The new Ex.Order is not a new album. It is a compilation with ‘old and rare’ tracks, just as “War Within Breath“. But the tracks are not really that rare. They are mostly of compilations that I have, probably bought because Ex.Order is on them. “Juche” (2008), Zugzwang” (2010), “Heilige Feuer II” (2002), “Collapse” (2000), “Resistance” (1999)and “Don’t Hunt What You Can’t Kill” (2002). Then there are two unreleased tracks from 2008 and 2010.
Here we have the second release of Abscheu, both tapes on Unrest Productions. I do not know the debut, but judging the new tape, it may be a good idea to get a copy. “Pretense” is limited to 141 copies though, so perhaps “Breviary Of Chaos” might well be sold out.
Similar to other Unrest releases, Abscheu presents great tracks and not-my-kind-of-noise tracks (chaotic, high frequencies, etc.). The thing is, there are some great death industrial things here, perhaps even reminding of Ex.Order. Other tracks have a bit of that structured noise sound of Am Not, the project that acquainted me with Unrest Productions.
During their long activity Laibach made quite a few things that I enjoy, but also a lot that is not my taste. Therefor I do not follow them closely. Perhaps it was the title of the new album that caught my attention, but I put on the new album and it is great!
“Also Sprach Zarathustra” is something like a hearplay, but there are not too many vocals. The music is slightly orchestral, tranquil, minimal and every now and then there are the typical low frequency Laibach vocals (spoken). I guess parts of Nietzsche’s book.
Sqürl makes very slow, (mostly) minimalistic, instrumental drone / stoner / psychedelic rock music that fits “Only Lover Left Alive” perfectly. The band produced a couple of EPs: “#1”, “#2”, “#3” and now “#260”. There are two full-lengths. One is the soundtrack of the said film, the other a live recording. The ‘ambient rock music’ works well as background music, it is moody and somewhat dark. “#260” Does not contain my favorite Sqürl music, but it certainly is a nice album to listen to.
In 2015 Unrest Productions release the superb Am Not album “Unpunished”. There appeared to be an earlier album (“First Morbid Vibrations” 2012 Unrest) which is descent, but not as good as “Unpunished”. Now Tesco picked up Am Not to release the third full-length.
I do not remember how I learned of this project, but with the previous and the latest album, this project rapidly rises to being one of my favorite projects. Tamon Miyakita combines elements that I enjoy in music. It is dark, structured, emotional, but most of all, he seems to have something to say. Just music for the sake of music (or anti-music in the case of noise) can be entertaining, but I like it a lot when the artist seems to be concerned with more than just music. Am Not actually has lyrics, lengthy ones too sometimes. Not just the shouted one-liners of many similar artists, but lyrics that make me wonder what the artist means with them. A track opening with a sample of a man telling about him torturing black people, ending with “Leopold reigns today” (on the previous album), a stance against racism, as Leopold was a Belgian king who had a terrible regime in the then-colony Congo?
The new album seems to have more “1984” type lyrics, complaining about the almighty bureaucratic system that is more powerful than politics and a “child” that is summoned to “come home” with what appears to be a dangerous regime.
I ran into Uncodified because I checked to see what Unrest Productions were available from the Tesco mailorder. Uncodified proves to be a productive producer. There is even a more recent album on the same label.
“Maybe All Is Not Completed” starts with a tranquil beat, but soon adds some noisy samples. Even though the opening track gets harscher towards the end, it can best be described as “ambient noise”. Nice, moody, dark and a bit ‘filmographic’.
The second track is more of a typical noise track. It is not too chaotic though and an alright track.
More of a “death industrial” sound comes at the third track, a great wall of noise.
Analfabetism makes deep, rumbling noise. Or perhaps it is noisey dark ambient. The ‘tag’ “ambient noise” that I use for projects such as Land:Fire, Gnawed or Isomer. These are the less extreme projects, I also use the ‘tag’ for harscher projects such as Theologian or IRM, but Analfabetism is more to the ambient side of “ambient noise”.
It has been quite a while since I was looking for music similar to Igorrr. Igorrr makes completely mad breakcore with elements of any type of music imaginable, including metal. Pryapisme does something similar, but here the metal seems to be the basis and the breakcore elements ‘additions’.
Pryapisme is also completely insane. They go from extremely fast metal to jazz, orchestrations and classical music. They are even weirder than Carnival In Coal. There seem to be more of these weird metal outfits, but none are as strange (and good!) as Pryapisme. Their latest album is not their best in my opinion, but here is an album to try if you want something weird and different.
“Tempted Dissident” already was not the most extreme project on Galakthorrö (but he does not have the ‘minimal wave’ sound of NN), but I have the idea that “Interrogation Gloom” softer than the previous “Comatic Drift”. The music is still minimalistic with simple rhythms and melodies and male vocals, but where previously the vocals were more like talking/singing, on the new album there is more singing. This works better in some tracks than in other.
In the first tracks of this album, Da-Sein sounds a lot like November Növelet, both the music and the voice of the female singer. The tracks are nice, but halfway there are some more lively tracks that have a less ‘typical sound’ and they sound more interesting. These tracks are a bit rougher, slightly more industrial, but nothing compared to the violence of other Galakthorrö releases.
Hermann Kopp is the only ‘atypical’ project on Galakthorrö. The other projects sound quite alike. However this ‘other sound’ is good in a way, Kopp happens to be the only Galakthorrö project that I do not really like… Also it is one of the few projects that also releases material through other labels.
Kopp makes weird music. He experiments with his violin and his voice and mixes that with some sort of soundscapes. The result is interesting, but not always my taste. When you know previous releases of Kopp (on Galakthorrö, I never heard any of his other releases), you will have a fair idea of what the four tracks on “Cantol Y Llantos” sound like.
Like “The Sound Of Progress” a documentary about industrial music. Amélie Ravalec and Travis Collins interviewed some industrial icons and cut these interviews with old footage. The result looks a bit messy and the old footage is always way too short and cut-off to go back to the interview.
The documentary takes 52 minutes. The 30 minute bonus material are the interviews in their entirety. There is footage of and/or interviews with Throbbing Gristle, Cabaret Voltaire, NON, SPK, Test Dept, Clock DVA, Re/Search – V Vale, Z’EV, Click Click, Sordide Sentimental, Hula, The Klinik, Ant-Zen, Orphx, In The Nursery and Prima Linea, some longer than the next.
The longer (and bonus) interviews are with Cris and Cosey (separately), Genesis P-Orridge (Throbbing Gristle, Psychic TV, etc.), Stephen Mallinder (Cabaret Voltaire, etc.), Boyd Rice (!), Graeme Revell (SPK), Stefan Alt (Ant-Zen) and Udo Weissman (Winterkälte, Hands).
The latter two I find a bit strange. Why not Tesco, Cold Spring or Malignant? Did the makers want to make a bridge to more ‘modern sounding’ industrial? Or is is, like with “the Sound Of Progress” that the focus lays less on the underground side of the scene? Not that Ant-Zen and Hands are major labels, of course, but the other labels have more of an unruly approach, the latter are ‘easier’ so to say.
I usually do not review material that is ‘old’, but I actually thought this was a recent release when I ordered it. Besides, inspite its limitation to 400 copies, there are apparently still copies available of this release. Many even, if the number on my copy is has the highest sold number yet.
Aufnahme + Wiedergabe is a relatively young label from Germany. I love their name which is makes a great wordplay reference to Haus Arafna (Aufnahme + Hingabe, but then made into ‘recording + playing back’). Two years after their founding, they released this scene-overview.
It does not happen often that I run into a musical genre that is totally new to me, but that still proves to be highly interesting. A while ago I stumbled upon OAKE. When reviewing that latest EP I wondered from what type of scene they would come. Some fringe of industrial, some fringe of techno, experimental doom, or something wholly different?
Then I ran into Kerridge, the sublime “Fatal Light Attraction”. Kerridge’s music is very minimalistic techno, somewhat industrial in approach with pulsating rhythms and noises and (sometimes depending on what beat catches your attention mostly) a very slow pace.
So I have started doing some research. Kerridge has a few releases out. Under the monicker Samuel Kerridge there are some more and the man also has a label: Contort. There are projects like Kerridge and not just a few either it seems. Lakker, Talker, We Will Fail, Ketev, Positive Centre, Rrose, Shifted, Silent Servant, Shapednoise, SHXCXCHCXSH (who I already knew) and more. Sometimes the music is fairly typical “minimal techno” with a steady beat and ‘happy sounds’, but some of these projects make a nice piece of fairly slow and dark music (and some combine the darker tracks with more ‘easy listening’ ones. This starts to look like a scene to sift through to see what I like. So far the journey has been quite interesting!
I had never dared to hoped that over a decade after the previous album, Nicholas Lens would release a new one! Nicholas Lens, the mind-blowing modern classical composer who used electronics in his ground-breaking “Flamma Flamma” (1994), the first part of the “The Accacha Chronicles” trilogy.
The two later parts of the trilogy (“Terra Terra” 1999 and “Amor Aeternus” 2005) and also “Orrori Dell’Amore” (1995) were less experimental, less pompous and less dark, but still interesting. Then suddenly I find out about a new album, an album with Nick Cave! Nick Cave does sing though, he wrote the lyrics.