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Claustrum - Comrades in Lost
Copyright © 2004 Latvian Industrial Community
01. Traur Zot - Kas tu esi?
02. Traur Zot - Comrades in lost... (with Claustrum)
03. Traur Zot - Mort port
04. Devnoise - Rising
05. Devnoise - Visions of Ipomoea
06. Devnoise - Merkabah (RT-32)
07. Claustrum - Sarez.e
08. Claustrum - Pogrebni (rudens lapas)
09. Claustrum - Polar plasma wave
10. 2ot - Subsensorais lauks
11. 2ot - prototips
12. Barodarho - Vara vairo varu
13. Knauzers - Naaves eenaa
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From the frontier of a genre still forming, this compilation exhibits music
from digital soundforms and audio environments recorded from life and daily
experience. This style distinctly uses melody underneath the abrasive
surface, resembling a continuation in hybrid of the works of Einsturzende
Neubauten and Tangerine Dream. Much is literally noise, of two types: the
organic type is sampled through the grain of microphones and then distorted,
stretched or reshaped sonically; the other is soundwaves formed from
directly manipulated electronic signals. Rhythmic pulsing and keyboards
anchor each piece. Recorded voices flow above in disembodied purity. It is
IDM from after debilitating global conflict; technology used organically.
Starting the tracklist, Traur Zot mixes two keyboard voices (lead and bass)
in low tones over pulsing loops of sonic events and sometimes digital
percussion in minimal formation. This could be described as similar to
late-model Autechre with an aversion to sounds of evident or discernibly
"electronic" origin. Devnoise is a radio-familiar style directed by beats
spelled in syncopated groups of organic-mechanical sounds forming a unit of
time. Its sense of melody is friendlier and less austere than most.
Claustrum start with the poppy "Sarez.e" but launch into dual-track assault
of melancholy and violence, similar to Traur Zot with more frequent
indulgence in sound derived outside recognizable musical instruments. 2ot
bridges the gap with music that is pop in arrangement but constructed of
abrasive textures. Barodarho interjects an assault of dopplerizing tone
synchronizing to cycling rhythm, disorienting the listener for a collapse
into noise, a directionless interlude. Knauzers finishes with a track darkly
saturated in silences between foreboding bass synth and whispered vocals,
with traces of a melody plucking at it from the void. Showing the
intersection of this below-radar genre with recognizable industrial music,
this compilation shows bands making compelling music from the sounds of
technology.
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