Hum of the Druid - Norse Fumigation (SSNS, SNSE077, 2010)
Hum of the Druid comes back with the long play "Norse Fumigation" in SSNS and what to say for starters, is inspiring to see the constant improvements in the quality of the material in the work of Eric Stonefelt project are being produced: Vinyl virgin, no noise, an insert in coated paper and a perfect cover adorned with stenciled on disturbing visual work of Stonefelt. Then, on the contents sonic: After a year of waiting, he had better this artist draw something better than "just right" and, as usual, as was the case. Following the path
Akifumi Nakajima-Aube-Stonefelt has begun to produce work with a foundation dedicated to substantially increasing the use of the material-not bad for someone whose sound could be characterized as telluric and primary. In his brief notes, Stonefelt notes that sounds that "Fumigation Norse" was written are base metals, water and processed glass, as well as guitars and vocals. But the use of metals in "transcendental Criminal Behavior," the first single from the album, it does not follow Banging such as energetic or Macronympha Grunt, or the use of crystals can be seen from visceral outbursts such as Sissy Spacek, but focus mainly on a careful study of their textural properties. Machinic the initial shock of "Transcendental Criminal Behavior" just insist on violence for a few minutes, after which, the question becomes meditative, heavy formed down movements very serious tone and minimal, and the granular surface cracks almost corporeal.
"Norse Fumigation," a song that covers the second side of the album tends towards the opposite: While at the bottom can be distinguished atmosphere created by a guitar with delay and, perhaps, the serious handling of some other object, almost entire surface is covered by an extraordinary display of specific sounds, some merely modified by the use of some distortion and equalizer, and others, meanwhile, fully displaying their natural qualities. The clubbed blades, repiqueos metal hitting metal, bleeding from the carrier frequency by contact microphones, the suppression of amplified earth: everything destiende as a mechanical symphony that logically seem to follow the precepts of "Changez Les Blockeurs" by The New blockaders. Everything points toward chaos liberating, ecstatic ritual, until Stonefelt reveals, again, its artifice: its unexpected vocal inevitably connected with a generic language - can be of power electronics, perhaps? - Although, it should be noted - the best way they did in some of its previous installments. The voice, devoid of effects is contorted, his screams, frantic, furious are incomprehensible. Likewise, the output of the subject, turning the nothing to the music, seems to be a new beginning, but increasingly persistent revolutions and the apparent delay -canceled melodies, fractured-made just the opposite: this path is but a chasm. Hum
Every work of the Druid has brought further evidence of the vision, perfectly centered, its creator. Each disc of this project has not only been attached to the meticulous study of a sound track but also has steadfastly delivered a unifying methodology between concept and sound: The work of Hum of the Druid not release samples of a chore, but are well related with a series of compositional rules difficult to fathom but clearly show an obvious preference for the organic sounds and a full range, as well as structuring complex and mysterious, in my opinion, "Norse Fumigation" has been to date, the album is to go further Stonefelt with respect to its exploration of environments and sound qualities and that is enough, especially considering the unique quality of his recent work. Please forgive the hyperbole, but I resolved to announce that this work is fantastic and an absolute requirement and that if it makes sense for your ears, hearts and brains, better buy the new album by Lady Gaga or Metallica and let pass reading this blog. (SS)
Hum of the Druid comes back with the long play "Norse Fumigation" in SSNS and what to say for starters, is inspiring to see the constant improvements in the quality of the material in the work of Eric Stonefelt project are being produced: Vinyl virgin, no noise, an insert in coated paper and a perfect cover adorned with stenciled on disturbing visual work of Stonefelt. Then, on the contents sonic: After a year of waiting, he had better this artist draw something better than "just right" and, as usual, as was the case. Following the path
Akifumi Nakajima-Aube-Stonefelt has begun to produce work with a foundation dedicated to substantially increasing the use of the material-not bad for someone whose sound could be characterized as telluric and primary. In his brief notes, Stonefelt notes that sounds that "Fumigation Norse" was written are base metals, water and processed glass, as well as guitars and vocals. But the use of metals in "transcendental Criminal Behavior," the first single from the album, it does not follow Banging such as energetic or Macronympha Grunt, or the use of crystals can be seen from visceral outbursts such as Sissy Spacek, but focus mainly on a careful study of their textural properties. Machinic the initial shock of "Transcendental Criminal Behavior" just insist on violence for a few minutes, after which, the question becomes meditative, heavy formed down movements very serious tone and minimal, and the granular surface cracks almost corporeal.
"Norse Fumigation," a song that covers the second side of the album tends towards the opposite: While at the bottom can be distinguished atmosphere created by a guitar with delay and, perhaps, the serious handling of some other object, almost entire surface is covered by an extraordinary display of specific sounds, some merely modified by the use of some distortion and equalizer, and others, meanwhile, fully displaying their natural qualities. The clubbed blades, repiqueos metal hitting metal, bleeding from the carrier frequency by contact microphones, the suppression of amplified earth: everything destiende as a mechanical symphony that logically seem to follow the precepts of "Changez Les Blockeurs" by The New blockaders. Everything points toward chaos liberating, ecstatic ritual, until Stonefelt reveals, again, its artifice: its unexpected vocal inevitably connected with a generic language - can be of power electronics, perhaps? - Although, it should be noted - the best way they did in some of its previous installments. The voice, devoid of effects is contorted, his screams, frantic, furious are incomprehensible. Likewise, the output of the subject, turning the nothing to the music, seems to be a new beginning, but increasingly persistent revolutions and the apparent delay -canceled melodies, fractured-made just the opposite: this path is but a chasm. Hum
Every work of the Druid has brought further evidence of the vision, perfectly centered, its creator. Each disc of this project has not only been attached to the meticulous study of a sound track but also has steadfastly delivered a unifying methodology between concept and sound: The work of Hum of the Druid not release samples of a chore, but are well related with a series of compositional rules difficult to fathom but clearly show an obvious preference for the organic sounds and a full range, as well as structuring complex and mysterious, in my opinion, "Norse Fumigation" has been to date, the album is to go further Stonefelt with respect to its exploration of environments and sound qualities and that is enough, especially considering the unique quality of his recent work. Please forgive the hyperbole, but I resolved to announce that this work is fantastic and an absolute requirement and that if it makes sense for your ears, hearts and brains, better buy the new album by Lady Gaga or Metallica and let pass reading this blog. (SS)
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