Anything involving the passage of time through the four seasons inevitably reminds me of one of my favorite movies: Kim Ki-Duk’s masterful Spring, Summer, Fall, Winter… and Spring. While The Nightfall and Naviar Records in general are more concerned with the connection between Japanese haiku and music, and the aforementioned movie is about Buddhist monks in Korea, I view their portrayals of the seasons to be quite similar. Ristić, a Serbo-Croatian sound artist whose previous release Fairy & the River Teeth was reviewed here last February, weaves together a variety of sound elements to create immersive, poetic interpretations of each season. Like nature itself, these pieces are beautiful and detailed, yet unwavering; they pass without concern for anything else present, a passive backdrop. Sure, I can sit and listen; thunder rumbles in the distance, birds chirp and children play, the faint rustle of leaves in the wind touches my ears… but The Nightfall gives the unique sensation that it would all still be happening even if I wasn’t around to experience it. This approach bears similarity to that of Kim’s film, where nature is a rewarding but impartial force, sometimes comforting and others terrifying, the only consistency being the steady, unyielding passage of time.
Amuleto’s third album, Misztériumok, continues the duo’s explorations in unique blends of electronics, acoustic instruments, and recorded sound. Expansive drones are forged from resonant strings and sputtering manipulations, seamlessly moving between beauty and intense, primordial darkness. There never seems to be a ton of things going on at once, but every moment is thick and lush; even on closing track “Nebeltanz,” when a single droning cello and occasional bassy clunks are the only elements present, there is a pronounced, warm density to the music. It’s hard to tell whether these pieces were improvised or composed; I would guess a combination of both, because each track is very fluid and free-form but the overall movement and dynamics seem more tightly controlled. Regardless, Amuleto members Francesco Dillon and Riccardo Wanke demonstrate their abilities as masterful sonic craftsmen, layering sound objects in just the right way to conjure a vivid atmosphere. The musicians were apparently inspired by photographs from early twentieth century Europe, and their depiction of “an ephemeral serenity with an imminent sense of crisis and loss”; a profound, intangible state that is somehow evoked equally well by the music on Misztériumok.
There’s a reason a lot of hardcore “full-length” albums are very short. It’s difficult to maintain such a high energy level for so long; and on the listener’s end, that many breakneck tempos, blast beats, and screamed vocals in one sitting can be exhausting. Scottish band Sectioned, however, apparently doesn’t give a fuck about any of those reasons, and for that I am grateful. Their debut LP Annihilation is 42 minutes of ruthless, pounding mathcore, full of angular guitar work, infectious breakdowns, and some of the heaviest drums I’ve ever heard. Vocalist Jamie Christ is also a highlight, his guttural shouts rivaling everything else in the mix. The pace of this thing is absolutely relentless; it’s established from the get-go and never lets up. Some of the breakdowns let up on the assault somewhat, but you’ll probably be too busy headbanging like a madman to notice. Writing it all out here, it really doesn’t seem like Annihilation has the right to be as long as it is, but I really couldn’t imagine it any other way. The well-integrated noisy electronic textures help out in this area too, adding variety but never seeming out of place (excluding the bizarre beat tacked on the end of “Starved Lives,” which actually somehow works). I really can’t believe this is the band’s first full-length because it is so well put together and cohesive. It just came out today and is already a contender for my favorite hardcore album of the year, and even my favorite in general. So don’t let the length discourage you; check it out!
Figured that even though I’m not doing the radio show anymore, I should still make some mixes and post them here. This one tells the story of a walk through a forest and the beauty, mystery, and terror found inside. Made from my favorite weirdo folk tunes. Timestamps and titles are listed below. Enjoy!
00:00. No-Neck Blues Band – 2nd Untitled Track [Excerpt] from Sticks and Stones… (Revenant, 2001)
04:12. The Doomed Bird of Providence – “The Wild Beast of Goat Island” from Will Ever Pray (Front & Follow, 2011)
08:45. Brothers of the Occult Sisterhood – “Om Agar” from Animal Speak (mymwly, 2004)
13:50. Alastair Galbraith – “Ember” from Mirrorwork (Emperor Jones, 1998)
16:16. Pumice – “Flee” from Raft (Last Visible Dog, 2004)
20:31. The Billy Crosby’s – “The Signs of Emptiness” from Windswept Trees and Houses [V/A Comp] (Jewelled Antler, 2003)
23:28. Grim – “Heritage” from Message (Eskimo, 1987)
25:50. Big Blood – “…Is All We Have” from Dark Country Magic (Dontrustheruin, 2010)
30:21. Caroliner – “Climbing Jacob’s Ladder Through the Fireplace” from Rise of the Common Woodpile (BullsHit, 1987)
33:59. Exuma – “We Got to Go” from Exuma II (Mercury, 1970)
36:48. Leonid Fedorov – “Пол неба” from Лиловый день (Геометрия, 2003)
41:26. Alvarius B. – “Dracula Frizzi” from Blood Operatives of the Barium Sunset (Abduction, 2005)
44:56. Convivial Cannibal Clan – “Bottom Feeders” from Have Youth Will Play (self-released, 2017)
47:36. Sala-Arhimo – “Talviunta” from Maan Matoset [V/A Comp] (POK, 2005)
51:01. Bob Drake – “I Wish It Had Been a Dream” from Medallion Animal Carpet (Crumbling Tomes, 1999)
The two sides of Tokoshie No Oto are both very different approaches to composition using found sound, and both are done very well. Xtematic’s “Silens – 28.4.2016” was put together from field recordings he made in a shoe factory, but the source material is mostly unrecognizable, twisted and contorted into rhythmic techno beats. Though the unique process used to produce the track – and most likely the following “Assemblement” as well – is largely obscured by the final product, the pieces still have a uniquely enigmatic element to them that would not be found if a less adventurous technique was used. In contrast, Kazuya Ishigami’s contribution, “Drone Shrine,” largely makes its origins clear. The constant chirping of crickets, deep cavernous yawns, and electric crackles form a track that sounds exactly like the title; a mysterious, decrepit soundscape steeped in forgotten memories and displaced souls. While I enjoyed Ishigami’s side more, both artists brought great things to the table, and it is always pleasing to see the principles of musique concrète still being explored and expanded.
At the Still Point of the Turning World establishes tension from the very beginning. An ominous lone bass drum pulse is the only sound heard at the start of “Neither Flesh Nor Fleshless,” before it is joined by bursts of skin crawling strings. When piercing, Tilbury-esque chords and shifting noises enter the fray, I find myself deeply immersed and waiting for a satisfying release of the tension – but it never comes. This trend continues throughout the album, as Gama and Fernandes stack layers of dissonance upon each other, so much so at some points that the song seems too strained to stay together. The only catharsis obtained on At the Still Point of the Turning World is a frustrating one; it’s satisfying to witness the meticulous constructions decay and fall apart, but you’d expect at least one epic climax. That’s the thing, though – Gama and Fernandes have no interest in doing what’s expected, and it is this that makes the record as tantalizing as it is. Don’t get me wrong, there are moments I would call beautiful, especially the lush harmonies used on “Perpetual Possibility”; but ultimately it is these talented musicians’ admirable patience and reservations that keeps me coming back.
Élg’s Vu Du Dôme is an truly unique album. Taking a very different direction from Laurent Gérard’s already diverse body of work, Vu Du Dôme is sculpted from heavily manipulated acoustic sounds that pile on top of each other in bright, colorful collages. Gérard’s full, Chanson-esque vocals and lyrics are also a significant element, with the bizarre electronics shaping themselves into something more organized and rhythmic every time he sings. From what I understand, the lyrics are part intelligible French and part nonsense, exploring both denotative and more syllabic, sound-focused approaches to poetry. As you can probably tell, this is an ambitious record, and covers a ton of ground in its 30 short minutes, but feels totally complete and contained. Gérard forges the most successful balance between abstractness and pure, joyful fun, making Vu Du Dôme a record that I imagine everyone can appreciate.
Vu Du Dôme is available on streaming services, and the physical version can be purchased here.