XOTOX / DETUNE-X: We Are Deaf CD Rustblade
Both of these acts have made a name for themselves within the scene for producing some pretty impressive club wrecking no-holds-barred industrial and this split CD pretty much hammers that truth home with a vengeance.
Comprising of ten tracks, six of which are Xotox and Detune-X passing the mantle to and fro to each other there are two tracks remixed from each artist and two full collaborative tracks to feast on.
The emotional side of each artist has been given the nod to the back door for this release to pave way for an all out club assault where beat matches beat, pound for pound; it’s unrelenting and there really is no scope for relaxation within the entirety of the disc, even the lighter moments are only given an ounce of momentum before they kick the pulses going again.
What I do like about this album is the fact that this hasn’t been approached from an entirely industrial perspective and have allowed for more proper dance elements to filter through and therefore take away a lot of the powernoise elements that occasionally creep through both acts individual work; this more comes to light upon hearing the two remixes that both artists reassemble on each others work.
Surprisingly then it was straight back to solid machine like precision when the final collaborations kick in, however these are welcome in their own right after tampering within different genres, just letting the old faithful following know they haven’t forgotten where they come from.
It’s been a while since I have listened to a split/collaborative release, I remember many a day when these came in as ‘remix wars’ releases, and this is a straight almost nostalgic hark back to that era of the scene.
MY LIFE WITH THE THRILL KILL KULT: Death Threat CD Rustblade
Its been a long, long while since I heard from this bunch; after a period of hallucinogenic trippy dance infused music I had stopped really listening to them, so was more than pleased when I hit ‘play’ on this latest instalment.
Off the mark comes the stilton ridden Satanic samples, that tie in Rock music as the work of the devil in pure vaudeville fashion, reminiscent of the Thrill Kill Kult’s earlier leanings and one which will always be synonymous with the band.
‘Industrial’ was always a tag thrown at MLWTTKK and it is one that never really glued; mainly this was because of the bands inception at legendary Chicago based ‘WaxTrax!’ which just happens to be one of my all time favourite labels as well. However, hailing from that quarter as given the act a sort of underground legendary status, regardless of whatever avenue they tended to roll down.
Now homed at the Italian based ‘Rustblade’ it’s a welcome relief to note that they have gone back to their roots; sleazy serpent like sliding grooves and rhythm’s infused with a rich rock feel that makes way for the less than serious in every expected way.
‘Death Threat’ really isn’t threatening, but more trails on B-Movie mayhem and a cocktail of sexual innuendo, having a good time, go-go dancing, strip clubs and liquor; at least that’s what I get from it and as amazing as it isn’t as a release, this is a more than solid return to form and a nostalgic journey into a time when music was just fun and we all need a bit of that now and again.
NOORGLO: Hard Body Music CD Rustblade
I was prepared for some powernoise (sorry for the rubbish terminology) when I approached this album and I don’t know why considering the title of the disc.
For the first few numbers, in all honesty while being more than competent, this didn’t over-engage me as it did meander down the noise route tampering with a bit too much reverb on the production for my liking.
However, track four ‘Hyerarchy’ truly kicks this album off with vengeance; thumping infectious beats smash everything into touch and suddenly the first three tracks that preceded this have a form of clarity.
‘Hard Body Music’ is an album for the long haul; actually an album aimed at the underground dance market as ‘Bedroom Corrosion’ will attest with its body moving electronic undercurrents that hail more to the German ‘Schranz’ scene than anything else; let it be known I love Schranz so this got me on side immediately.
After a small route through broken up electronics that tap into IDM territory, disengaging the listener for a few minutes we are back on the money with ‘Concrete Flesh’, that once again heads off down the path of blistering club infused sensibilities and whilst not being immensely challenging, it’s just pure listening pleasure and I can imagine this being the soundtrack that accompanies many in their car heading out for the evening.
Amongst the in-between oddities that crop up there are pure gems that rival any hard club classics, that occasionally fold in a mass of broken beats to stir it all up a little, which probably just halts this act from being lapped up by any commercial scene; coupling this with breakcore and ambience in more reflective moments alongside industrial, really steers them away.
For an album that I just shrugged my shoulders at upon first listen, I left more than content; yeah the production values could do with being lifted a little, but all in all this is a more than exciting album as an overall piece of work and is genuinely engrossing more often than not.
V/A: ‘Songs For A Child’ A Tribute to Pier Paolo Pasolini CD Rustblade
From the offshoot I wouldn’t have deemed the subject matter one to be covered by the scene, poetry being something that abhors me down to my very core as a whimsical excuse for the existence of thespians; given this, I am not going to give a poet any quarter here, no matter who they were. Still, he did some interesting cinematography and has to be hailed for such works as ‘Salo’, which ‘Time Out’ magazine once described as “The most controversial film of all time”; so not all bad then.
Taking this on board I approached this simply as a musical compilation, bearing in mind I knew there were artists on the roster that I more than enjoy.
The wonder that is ‘Coil’ open up the proceedings with a heart felt rendition, making me once again thinking of the all too early demise of the talented Jhon Balance. Surprisingly, Bahntier glue themselves into the affray with an ambient number leading us into the rather excellent musicianship of ‘Spiritual Front’ and the once again brilliantly ritualistic ‘Ah-Cama Sotz’.
This really is an album however where the more known acts do come across as the big boys of the Industry; ‘In Slaughter Natives’ join the afore-mentioned in producing something splendid with an array of marching beats, acoustic guitars and operatics.
Yes okay, there are momentary sections of competent musical endeavours amongst this release, but nothing that ultimately stands out against the larger acts; nothing that jumps out at me and holds my attention, which is a shame as for the large part this is decent. If anything, this has just made me go play Coil and Spiritual Front at loud levels again in their full glory and if compilations are deemed as introductory levels of artists, then this certainly would do its job in some respects.