Deconstructing Interference #12
It has been a while, and I am feeling a bit more basic this time around, so I have included a touch of noise rock and post-punk in this one.
This is Deconstructing Interference, the roundup dealing with all the non-metal and experimental stuff that I find interesting. If you want to be considered for this column or have anything else to recommend, drop me an e-mail at email@example.com.
Low Estate — Covert Cult of Death
I think this one somehow managed to pass a bit unnoticed. Released through The Flenser and featuring members of Sannhet, Red Sparowes, The Year is One, and Orchid, Low Estate indulge in a recital of hardcore brutality, noise rock madness, and black metal/post-rock experimentations. It is one heavy ride, unafraid to take things into the extreme.
Death of Lovers — The Acrobat
Ever wondered what Nothing would sound like if they started indulging their love for 1980s post-punk? No need to anymore, as Domenic Palermo, Kyle Kimball, and Nick Bassett bring the first full-length of their other project Death of Lovers. Filled with the melancholic touch that guided Nothing’s endeavors, Death of Lovers expands on the retro new wave sound with an upbeat and catchy demeanor.
Jozef Van Wissem — Nobody Living Can Ever Make Me Turn Back
Minimalist composer and lutenist extraordinaire Jozef Van Wissem follows When Shall This Bright Day Begin with a return to his roots. Dark and reclusive, with an ambiance straight out of medieval times, Nobody Living Can Ever Make Me Turn Back is a meditative trip through the imaginary realms of Van Wissem.
Nadah El Shazly — Anwar
Debut album from Nadah El Shazly, who started out her career singing Misfits covers, and she sure came a long way with Anwar showing she has all the making of a pioneering experimental artist. Paying homage to her heritage, the album is rooted in the Middle Eastern musical tradition, as El Shazly opens this world to further extroversion, ranging from minimalistic notions to jazz interpretations.
Necro Deathmort – Overland
The synth-driven masters Necro Deathmort have been reshaping dance music to unrecognisable results since day one. WIth their new album, Overland, the duo continues to expand its cinematic soundscapes, injecting noise explosions, minimalistic drones and jazzy themes.
Coil – Time Machines
Bit of a throwback here and it comes with a funny story. Released originally under the Time Machines moniker due to Coil believing the album was too different from their standard sound, Time Machines is getting the re-release treatment from Dais Records. With the songs named after chemical substances inducing hallucinogenic states, the record is a diatribe in the minimalistic sound that stretches the perception of time to an excruciating limit. It is always good to be reminded how forward thinking this band was.
Becoming Animal — A Distant Hand Lifted
Massimo Pupillo of the mighty Zu joins forces with mystical singer Gordon Sharp to bring Becoming Animal. Moulded around extreme sonic manipulation, waves of noise, electronic, post-orchestral grandeur, and Sharp’s unique delivery (known from his collaborations with This Mortal Coil and Cocteau Twins, plus he’s a founding member of legendary experimental band Cindytalk), A Distant Hand Lifted is a terrifying work of dystopian vision.
Lemna — Urge Theory
Maiko’s Okimoto debut EP as Lemna displays her impressive handle on rhythm. Morphing through fast-paced tempos, Lemna mutates tribal-esque structures to match her futuristic visions. The polyrhythmic progression evolves through artificial machinations, while her energetic force drives this endeavor forward.
Ike Yard — Sacred Machine
Giants of old, Ike Yard originated in the late 1970s early 1980s New York electronic scene, releasing a series of records before disbanding in the mid 1980s. They initially returned in 2007 and put out a couple of albums, Ost and Nord, but it is this EP that projects their dark vision more accurately. Cold and detached electronics meet the post-punk progression in this ode to the Sacred Machine.