Music Reviews

Artist: Død Beverte (@)
Title: Polarination
Format: Download Only (MP3 + Lossless)
Label: self-released
Rated: *****
Død Beverte is Stefan Klein from Colorado Springs, Colorado who began his musical career with his avant-garde extreme metal band Dethcentrik back in 2009. According to his website, Død has been in, worked with, and has remixed/been remixed by many other projects and artists, including Blank Faced Prophet, Cold Metal Future, Fill The Void, Dawn of Ashes, The Rust Punk Tribe, Angelspit, f.kk.d, Omega Dub Experience, Jeremiah Whitman, Chris Vrenna (Nine Inch Nails, Tweaker, Marilyn Manson), Disturbing Taxidermy, and many others. Kinda sounds impressive, eh? Well maybe so, until you listen to 'Polarination' which is supposed to be experimental music, but all too often as in this case is a catch-all category for not too good music. First and title track on 'Polarination' is nearly 5 minutes of poorly improvised noise with repetitious dialogue samples of pundits saying "this is the most racist bigoted" and other acrimonious political jargon, obviously directed at #45. Speaking of the Cheeto-in-Chief, "Echoes of a Dark Past" continues with more dialogue samples, namely the "I alone can fix it" gem pitch-shifted down several octaves to demon range. The improvised music on "Brooding Conflict" is slightly more intriguing, but not enough to make up for what preceded it. "Straight Outta The Cold War" gives us unadulterated Trump - "Madmen, out there...shooting rockets all over the place..." underpinned with bassy warblings sounding like sad whales. "Bipolar Partisanship" is just a manipulated mess, likely as it was intended to make a statement on the current political scene. The mess continues on "The War Has Begun" with lots of chaotic crowd samples and some really bad distorto-bass playing. Plenty of anger, not much else. The short (barely over a minute) track "Holding Onto The Pieces" was the first one that seemed to have an interesting ambience in its plucky minimalism. That quickly falls by the wayside though when Død Beverte tries some avant-garde guitar and bass dissected by a steady feedback tone on "Last Moment To Reflect". Later throwing in some reverb for good measure doesn't make it any better. The fourteen and a half minute "Nuclear Holocaust" has elements of dark ambient, (monotonous) avant-garde minimal improv and noise, but the elements don't coalesce well enough to form anything more than filling 15 minutes of space with sound. "Wasteland" started out being the most interesting track on the album with minimal atmospheric bass pulse in a slow, sinister rhythm, but then "the other bass" shows up a few seconds over a minute in, and kicks the crap out of anything that might have been worthwhile in its belligerent annoynace. Even the deeply chambered sonics that eventually follow seem kind of contrived. Lastly according to Død, track 11 is an open source track he completed after the album and gave away along with giving away alternate mixes and stems, entitled "Nowhere To Hide". Funny, it's the most musical thing on the album; a bit awkward but it has its strange charm. I'd be more inclined to have liked the album if there were more tracks like that on it. I can understand that (some) artists want to make a statement and ruminate on the current socio-political crisis that is enveloping the world, and especially this country today. Let's face it, it's permeating our culture, and to a degree our music is part of that culture. You're not going to be getting anything deep out of Taylor Swift, Kanye West, or others in the pop world, so it falls to the fringe carry the torch. 'Polarination' isn't the answer though because it's just too fractured and amateurish to even leave a lasting impression. I'm sure Død Beverte was looking to leave an impression when he concocted this; I just don't think it will be what he intended.

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