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French post-rockers
Aluk Todolo
assembled an unpredictable parade of industrial and post-rock events on
Descension (Public Guilt, 2007), containing four lengthy instrumental
suites.
Obedience
opens with distorted cavernous drones and slow pounding metallic beats
like a warped, slow-motion version of Neu's "motorik" locomotives. Suddenly
female voices start screaming and instruments start banging and vibrating
at an extremely loud volume, a violent collective fit of vintage
Japanese noisecore.
Terrifying layers of distortion pile up on top of a primordial drumbeat.
The piece sigues into Burial Ground, a calmer, hypnotic Pink Floyd-ian
concentrate of psychedelic suspense. Dissonant vibratoes of a stringed
instrument interfere with the lulling guitar patterns and eventually
decay into Echoes-like pings.
The drones return like a glacial wind to blanket
Woodchurch, slowly morphing over an anemic industrial pulsation.
An infernal guitar distortion emerges from that swampy jam and propels
Disease into a more aggressive rhythmic pattern, an android-like
cavalcade reminiscent of Chrome's sci-fi fantasies.
The first and the fourth pieces are breathtaking. Too bad that the two in
the middle do not sustain the intensity.
The piece of the EP Ordre (Ajna) was recorded during the same sessions.
Members played in the Gunslingers and in Diamatregon.
Aluk Todolo then released
Finsternis (Utech Records, 2009).
Premier Contact adopts a more fragile and ominous stance. It segues into
the equally anemic Deuxieme Contact, that increases the dose of
suspense via languid guitar glissando, but still very little happens.
After the relatively brief Totalit‚, which is a bubbling tumor of
musique concrete, TroisiŠme Contact increases both the speed and the
noise, but then languishes in faceless depression being carved by a steady beat.
Quatrieme Contact continues in the frosty and sterile plodding, although
it mutates into something more humane and atmospheric. Too little too late.
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