So, the French noise making professors give a tough job to the listeners with their second album. Compared to the last year's Naät
jumps to more experimental sets. The Concrete's almost 40 minutes contain all the bitter noise and rythmbrakes which we are used to, but it seems like they have pushed the limit too far this time. Or we just need time to take it in?
The answer is not unambiguous, since they are following the chosen path, and the borders end in unknowable little sparks while the experiment is over. Undoutably more layered, sicker, unhumanly and heavyer than their first awfulness. You can feel the classical music and black metal-like segments more in Santo
, in some parts of Slaagt
and in the amazing Plantea
– these songs bring the completion of the new Ulver
into my mind. We get some C64-like minimal in Cera Pollutea
, and you can hear some unearthly vocals in Bore Injektion
like what Mike Patton
made in Fantômas
. But except these songs, the rest burns grind-noise-breakcore features on itself with a hot iron and insane electronics (but I have already spoken about these features in the Naät
's critic, so I won't write about them again; they are the same, maybe with a little more techno). Even with all this, you still couldn't look at it as a selfish avantgarde act. It's not made to be listened all the time, you have to have a mood which determines the noise and the army of soulless samplers, the brutal rythm and the unhumanly digitalised vocals. It could fit for anyone who is ready for a little bit of delirium, who isn't bothered by the noise, the deepness which are brought by the ambient soaked in classical music. It's hard to write about this album because it's hard to digest, and it wouldn't be good to throw some cliches around. I can only say what I have already said before, that this is an experiment which balances between meaningless and meaningful,artistic and awful, listenable and unbearable, it's magnetic aluminium and iron graveyard.
Rust and hydrochloric acid – even if it doesn't burn the whole thing – are alltime participants, but somtimes I think the two French artists gone too far, and they put the line too high and too low in the same time. Somehow I liked Naät
more, maybe because I listened to it like a thousand times, but anyway, if you are looking for an interesting and unusual music, give Whourkr
a try and dwell into it's creepy swamp-forest. When will the listener drown in the nothingness... or maybe in something else, it only depends on the listener.