UGFC – Stalinist God LP Grom & Lord Records 2019
UGFC is an obscure project from the Czech Republic, helmed by one Willhelm Grasslich, and with the acronym of ‘UGFC’ being an abbreviation for ‘Uncle Grasha’s Flying Circus’, it immediately gives a strong sense of satire at play. With some further investigation, the project is self-described as being concerned with: ‘surrealistic visions, poems and manifests of avantgarde artist Willhelm Grasslich. Avantgarde and propaganda fascinations and the topics of war, power relations, religions, ideologies, painful historical legacies etc. shape the palette of its inspiration and articulation’. As for the concept of this album, given that the sampled speeches and dialogue on the album are exclusively in Czech, it creates a clear limitation for me to grasp the detailed concept. But at least the liner notes in English provides some strong pointers – and I quote: ‘Stalinist God does not represent a personality, nor idea/myth, nor any form of transcendental being. Stalinist God is a status. A state of power that creates a blind alley for all ideologies and regimes. When your propaganda reach the maximal success and you became a God per se, you must just sound your trumpet for apocalypse and destroy everything you have created’.
Sonically speaking Stalinist God features high caliber, martial tinged industrial soundscapes. But when I refer to ‘martial industrial’, it is not in reference to the overly synthetic sound of that style from the mid-1990s to early 2000’s, rather it harks back to the raw and obscure martial industrial sounds of the earliest phase of industrial pioneers Laibach – which is obviously meant as a large compliment. Early tracks Kaitan and Kasbah are prime examples, with roughly echoed and looped industrial factory noise create grim and soot infused soundscapes atop which political rally type speeches are overlaid. Juche is equally of note, as it features a distant and partial buried martial drumming pulse, as well as samples including speeches, crowd applause and orchestral and choral music, it certainly gives nod to the sonic styling and approach of the likes of LJDLP. As further deviations Culpabilité sonically channels mid-1990’s German heavy electronics sound of subdued but bass heavy pulsing drones and radio waves, while Securitate provides a rousing atmosphere of sampled orchestral loops, speeches and rapturous crowd noise. Within the twelve tracks a number of the tracks are purely instrumental, where Anatolyevna uses loose and echoed metallic percussive as the core of its industrial soundscape (very much evoking visions of abandoned factories), while Scharnhorst uses rhythmically hewed bomb blasts and other metallic clatter. Late album track You Have To Be Death To Be Wise is the longest track at 10 minutes, and unfurls in an elevating capacity of tensile mid toned layers which rise to a rough noise peak as a moody synth melody acts as an underpinning element. Mid track muted horns appear and fade, as do other more caustic sonic layers. As for the final track Headquarters, it rounds out the album which a track which is effectively an unaltered traditional nationalistic type song.
Packaging wise, the album is presented in atypical fashion, where the cover design has been printed on white cloth which is wrapped around a plain white LP sleeve, while two further multi-page booklet inserts provides text and imagery relevant to the concept. Although having not heard of UGFC prior to this album, this is very much a post-industrial obscurity which I am very happy to have been made aware of. Recommended.