Now this is a rare and interesting oddity if there ever was one. Though Skinny Puppy has plenty of rare releases and side-projects (W.E.L.T., The Petty Tyrants, Raw Dog, the excellent Mutual Mortuary project, and Rx), this album is one of the most spontaneous (which makes sense, considering that it was never meant to be released to the public). The album consists of two twelve-minute recordings Skinny Puppy and Belgian industrial band à;GRUMH (please do not ask me how to pronounce their name) they have created in their spare time during a 1986 European tour. Crediting Nivek Ogre and JΔ3 Seuqcaj (with the latter individual credited for all "coughs) while cEvin Key and SΔ3 Evets responsible for keyboards, sampling, and drum programming, it is a far cry from anything Skinny Puppy had created thus far (as I am not familiar with à;GRUMH's discography, I can only assume and hope that they had/have created better albums).
Both songs are roughly the same: long form meditations of minimalist vocalizations from Ogre and whispers, coughing, and soft chanting from Seuqcaj. Imagine taking every incidental noise that ever came out of Ogre's mouth during the recording of his albums, arrange them in a morose procession line and process them heavily with reverb, and you get a rough idea of what "Sorrow" sounds like. From what I can tell, both tracks use the same basic vocal background. The track "Patient Sorrow" concentrates more on the vocal aspect, while "Silent Sorrow" reduces the number of growls, chants, and whispers, replacing some of them with a dark keyboard drone and muted drum programming.
Despite the extreme novelty of the album, it has a certain charm inherent in it's 'DIY' attitude. The production, while somewhat muddy, is still somewhat higher than what you would normally expect of a 'for fun' recording. In addition, the album is (strangely) quite effective in conveying a ritualistic element to the sound, with the majority of the vocalizations never forming complete words or phrases (with one exception in the second song).
While this was originally released by Play It Again Sam Records (supposedly against the will of the band members involved), the original foreign sub-label folded with the demise of Wax Trax! Thus, it has been out of print for quite some time (although, with a small amount of effort, one can easily locate it on the Internet in various forms).
Definitely not a necessary album, but a pleasant diversion for both the musicians and yourself.
P.S. If anyone can find larger album images, please let me know! :)
Every time someone blithely mentions the phrase 'I remember the '80's!', I often have the irresistible urge to slap them. Why? Because 90% of what people 'remember' from the decade is either worthless tripe posing as trivia, useless celebrity gossip that now seems placid compared to the almost constant barrage of sex scandals, suicide attempts, and drug overdoses that now inundate Hollywood, and (most importantly) a scant 5% of musical talent is 'remembered', usually on idiotic television shows, such as "I LOVE THE 80'S!", as obscure talking heads desperately attempt to inject some semblance of relevance into their dessicated public image. News Flash: There was more to the 1980's than Foreigner, Whitesnake, Journey, Toto, Heart, Kansas, and Boston (though Boston usually escapes my scorn, because they kicked ass more often than most). For example, there was The Swans.
Formed in 1982, The Swans initially was connected with the nebulous 'no wave' moniker, but that association lasted for only one album, following the departure of their original guitarist. "Cop / Young God / Greed / Holy Money", released in 1999 (shortly after the band had disbanded), is a double LP featuring the albums "Cop", "Greed", "Holy Money", and the infamous "Young God" EP (which Kurt Cobain listed among his favorite albums). The studio recordings present Swans with their most unadulterated musical vision: agonizing auditory assaults, all recorded between 1984-1986. The guitar sounds as if it were being amplified through diesel exhaust pipes, the bass sounds as if it were strung with electrical wires, and the drums are accented with various metal 'found objects'. But one of the most unnerving aspects of The Swans' sound is Michael Gira's vocals. Alternating from a deadpan delivery (in which he issues matter-of-fact statements regarding death, dismemberment, sex, "humiliation as a disease", and other subversive conversation starters) to snarled shouting, he deftly explores the squalid underside of existence in a manner few bands are able to accomplish effectively.
While the "Young God" EP is stylistically similar to the "Cop" LP, there are a number of interesting differences between the two. Almost immediately noticeable is the fact that the songs, though similar to the previous album, are much more 'sinister' sounding than 'overtly brutal' (although it is important to note that there is no loss in intensity; in some respects, this album is a bit more intense). Also obvious is the fact that the band had, by this point, began to experiment with slightly more complex song progressions (such as the outro of "I Crawled"). Michael Gira's voice is also a little bit more diverse on these songs, with reverb and chorus effects appearing in the mix at times (this does, however, cause his voice to be somewhat further back in the mix). His ranting/screeching/shouting is especially pronounced on the song "Raping A Slave". And that loud clanking sound you hear every once in a while? That's a steel table and chain.
The second disc begins with an explosive machine-gun drum attack, followed by Skinny Puppy-esque programmed drums and rattling guitar feedback/noise. Initially, there is no melody to speak of, besides the random horn blare here and there. The first song, "Time Is Money (Bastard)" (from the EP of the same name) is where the band would change from dirge noise rock to pounding industrial themes (complete with a sampled nail gun in the previously stated track). "Another You" reintroduces melody in the guitar/bass lines, but also surprises the listener with a mournful harmonica introduction (which, on paper does not sound like it would work, actually sounds quite appropriate once listening to the song a few times). The next song, "Blackmail" is interesting in that it is the first song on this collection to feature the lovely voice of Jarboe (although it is important to note that this collection, for some strange reason, does not list the track titles in the same manner as the original albums). Backed by a strange (but beautiful) piano melody, the song's lyrics are also strange: the song is called "Blackmail", even though Jarboe encourages the listener to "Close your eyes...And close in on me...Say you'll do anything for me...I'll be your body when your body is broken". "A Screw" is Swan's oft-discussed exploration into 'industrial dance music', featuring jazzy horns, jagged & choppy guitar/synth melodies, and thundering (yet undeniably funky) percussive rhythms. It is extremely catchy and humorous, due in part to Gira's deadpan delivery of his most overtly sexual lyrics to date ("Open your mouth...here's your money!"). Meanwhile, "You Need Me" features a husky-voiced Jarboe (who honestly sounds like she is on the verge of crying) and piano, creating the VERY creepy sensation of an abuse victim desperately apologizing to their abusive husband ("I'm sorry...I won't do it again...I love you more than myself...I am your only friend").
It would be hopelessly cliche to claim that this is the most brutal of The Swan's recordings (given that nearly half of their studio and live recordings are given that status, with each being equally accurate to that claim), but I will admit that it does make for a harrowing two and a half hours. If you feel you are ready for the journey into despair, deprivation, cowardice, and fury, this is a good place to start. It is also an important collection in that one can easily hear musical trademarks which would later appear in other bands (such as Godflesh's "Streetcleaner" album, Cop Shoot Cop, and arguably Khanate as well). Unlike many other early 1980's bands, The Swans lasted until 1997 (ending their career with the almost impossibly diverse "Soundtracks For The Blind"); while Michael Gira and Jarboe continue to have successful solo careers. Nevertheless, this collection remains a landmark release of early 80's aggression and devastation.
PS : The first video is the 'original' version of "A Screw"; the second is the "dub" version. Both are from the Swans VHS "A Slow Long Screw". The second video also features Jarboe, so it's not for the kiddies.
This review has been in the works for quite some time. During the time it has been silently fermenting, many changes specific to the world of Ulver and it's members has taken place. When I first began writing this review, it was widely reported that Rygg/Garm had stated in a Head Control System interview back in 2005 that Ulver as a project was "in a state of total dormancy". Given the fact that Garm was working not only in Head Control System, but also doing guest appearances in several upcoming projects (the most notable being the recent Professor Fate album "The Inferno"), I had despaired of them ever releasing another album. Fast forward many weeks, and I recently discover that Ulver had recently announced (back in June) that they would release a new album, entitled "Shadows Of The Sun", on October 1st. Thus, it is even more crucial to re-examine what is arguably Ulver's greatest album to date, to be able to judge how their music has evolved with the coming of their new album. In my opinion, it will be very difficult to top "Blood Inside".
Reactions towards the album were generally favorable, with the most frequently commented aspect of the album being it's broad musical scope and expanded instrumentation, as well as their effective use of progressive influences. However, not all were pleased with the new album, viewing the continued distance from their black metal roots as a hopeless plunge into 'musical hypocrisy'. In particular, the review of "Blood Inside" by a member of Stylus Magazine, was particularly vehement in their criticism, opting to give the album a "D--". A quick glimpse at the article reveals more than it's fair share of name juggling and metaphor tossing. But, upon reading the full article, I was disturbed and appalled at the intense level of pretension inherent in the writing, coupled with inane (and often nonsensical) comparisons and assertions. While I am usually able to shrug off bad writing and/or reviews, the degree to which this review is off-kilter in terms of objectivity and/or fairness is so extreme that I took the time to write to the author in question (something I rarely do). As can be expected though, the links provided by the Stylus website were inaccurate, and by the time I received a reply from the editor of Stylus (who was kind enough to respond to my query in an almost semi-prompt manner) providing an alternate e-mail in which I could contact the individual, I had already lost interest (especially since, upon re-thinking my premises, it would be petty to criticize someone who, in all likelihood, would probably not give a shit).
Another individual who was displeased with "Blood Inside" (although for an entirely different reason) was the noted director Kenneth Anger. Best known for his film Lucifer Rising (including a soundtrack originally created by Jimmy Page, but scrapped after a lengthy feud between the two), he was also noted for creating several other experimental films from the 1940's - 1960's, and several new films since the new millennium began. Ulver thus probably wanted to reference his experimental film expertise in comparison to their music video for the song "It Is Not Sound", which features dark visuals and a surreal presentation. Unfortunately, Anger wasted no time in claiming that the group was "libeling" him through their "illegal use" of his name "in the video". As can be expected by such a frivolous claim, nothing came of the assertion (besides perhaps inadvertent publicity for Ulver), and on the band's website they humorously summarize the situation by stating: "The IT IS NOT SOUND video is of course not directed by Kenneth Anger. The set design is of course not by Albrecht Dürer. Being who we are, we assume that people read between the lines....Please re-read our press release. And between us: Thank you for your autograph."
Now, onto the moment you have been waiting for. Does the music truly live up to the high degree of hype and praise given to it? In my opinion, while it is not completely perfect (for a variety of reasons), is a very good explosion of progressive multi-genre artistry that effectively shatters genres, categorization, and expectations.
"Dressed In Black" begins the album with a series of heavy synth stabs, perhaps in reference to their previous album, the moody Perdition City. Soon, the highly distinctive voice of Garm enters the fray, along with complementary synth and drum lines. It serves as a pleasant introduction, but though it has an interesting musical progression, at seven minutes it feels slightly too long, especially given the fact that it serves as the album opener. Also, another problem quickly manifests itself roughly halfway into the song: the drums are, in general, far too close in the mix, making the cymbal hits seem intrusive and annoying rather than bombastic (this song is where this is most prevalent and noticeable, though minor percussive concerns do recur to a lesser degree in some of the other songs throughout the album). Thankfully, the synthetic squeals and beeps make up for these shortcomings (even though the oppressive drum kit nearly buries them in the mix). Towards the end of the song, the layers slowly fade away to descending series of piano notes and choral undulations to arrive at...
"For The Love Of God". The first thing immediately noticeable is a more balanced mix, especially with regards to the now-subdued drums (provided by Knut Aalefjær, who also played in Moment's Notice and Peccatum). The song, while slower paced, is packed with bass synths, horn sections, bells, and impressive guitar solos by Bosse. The vocals, while not terribly complex, are abstract enough to be interesting and certainly catchy in the long run.
Next is one of the album's standout tracks (though it is honestly hard to play favorites), the enigmatic "Christmas". Beginning with delicate chimes (percussion again provided by Aalefjær) and a melancholic violin, it quickly gains speed and complexity as Garm begins his vocals (which are basically an elaborated version of a poem written by the Portuguese poet Fernando Pessoa):
A god is born and others die. What is has neither come nor gone, but error moves. Today we have exchanged eternities and what is past no novelty improves.
Blind knowledge is working at useless ground and crazy faith is living the dream of its liturgy a new god is a word - or the mere sound don't seek and don't trust, for all is mystery.
Although it is rather short in terms of progressive rock's usual indulgent song lengths, that also reveals another facet of this album which differentiates it from other recordings of a similar nature, that while the songs may be highly progressive in nature, their running times are relatively modest, without ever feeling like the song was cut short in the middle of it's development. Each track presents it's own unique vision admirably.
"Blinded By Blood" continues the trend of auditory beauty, with a slowly pensive track, featuring organs, vibraphone, synth strings, and Kristoffer Rygg's floating vocals. In this song especially, it is especially evident that vocals, far from being utilized to present a specific message to the listener, are instead used as instrumentation (which becomes especially moving around 3:40 and 5:30), as words are stretched out far beyond their normal boundaries, to coincide with the slowly cresting waves of the music. Towards the end of the song, the music at last fades into a short and singularly creepy music box melody.
Serving as the album's linchpin is the ambiguously-titled "It Is Not Sound". Opening with a strange distorted tone (which, paradoxically, is not musical in nature), Garm swiftly proclaims: "For the record / No one will understand / What it is all about....", which, in some regards, be extended to the highly personal, ambiguous, and esoteric nature of the lyrics contained within the album. The lyrical reference to "33 years" is also a possible reference to the age of Jesus Christ at his death (note that this is my own interpretation, and is by no means an 'official' interpretation, and it is also implied that it also relates to Ulver's history as a group). This song is also, arguably, one of most 'rock-oriented' songs on the album, featuring a 'standard' configuration of vocals, guitar, bass, and drums for most of the song (of course, complete with darkly shimmering clouds of grunge-filled synthetics, strings, and various keyboards). The 'coda' of the song is highly influenced by Bach's Toccata and Fugue in D Minor. This fact has given many detractors more than enough ammunition to advance their theories of Ulver's 'pretentiousness'. I must confess that I myself was somewhat put off by the inclusion, at first agreeing that such an inclusion was probably not necessary. However, after setting the record aside and then re listening to it again with a somewhat more charitable stance, it occur ed to me that it is not only appropriate, but also necessary, in a sense, and serves as the song's ending quite well (this is enhanced by the music video, with it's juxtaposition of surreal, hellish and religious iconography).
In case you had assumed that the talent for the album had been "phoned in", the trio easily disprove this notion with the track "The Truth" (coincidentally, one of the few tracks that do not feature additional personnel). The understated guitar lines, while being quite unusual, are also interesting in that regard as well, being different in nature from much of the rest of the album. The programmed drums also seem to fit in quite well, despite the fact that they are quite spastic and up-tempo for most of the song (especially towards the middle of the song, when the rapid-fire snare and bass drum hits coincide with an impressive set of guitar trilling).
"In The Red" begins (and ends) with a distinct jazz-influenced atmosphere (almost as if a recording from Perdition City had it's synthesizers replaced with real instruments and sped up significantly). Once again featuring vibraphone and string backdrops, the song takes an unusual detour after two minutes: split-second jazz and lounge samples! It might be just be me, but hearing them, somehow managing to be almost comically out of place (while somehow succeeding in justifying their importance) usually brings a smile to my face. After all, given the mostly somber and serious nature of the album, it proves that Ulver does have a sense of humour in their work, even if it only shows up every once in a while.
The other standout track is "Your Call". It is easily the best track on the album. Easily. There is no way for me to overstate this. Even the opening of the song blows most weaker-willed acts entire discographies out of the water. Featuring an astounding violin performance by Jeff Gauthier accompanied by an enchanting multi-tracked vocal performance by Maja S. K. Ratkje (who also appeared on the most recent Matmos album), "Your Call" also sees Rygg forgoing the previous song's somewhat willingly obscure and vague lyrics, instead softly crooning a set of highly moving and evocative set of lyrics, further expounding on the blood/hospital theme which had begun to intensify on the "In The Red" track:
Who is here To hold your hand In the dark Where no one Answers the phone Speaking of the dead When the red light rings Don't be alarmed Someone is dying With no one to talk to Other than those carried Down the corridors Open in the end End in the open And the sun is Waiting
A persistent cell phone, present through the second half of the song, is at length left to echo by itself. The sound continues for several seconds, proving itself to be highly unsettling, until at last a hospital dispatchers answers the call, providing the introduction for...
"Operator". Beginning with siren-like horn/synth blaring, and fast-paced drums (provided by Czral, current drummer for Dødheimsgard). It is suitably apocalyptic in nature, with an impassioned set of vocals with suitably desperate lyrics ("Truth is a ... HOSPITAL!!!"), as well as a set of distorted hospital dispatcher samples and a frenetic guitar solo from Mike Keneally.
In short, a truly epic album. While it is only 45 minutes, 45 seconds in length, it is an exhausting listen, because of the emotional intensity and thematically-connected diversity inherent in the album. Basically, it is something you have to devote the time and concentration to listening to it in it's entirety, because the majority of the songs flow into each other, creating a massive forty-five minute musical experience. If you are at all familiar with Ulver, it would be criminal to admit that you did not own this album already. It's that good. If you are new to Ulver, however, then you will find in this album a perfect entry into their discography (followed by Bergtatt and Perdition City). Go get it or listen to it. Now. You'll be glad you did.
PS This was an exhausting review to write: a lot of research involved, fact-checking, link indexing, etc. Plus, due to the unique nature of the sound of the album, some of the music/instrument elements were hard to describe accurately (especially since the band credits itself with the frustrating 'Everything Else' label when it comes to instruments). Any questions, comments, concerns, or observations are, as usual, greatly appreciated, and I will probably go back over the next few days to make small changes (if necessary). I also incorporated a lot of the relevant links into the actual article, as it always helps to cite your sources (plus it makes the read a bit more interesting).
Perhaps it would be prudent for me to stray away from too many 'mice' references in this review (after all, The White Mice have enough of their own to fill several Third World countries). Thus, instead of claiming that this album is akin to being enveloped by continous streams of rabid rodents possessed by virulent demons, I will instead describe it as being trampled underfoot by a neurotic rhino as a violent urban riot erupts in the background. While this might be slightly too extreme of an example, the important thing to remember is that it is only slightly so. The White Mice are vicious.
As a trio composed of bass guitar, drums, and digital oscillation mechanics, you might be lulled into a false sense of security. But do not be fooled; they are extremely loud and abrasive, easily more extreme than some of their more well-known contemporaries in the hardcore, rock, and noise genres respectively. Easily. With a callous disregard for restraint and convention, the group tears through thirteen tracks in just over forty-two minutes, with the majority of the songs being around two and a half minutes in length (with the notable exception of the "hidden track", which runs seven minutes).
While the songs themselves are wildly different in their arrangements, the basic approach remains relatively constant: a fairly consistent bass melody and drum accompaniment is assisted by varying degrees of vocals and digital oscillation. The synthetic element of the songs range from buried synth loops and beeps to the improvised electronic squeals that usually feature prominently in their live show. The amount of oscillation present within each track varies wildly, with it being very noticeable in the tracks "Sewercide", "Violence of the Lamb", and "Diabeasstitty" (all album standouts), to being somewhat more subtle (if such a term is even appropriate for this release) on "Wrawblow" and "Hole (Sweet) Hole". That is not to say that any of the tracks are signifigantly better than the other, for they all involve furious bass melodies with an unending stream of spastic (and highly accomplished) drum assaults. Meanwhile, the vocalist growls and screams with the impassioned determination of a lithium-deprived Rampton out-patient suffering from throat cancer and schitzophrenia, being almost completely incomprehensible for the majority of the record (when it is clear that he even forming words instead of cathartically screaming his lungs out in a bewildering haze of post-production reverb). Furthermore, several of the songs are punctuated by tongue-in-cheek movie/TV samples ("...and don't forget the taste of human flesh", "We take applause like a needle!"), enhancing the mood created as well as increasing the humor inherent in the songs.
While I would reccomend the album as a whole, a few tracks naturally stand out. The tracks "Catasstasteatrophy" and "Sewercide", in addition to be impressive musically, feature absolutely insane and over-the-top vocal performances, sounding as if there were fifty vocalists in the studio instead of one. "Violence of the Lamb", as it's name would imply, is especially violent in comparison to some of the other songs on the album (without implying that any of the songs are in any sense tame), boasting the most frenetic drum, guitar, and oscillation work on the album. (the break roughly three and a half minutes in is especially awesome). Finally, the massive end track ends the album on a slower note, almost approaching doom music techniques (without falling for the pitfalls of that genre or radically changing the sound).
In short, words alone are inadequete in describing how much this band kicks ass over many other bands. Boasting a high-octane and often-discussed live show (which 'true fans' will claim is the only way to 'properly experience' The White Mice) and having recently issued this release on Load Records (noted as having "the world's most challenging roster", which is not that pompous of a claim, given the nature of many of their previous releases, including albums by Khanate, Prurient, and others), this group looks to have an incredible future ahead of them. If you are in the very least bit interested in noise and hardcore rock/metal, then it would be an absolute shame if you did not check these guys out. Support them by buying their album; you won't be dissapointed.
NOTE: THIS REPLACES THE EARLIER "PREVIEW" REVIEW WRITTEN SEVERAL MONTHS EARLIER. THANK YOU ALL FOR YOUR PATIENCE.
One of the many releases from the incredibly prolific Aidan Baker, "Within The Final Circle" is one of several net releases from Baker that explores the periphery of ambience, dark ambience, electronica, and sound collage. In addition to the electronic soundscapes, this release also contains guitar, flute, and violin accompaniments, also all played by Baker. While the price of the album may not give clues as to it's quality (as it is a free net-release from the experimental electronica label Mirakelmusik), "Within The Final Circle" is a rewarding and contemplative experience to listen to.
"Shadow of Death / Dream On" is, appropriately, a long-form ambient excursion. Featuring several different electronic drones slowly pulsating with and against each other, it also has a prominent rhythmic pulse as well, which can be best described as a synthetic helicopter blade rotating in slow motion. Thus, this gives the interesting effect of the music being performed underwater: effortlessly floating yet progressing very slowly. A robotic voice appears occasionally, exhorting the listener to "...dream on...", though such prompting is probably not necessary (especially if you are actually close to sleep when you listen to the song).
"Godwound" begins with several distorted vocal samples, followed by a gentle and serene guitar melody. A short time later, violin and an additional guitar line slowly make there way into the procession. The vocal samples themselves are somewhat unsettling, as a middle-age woman calmly recounts an experience in which she physically "felt Christ's scars". Halfway into the song, an enchanting flute drone makes itself apparent (being closer to the front of the mix on this song than the preceding song) as the drones become increasingly dense and strange metallic hums creep up towards the end of the song (with an unexpected high-pitch solo shortly before the twelfth minute). Much like "Shadow of death...", this track is a beautiful collection of soundscapes (although the emphasis here on this song is more in the melody, with the first track being more atmospheric in nature). Otherwordly and yet somehow still suggestive of foreign lands and places, the intricate orchestration and instrumentation of this track overcomes the slightly lo-fi nature of the vocal samples. A strange mechanical whirring eventually makes way into...
"There is no out of here...". In one of the most powerful moments in this album, the following conversation can be heard:
Evil Doctor: Where do you want to go? Jacob Singer: Home. Evil Doctor: Home? This is your home. You're dead. Jacob Singer: Dead? No. I just hurt my back, I'm not dead. Evil Doctor: What are you, then? Jacob Singer: I'm alive. Evil Doctor: Then what are you doing here? Jacob Singer: I don't know. [crying] Jacob Singer: Something's happening. Evil Doctor: What IS happening? Jacob Singer: Get me out of here. Evil Doctor: There is no out of here. You've been killed, don't you remember?
(EDIT : Taken from the quotes section of IMDB page).
As the above-listed conversation introduces the final song, a darkened stereo drone phases in and out slowly. As the samples begin to pile up on top of each other in a claustrophobic manner (mimicking the desperation and despair of the second speaker), menacing electrical buzzes surge forth, like an over driven power generator or a malfunctioning neon fixture. This stands in sharp contrast with the previous track's somewhat gentle benevolence; "There is no out of here..." is grim, rumbling dark ambience awash with strange metallic clinking and clanking, industrial stereo waves, and exponentially multiplying samples. Halfway into the song, a single synth-choir drone struggles to make itself heard, as it is almost buried in the oppressive collection of preexisting sounds. Eventually, the various layers slowly fade away, as if the very electricity running them suddenly ran dry, providing an excellent ending.
Most of Aidan Baker's releases are noteworthy in one way or another, but this release is special even among his discography, and not only for the simple fact that it is free. Technically, one could say that this is a 'minimalistic' recording, but Baker uses the limited palette of sounds on this album to maximum effect. Beautiful, alluring, and foreboding, "Within the final circle" is an exemplary dark ambient/experimental album (especially if you ignore the somewhat simplistic cover art).
PS As noted by "adn", samples are from Jacob's Ladder and the documentary "Gambling, God, and LSD". Thanks again. :)
My thoughts regarding this album are (as they have been for many of O'Malley's recent releases) somewhat conflicted. Though it is far from a resounding failure (as I believe neither artist capable of creating such a thing), it is also (arguably) not as polished or accomplished as his recent releases and collaborations. Initially, I was interested in discovering more information about this album when I realized that, unlike the previous Sunn O)))/Boris "Altar" album, it was receiving very little promotion outside of O'Malley's website (whereas the former album has gone a long way in powering the rocket-fueled ascent of promotion that Southern Lord now rides, for better or for worse).
Although I had assumed that the material from both parties would be new, it turns out that z'ev's percussive contributions to the album were recorded between 1982 and 1990. While the age of the recordings does not make itself immediately apparent, due to the nature of the production, it is somewhat disappointing when you ponder how awesome it would have been to have z'ev pair a recent performance with Stephen O'Malley's guitar work (O'Malley's eight minute guitar solo, which is radically altered and deconstructed during the album, was recorded December 2005). The file names themselves are also quite strange, and while I might be mistaken, I believe that the titles represent the song length, the section of the guitar solo the song manipulates, and the status of the submix z'ev altered before they were again mixed and mastered by Randall Dunn and Mell Dettmer (respectively).
"Magisterial" is a very experimental and atmospheric album, more in line with the recent releases by KTL than anything Sunn O))) has created. The tracks themselves are more or less homogeneous in nature, although there is a bit of variety within each track. Consisting of echoing industrial-esque drones, hazy washes of synths or feedback, and the underlying rumble of O'Malley's guitar, the phrase that comes to mind when describing this album is "lost at sea". While it may seem a strange phrase to use, it also seems the most appropriate as well. The songs do not have any sort of underlying structure to them, instead, they seem to slowly evolve as electronic tones rise and fall, like the uneasy waves of a turbulent sea. Meanwhile, z'ev virtually attacks his percussive set with seeming abandon, sometimes indulging the listener with a semi-rhythm, only to brutally cut it short a few moments later. This furthers the feeling of being assaulted by the storm.
This is far from a bad album, but the somewhat lo-fi and improvisational nature of the recordings limits it's accessibility somewhat (this might have been intentional). For those who crave comparisons, I would venture the opinion that "Magisterial" is, sonically, somewhat similar in nature to the early experimental-percussion trio Nachtluft (although there are many differences from that band as well). If you are a fan of experimental percussive industrial and do not mind devoting some time to acclimating yourself to the record, then you will find a gem in "Magisterial".
PS I included a recent performance by z'ev in the review to give readers a 'general' idea of what z'ev's percussive performance sounds like (although, in the album, as stated earlier, it is quite a bit more improvisational in nature).
Featuring a rather inconspicuous design, with ultra-minimal packaging (as is standard for certain Rephlex artists), The Tuss is a recently created project helmed by Brian Tregaskin, along with certain collaborators at points, including his wife Karen. This is the official version. Unofficially, there are many indications that, rather than being an incredible debut from a previously unknown underground artist (found, of all places, through a "talent search" of sorts on MySpace), it is instead created entirely (or at least heavily influenced) by the highly idiosyncratic and iconoclastic Rephlex label head Richard D. James.
Although the official MySpace page for Brian Tregaskin (even though more than one apparently exists) in no uncertain terms states that he is not Richard D. James, several facts would indicate otherwise. First, the MySpace page indicates that "The Tuss" members consist of not only Brian and Karen Tregaskin, but also Mike Podolak (http://www.michaelpodolak.com/), Reid William Dunn, Robbie Martin, and Richard D. James. So, at the very least it is heavily influenced by R.D.J., if not entirely created by him (which is entirely possible, given that similar ambiguous attributions were given in the Rephlex releases of Universal Indicator in the mid-90's). Also, many note the fact that, on their previous EP "Confederation Trough EP", there is a song named "GX1 Solo", in which it is argued that a Yamaha GX1 synthesizer is used. The extreme rarity and cost of the now obsolete synthesizer (roughly seven to ten were made, each costing around $60,000 each), along with the fact that it is known that R.D.J. is in possession of one argues in favor of R.D.J. heavily influencing or entirely creating the music (Brian Tregaskin, however, counters that people are instead making too much out of song titles, and that there is no way he could afford a GX1). There is also the well-documented fact that one of the Rushup Edge tracks was introduced at an Aphex Twin gig in Italy, along with the usual Aphex Twin visual presentation iconography. Finally, there are conjectures made that, since Chrysalis Music is publishing, it is argued that, since Chrysalis has traditionally published Aphex Twin material, that "The Tuss" must therefore be a new pseudonym for R.D.J.
In the end, it does not really matter whether "The Tuss" is Richard D. James in disguise, a collective heavily influenced by the Aphex Twin, or Brian and Karen Tregaskin with numerous collaborators. Why? Because this is awesome techno "braindance", simultaneously nostalgic and modernistic, with a polished sheen in it's production. The music is perhaps the greatest indicator that this is the work of Mr. James, as anyone even vaguely familiar with Aphex Twin's past material will be able to spot numerous similarities. Although it is not as polished as the "Richard D. James" album or as scattershot as "Druqks", it instead sounds to me like an interesting combination of these works along with certain elements and structures found in the "I Care Because You Do" album (which is what I would consider to be the closest comparison to it, especially since I have not yet listened to the Analord series AFX released recently, which is apparently what Warp Records compared The Tuss to).
"Synthacon 9" is an excellent opener, featuring characteristic acid bass, an upbeat drum/cymbal beat, along with soaring atmospherics, vocoded vocals, and higher pitch synths (which remind me of the "Mt. Saint Michel + Saint Michaels Mount" song, for some reason). One of the reasons why this song is so good is the same reason why many of Aphex Twin's songs are so memorable: an almost impossible attention to melodic progression throughout the song. Although themes are frequently repeated, they are very rarely boring or arbitrary-sounding, as very subtle permutations abound throughout the melody, auxiliary instrumentation, and percussive lines. "Last Rushup 10" is somewhat more intricate, with a greater focus on jaunty drum beats and syncopated bass rhythms. "Shiz Ko E" veers off into "funkier" territory, with house-synth stabs and continual hand-claps (supposedly created by Karen Tregaskin). It is also reminiscent to Windowlicker in many regards. Although enjoyable, it is unfortunately one of the shortest songs on the album, and I could easily have seen another one or two minutes of progression being appropriate and in order for the song, especially given the 'cut off' feeling towards the end of the song. "Rushup i Bank 12", known for being introduced in the Aphex Twin performance in Torino, Italy in 2005, is also another standout. While having rhythms similar to "Last Rushup 10", it is a bit more expansive than the other track, with a fluid (and slightly detuned) piano melody interwoven throughout the middle of the song. An unofficial music video exists of this track, featuring what appears to be edited films from the eighties starring several kids skating around a small city. Towards the end of the song, when the strange outro begins, the video takes a decidedly darker tone, as the protagonist pulls a gun on an unfortunate stranger after he and his friends sabotage a fire hydrant. "Death Fuck" (which is apparently the official name, even though Brian Tregaskin complained at one point that he would never release a song with "such a twat title") is more reminiscent of "Druqks" highly complex programming (which is both it's strength and weakness, to some). If you are pining for vintage "Aphex", you might be put off by this track. Personally, since I am also a fan of the "Druqks" album, it gives the album needed variation in it's short duration. Finally, the ending track "Goodbye Rute" ends the album on a calmer note (ala "I Care Because You Do" or some of the "Selected Ambient Works Volume II" songs with the original beats). A heavy bass line and minimal cymbal beats are paired with mournful synth lines, quietly ending an otherwise energetic album.
In short, this is simply one of the best techno/IDM albums I have heard this year. Regardless of whether you are not you are an Aphex Twin (or believe that he did/did not author this material), it is a well-rounded release that will appeal to many different people for different reasons. Along with the official press releases is the hint of more material from this group to come. Whoever is ultimately creating "The Tuss", I congratulate them and eagerly await future offerings.
