Music Reviews

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Artist: Locrian & Christoph Heemann (@)
Title: s/t
Format: 12"
Label: Handmade Birds (@)
Rated: *****
This is one of the few releases I luckily managed to save from the hard disk of my old laptop (summer's hot temperature and bad architecture of different parts almost melted condensers and motherboard so that it was turned into a fused silica filled sandwitch which could cause over excitement to a Luddite!). I have to say this salvage was a good thing: even if releases coming from artists and musicians who fed or keep on feeding the mass migration from metal-related stylistical grounds to electronic or more cinematic stuff usually sound disappointing to me as most of them cannot totally detach some compositional schemes, this collaboration between appreciated Chicago-based post-metal band Locrian and Christoph Heemann, an hyperactive sound artist, whose remarkable hidden "militancy" within the 80ies industrial and noise scene (collaborations with Current 93, John Duncan, Organum, Merzbow and many others) facilitates the interconnection with above-mentioned resettling migrants, give rise to a really visionary release. On this occasion both drums and guitars play a different role than in previous releases by Locrian: Steven Hess' drumming and Foisy's guitars just emerge in the first visionary track "Hecatomb", an impressive clotting of fatal visions and hypnotical post-industrial drones, which could evoke baleful and disastrous allegorical scenes and a sense of forthcoming collapse, highlighted by low piano keys, which mark the rhythm in the guise of a death toll, the ventricular fibrillation of fluffy tapping on drums and the threatening bustle's buzz, which sound like swallowed by the following track "Loathe The Light", where drums move towards fringe side of the drone in order to build the scenery and guitars weave a net of low-frequencies which emphasizes the hefty sonic setting, disrupted by the crummy cries by a Terence Hannum in deep grief, the highest peak of metal-imported brutality. The physical consistency that sinister guitar-driven low frequencies sounds more noticeable in the following "Edgeless City", where Locrian and Heemann vividly render the feeling of angst related to disquieting desolate and abandoned places, the artistic habitat of this band, before the prostrate chant of the grey and dusty final track "The Drowned Forest", where the drone sounds like singed in accordance with the general clouded atmosphere of the track.



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