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.


Phurpa ‎– Chöd Ritual / Grotta Santarcangelo

Phurpa Chöd Ritual / Grotta Santarcangelo CD Old Europa Café 2017

Phurpa has been a rising name in the underground in recent years, which is somewhat expected given their distinct sound and approach which effectively sees this Russian group performing Bon ritual music in a Tibetan Buddhist tradition. Primarily based around chanted vocals of a Tibetan throat singing style, this is mixed with an array of abstracted and minimal traditional ritual instrumentation including horns, cymbals and various percussive implements. Having previously heard a couple of albums from the group, I was then surprised to discover that they now have 26 releases to their name which have been issued over the past decade. Although I have not been able to confirm it, I have an impression that the majority (if not all) of these releases are straight recordings of live performances, rather than studio albums.

On Chöd Ritual / Grotta Santarcangelo the album features a single track spanning close to 80 minutes, and which displays the sonic hallmarks of being a direct recording of one of Phurpa’s live rituals. Sparse percussive sounds provide a droning introduction to the album, before the low guttural throat singing chants arrive full force at around the two-minute mark, and by this stage the catatonic pacing of the vocal driven soundscapes has been firmly set. On occasion the mood elevates to crashing crescendos of cymbals, deep drawling horns, higher pitched atonal wailing thighbone trumpets and a general subterranean percussive thrum, where structurally these instrumentation driven passages are used to bridge and interlink the sections of the cavernous throat chanted vocals.

Having heard this album, in comparison to the others I have also heard, they are noted to be broadly in the same sonic palate and style, where it raises the question of whether you need to hear more than a couple of albums to gain a decent appreciation of what the collective is about. Personally I have enjoyed the experience of becoming acquainted with Phurpha’s atypical musical style and approach, but equally I perhaps don’t anticipate myself regularly revisiting these albums either. I also suspect that there is a far greater inherent power in being able to hear and experience Phurpa’s music in a live ritual setting, where an element of its sonic impact is likely to be lost in the recorded album format. Whether or not I get the opportunity to see the group perform live remains to be seen, but albums such these album’s do at least provide an opportunity to experience the ritual works of Phurpa.

Linekraft ‎– Apocalypse Factory + Liberated Treatment Area Of Bedlamite

Linekraft Apocalypse Factory + Liberated Treatment Area Of Bedlamite CD/ MC Aussaat 2017

Linekraft is the solo project of Japanese artist Masahiko Okubo but rather than being of a ‘Japanoise’ type, this is raw noise from the industrial end of sonic expression. Appearing to be predominantly derived from rough and ripping junk metal sources, it is assumed the material has been further edited and mixed in a studio setting. Apocalypse Factory is the latest album and is the eleventh release since 2008.

The only material I have previously heard from the project is the Bouryoku Kikai CD from 2012 (reviewed here), with Apocalypse Factory being an effective continuation of a partly composed and partly improvised approach. Each of the seven albums tracks is between four and eight minutes in length, and providing ample variation within an experimental industrial noise style. Apocalypse Factory-1 is an early album standout with multitude of elements including pulsing loops, squelching noise and chaotic sonics which are highly detailed and engaging in its tonal layering (and elevates to nastier intent through the middle and late sections). For variation Polluted Body includes slightly off kilter programming and jumbled dialogue samples, while Public Bondage is another noteworthy piece which flits between wonky loops, burrowing noise and pounding industrial structures.

Liberated Treatment Area Of Bedlamite is 10 minute bonus cassette, limited to 50 copies and only available directly via the record label. Featuring a single track (repeated both sides of the tape), sonically it slightly deviates from the sound found on the parent album. With reference to the title, the word ‘Bedlamite’ is an archaic English word for a lunatic or insane person, and fits nicely with the sonics on offer. Musically speaking it is a sprawling, murky yet overblown mass of sound with semi-buried junk metal clatter, while a deep rhythmic pulse provides depth and cavernous/ windswept atmosphere.

Although Apocalypse Factory leans towards a rough and raw approach rather than a clean and composed sound, it is still not harsh noise by any stretch given it effectively sits at the mid-point between industrial and noise. Displaying a high degree of experimentation in its delivery of raw and energetic industrialized noise, from this description alone it is assumed you will already know if this is likely to be to your liking. But certainly Linekraft embody a sound and approach where you can literally hear both the obsession and commitment of the artist.

Stromstad ‎– New Devoted Human

Stromstad New Devoted Human LP Malignant Records 2017

This debut release from Stromstad is revealed to be collaborative album between the Finnish duo STROM.ec and Norwegian Kristoffer Oustad – and what a debut it is. With STROM.ec being recognized for a highly refined blend of industrial and heavy electronics and with Kristoffer Oustad inhabiting an evocative industrial smeared dark ambient sound, the creative collaboration between the two was always going to be an interesting one. Yet the creativity and flair on display completely exceeds any initial expectations.

Noting that each of the eight tracks are relatively confined (between three and six minutes each), this functions to generate a sense of urgency across the album, where its shifting and morphing elements draw from abrasive mechanical programming, controlled noise, lush sub-orchestral pads and gruff processed vocals. As an example, the fizzing/ buzzing looped static of the album opener Inherent Resurrection soon gives way to rolling tribal percussion and rough yelled vocals (clearly recognisable as those of STROM.ec), and functions very much as a statement of intent of what is explored over the balance of the album. Fever Wave Dream Function quickly following with woozy drones and off-kilter metallic clatter, shimmering synths and all underscored with a throbbing programmed element which leaps into heavily rhythmic section late in the track. The central buzzing tonality and stilted mechanical textures drives Blood Consciousness and when coupled with the gruff, slightly treated vocals is perhaps the piece most comparable to a straight STROM.ec composition.  The sub-orchestral strains of Nattsvermer constitutes the first effective respite of the album, being a semi-melodious cinematic drone-scape which reminds of mid era raison detre (and particularly so where some distant choir textures are used). In a somewhat unexpected guest contribution, Grutle Kjellson from Enslaved provides vocals on Reluctant Traveler, another track of stilted mechanical rhythms and buzzing fissures of static mixed with moody orchestral textures, while Gruttle’s vocals range from spoken, guttural chants and urgent yells (a late track guitar gives a partial nod to the current prog metal direction of Enslaved). The title track is positioned towards the album’s ends is in some ways the most straight forward with rapid fire looped beat, tempered static and vocals relegated to the middle of the mix, but in the later half it veers off into moody sub-orchestral territory, while the final album track Kosto then deviates the most, with a synth derived neo-classical piece of moody swelling strings, and with a definite modern sci-fi edge to the sound.

Not being an overly long album, all the same it delivers a heavy impact across its multiple creative arcs, and which consequently makes it feel to be a much longer album than its actual run-time. While New Devoted Human could be said to be of the genres it draws from, at the same time it steps well beyond them given its inspired use and application of such influences. Effectively the album excels by the fact of how vital the finished result sounds, and in the process generates new creative ways of approaching recognizable genre sound elements. Issued on vinyl in gate-fold sleeve, CD or digital formats, it is simply a matter of taking your pick of preferred format. But as a word of advice, do not let this album pass you by.

Arktau Eos ‎– Catacomb Resonator

Arktau Eos Catacomb Resonator CD Aural Hypnox 2017

By way of background, the Finnish duo of Arktau Eos released their first three albums via Aural Hypnox label between 2006 and 2009, while the fourth and fifth albums were then simultaneously issued on Svart Records in 2012. Now after a 5 years absence Arktau Eos have returned with new material and again issued via Aural Hypnox, and although Catacomb Resonator is billed as the new ‘album’, in reality it features only a single track of 37 minutes in length.

Although all projects on the Aural Hypnox label can be broadly slotted under the ritual/drone/dark ambient categories, in the past Arktau Eos have displayed a greater degree of musicality and instrumentation than other roster artists, which on early albums made compositions feels to be more akin ‘songs’ than sonic ‘movements’. Yet that established approach has been forgone on Catacomb Resonator, given it has opted for a sprawling drone and vocal chant oriented framework. As I understand it, this album is a predominantly a vocal based work, where this both provides the focus and source material which has been subject of additional treatment and coupled with a minimalist backing of electronics (‘archaic bells’ are also noted on the cover as a sound input, but these are not individually detectable).

The use of word ‘catacomb’ within the title perhaps gives an immediate clue to the tonal depth and sonic reverb employed, which allows low deep chants to rise from the depth to central prominence, to then cyclically fall away only to rise and build again. Those vocal elements are then counterpointed by spartan synth elements which follows the same cyclic rise/ fall pattern.  Vocally speaking the chants do not appear to be articulating specific words or lyrics, and given the applied sonic treatments they resemble a drone ambient element. Likewise given the meditative and catatonic pacing of the track, it is very much a dark and minimalist sound you have to immerse yourself in to get the most out of it.

For me personally, I already have established favorite releases from the group which includes Mirrorion, as well as the sprawling double album Ai Ma Ra.  While for me Catacomb Resonator does not surpass either of those releases, this says more of its deviating approach than any sort of lack of quality, as regardless of my personal preferences all Arktau Eos releases to date have been of excellent quality (this included). Presentation wise Catacomb Resonator has been issued on both CD with screen printed foldout 7”ep sized cover, and on LP in two colour variations for the screen printed sleeve.

Atomine Elektrine – The Second Moon

Atomine Elektrine – The Second Moon CD Old Europa Café 2017

Operating since the mid 1990’s, Atomine Elektrine is perhaps Peter Andersson’s most well-known and recognized side project of raison d’être.  The Second Moon is the new and sixth full length album, if not including demo collections and live material which have also been formally released on CD.

With the project name being the Lithuanian word for ‘nuclear power plant’, there has always been and ‘Eastern Bloc’ angle to the sound and approach of the project, where it could also be suggested that the deep space elements and melodic passages sonically articulate the space program era of the Soviet Union. To then quickly speak of context, personally the project hit an absolute high mark with their second album Archimetrical Universe from 1999, which perfectly blended abstract deep space movements with more melodious compositions and occasionally beat driven programming. While the albums which followed experimented with this template, more often than not the abstracted and experimental elements took greater focus, but did not archive the same sonic coherence of Archimetrical Universe (although it must be said that none of the following albums could be considered lackluster or poor in quality by any means).

As a general observation The Second Moon builds on the template of 2015’s Laniakea album, which was framed around sparse and floating deep space drones, which are augmented with looping musical phrases which gives a nod to 1970’s era cosmic space synth music of Tangerine Dream and the like. Yet on this new album there feels to be a greater degree of cohesion and focus to the combination of the deep space drones and pulsing melodious elements. Structurally the album has a drifting and enveloping quality, where the drones and melodies elevate in intensity, to then recede again and build anew, which makes it an album length experience, rather than one focusing on individual musical pieces (featuring only five track, it still has an expansive run time given the shortest track is eight minutes and the longest twenty minutes in length).

Although I have followed and enjoyed all of Atomine Elektrine’s outputs over the years, equally I have found The Second Moon to be one of the most listened to of the last few albums, which is predominantly down to its refinement and balancing of its sonically abstracted and melodious parts. A cleanly designed, 4 panel digi-pack rounds out the presentation.