USHERSAN & HIV+: Wide Lights From Hatred Springs CD Signifier
Collaborative efforts here from HIV+’s Pedro Peñas Robles and Anthon Shield of Norma Loy, providing an enjoyable exploration into influential old school electronics, post-punk and new wave past glories.
It’s remarkable, that sometimes to provide anything fresh and new, it is often the music that derives its sources from the late 70’s and early 80’s that stands out with any sort of originality (even though it isn’t original at all); and so everything revolves full circle as the wheel of evolution is turned on its head.
Familiarisation ensues as twangs of Cabaret Voltaire and SPK flutter alongside the better elements of Throbbing Gristle (who lets be fair, where pretty shit in reality), providing an overall refreshing musical escapade into the beauty of simplicity and analogue construction.
Peculiar but ultimately listenable, the obscurity of this release is one that serves it credit. Yes the main music to ‘Maelström’ is a blatant rip off of ‘Marian’ by The Sisters Of Mercy (whether unintentional or not), but it is one of the highlights on this release, with the multi vocals layered well as the tune is hammered into your skull (of which you will find yourself humming later on). A decent cover of TG’s ‘United’ is given a dust and polish and whilst reminiscent of the original, still provides a fresh enough take on it for the uninitiated.
I am not altogether a fan of throwing heaps of remixes in at the end of an album (not in such a large proportion anyway), but it seems all too fitting for Dirk Ivens’ Absolute Body Control to make an entrance, providing one of the better deconstructions on display, along with Millimetric; and the other four on here at least do not detract the release from its chosen path (if not lowering the overall score). Overall Ushershan and HIV+ have provided an album in tribute to an era of sound, without which, we would all be that little bit worse off.