold Meat Industry label, noting that two of their tracks where included on ‘In the Butcher’s Backyard’ compilation from 1993.  In order to prevent Deaf Machine from languishing in total obscurity, Raubbau have taken the initiative to release the complete recordings of Deaf Machine (spanning 2 separate CD’s).

‘Transistor’ was the first recording from the project and given the original tape was issued in 1992 in only 10 copies it gives an indication of exactly how obscure the project was and no doubt this re-release will be the means for many to hear this music for the first time.  Looking back at the context of when this material was released, this was during a time when the Swedish death industrial sound was in its infancy and its key hallmarks were still being bedded down.  Likewise given its obscure muffled sound, and occasional scattered micro-tonal elements, there is partial a degree of affinity here with a ‘post-mortem’ style.  Thus ‘Transistor’ inhabits a loose analog sound, primarily built on fuzzed out radio static, cavernous bass addled tones, morbid tonal pulsations and slow thumping industrial rhythms, whilst on occasion radio songs and news reports randomly bleed into the mix.  Given the newly designed cover imagery features ice covered plants and frozen landscapes, it is a suitable representation of the cold industrial soundscapes found within.  The cover also features liner notes include text provided by scene notables Jason Mantis, Kyle Wright and Bauke van der Wal (among others) which provides context to the early impact of the group.

The second CD ‘Found Noises’ functions to collect together all remaining recordings from the group, which includes: 5 tracks from a 1992 split tape with Instant Cold Commando (2 of these tracks were also featured on the Cold Meat Industry ‘In The Butchers Backyard’ compilation); 1 track from 1995 on Harmonie’s Le Cénacle cassette compilation; 1 track from 1994 on Slaughter Productions Death Odors CD compilation; and 1 unreleased track (year unlisted).  For the sound of ‘Found Noises’ it follows the established stylistic template, however has been slightly honed in focus and execution to inhabit a darker and more forceful hue (whereas ‘Transistor’ was slightly more experimental in guise).  Radio chatter is still sporadically used, but the darker sound is augmented with garbled, chanted vocals and slow thrummed bass to bulk out the lower end of the sound.  ‘Reaction’ is a particular stand-out, with it muffled echoed soundscape and semi-buried maudlin synth line, while the movie dialogue samples and grinding death industrial sounds of ‘At The End’ and ‘Silent Intruder’ also draws parallels to the early works of Megaptera.  ‘Injection’ is the most divergent piece on offer with its focused electronic programming, while the final album track (and seemingly the final recording for the project) comes in the form of ‘Final Destination, which was originally featured on the now classic ‘Death Odors compilation.  Here the extended track is a great example of a mechanically driven, rhythmic death industrial soundscape, with floating layered synths etc. and showed much promise from a project which for whatever reason simply did not continue further (the cover includes a short interview with Mikael Svensson which covers the reason why).

With both CD’s representing a history lesson on one of the obscurest projects of the Swedish death industrial sound, Raubbau should be commended for resurrecting these recordings and issuing these albums for both posterity’s sake and general listening pleasure.

RJF – Greater Success in Apprehension & Convictions / Blood Ov Thee Christ – Master Control

RJF – Greater Success in Apprehension & Convictions CD Segerhuva 2008

Blood Ov Thee Christ – Master Control CD Sergerhuva 2005

These two older releases were both issued by the now defunct Swedish Sergerhuva label, but given they are both representative of the mid 1980’s Swedish industrial underground they are reviewed together to provide a quick history lesson.

First up is RJF (being the earlier of the two projects), with the album being a re-release of their only album from 1983 (issued in a run of 300 LP’s).  Lo-fi experimental electronic minimalism is what we have here, being built on somewhat simplistic elements – yet simplicity is used to utmost effect.  ‘Maximum Pain’ introduces the album with a singular burrowing mid-range analogue texture, overlaid with distant agonised vocal screams.  However the next track ‘Jugend Dance’ is totally different with its use of sparse squelching noise and a minimalist programmed beat which clearly holds an ‘eighties’ sound to the production.  Alternately a drugged haze permeates the tone of ‘Minimal Brain Function’, which is composed with spare programmed beats, sustained distortion and monotone spoken vocals.  Likewise late album track ‘No Room’ does away with any programmed beat elements, instead opting for a more urgent noise pulse, oscillating noise and garbled vocals.  The sound is clinical and morbid in the best way possible, with this atmosphere continuing into the final album cut ‘Zuweiderandlungen’ which is built on a mechanical beat, noise and screamed vocals.

Noting the ‘eighties’ sound of the beat programming on various RJF tracks, it is interesting to note that it is exactly this is a type of approach that would be later honed by the German scene and in particular Haus Arafna.  Yet closer to home the RJF’s sound was also clearly an influence other early Swedish industrial acts such as Lille Roger.  The A5 booklet cover also includes an article written by current Swedish scene stalwart Kristian Olsson to provide some very useful background context to the group.

The later of the two projects reviewed here is Blood Of Thee Christ, which although commenced only a few years later than RJF is all the more heavy and harsh for it.   ‘Master Control’ constitutes a re-release of their debut tape of the same name, issued originally in 1987 and containing material spanning 1984 to 1987.  The full contents of the original tape are re-issued here, along with a bonus track dating from 1988.

The title track is up first and an absolute monster 45 minute piece – although given the track has a silent break in the middle this is perhaps indicative of the two side of the original cassette.  Here we have a heavy slab of industrial noise with oscillating harsh frequencies, crumbling seething noise and occasional aggressive distorted vocals.  With the length of the composition and its heavily free-form sound it projects a loose and potentially improvised aesthetic.  Yet walking the line between controlled and unhinged this is scuzzy, harsh and filthy industrial noise at its most depraved.  The second track ‘Pain and Pleasure’ is a much shorter piece, being a minimalist piece of pulsating static, made all the more a difficult listen due to the use of sustained and repeated trash film dialogue (which narrate confessions being extracted by torture).  At only 4 minutes and 44 seconds ‘Exzesse’ is a focused yet chaotic maelstrom of harsh controlled distortion.  As for the final of the four albums tracks, ‘Forced Entry’ seems to focus and distil the most dynamic elements from the title track into a solid and brutal piece, which in a contemporary scene context could be compared to the most chaotic material produced by Deathkey – yet this was recorded in 1988!

Given that both projects and albums date from the mid 1980’s, they each illustrate a clear difference and diversity of sound.  This can obviously explained by the fact that at the time genre ‘rules’ had not yet been established, meaning both albums can be broadly filed under power electronics, industrial and noise, despite sounding nothing alike.  In a final compassion between the two projects, today RJF sounds somewhat simplistic and ‘old school’ due to the production and programmed elements, while Blood Ov Thee Christ has aged a little more gracefully.  Possibly benefiting from a loud and crunchy remastering treatment, ‘Master Control’ is less easily pigeon-holed in a 1980’s frame and can certainly stand up against current scene material.

With the slew of continual releases being issues year upon year, sometimes it is refreshing to look backwards and discover some hidden gems from the murky past.   As such Sergerhuva should be commended for digging up these obscure items and furnishing them with a proper re-release.