SKULLFLOWER Strange Keys To Untune 2xCDfolia

19-08-2014, 4:26
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Miejscowość Górny Śląsk

Koniec: 19-08-2014, 4:36

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SKULLFLOWER "Strange Keys To Untune" 2xCD

"Wszyscy muszą paść na kolana przed pogańską ścianą drone'ów...."
To jest pierwsze zdanie jakie ujrzymy wchodząc na stronę internetową zespołu. Moment w którym usłyszałem po raz pierwszy ich torturujące, przesterowanie i szamańskie dźwięki emanujące z moich głośników na początku lat 90' może być porównywalnym jedynie z mistycznym objawieniem. IIIrd Gatekeeper oraz Obsidian Shaking Codex są moimi ulubionymi albumami wszechczasów i wywarły niesamowity wpływ na drodze twórczej zarówno mojej jak również całego NEUROSIS - gdyby nie Skullflower, nasze podejście do gitarowej muzyki byłoby bez wątpienia inne. Złapać instrument do ręki, podkręcić wzmacniacz do jego fizycznego limitu i wpłynąć w rzekę drone'ów aż do muzycznej ekstazy - Matthew Bower od 20 lat pokazuje nam, jak należy to zrobić w pierzwszoligowym stylu.

Strange Keys to Untune Gods' Firmament rozbudza Wagnerowskie, epickie brzmienie, światopogląd Nietschego i płacz o walkę przeciwko fałszowi z iście wojenny zacięciem, wszystko w psychotropicznym i psychoakustycznym stylu. To nie jest płyta łatwa w odbiorze dla każdego, nie spowoduje omdleń ani problemów sercowych u wszystkich. Ale na tych, którzy zechcą się zagłębić w głębokiej i gęstej wodzie samotransformacji czeka nagroda na końcu tej podróży...
Steve Von Till.

Lista utworów

disc 1

1-1            Shivering Aurora     9:19

1-2        Starlit Mire    9:27

1-3        Enochian Tapestries    8:09

1-4        City Of Dis    8:07

1-5        Gateway To Blasphemous Light    14:20

1-6        Basement Of An Impure Universe    11:07

disc 2

2-1        Nibelungen    7:38

2-2        Blood Mirror Streams    7:02

2-3        Blackened Angel Wings Scythe The Billowing Void    8:37

2-4        Chaotic Demons Fly In To My Eyes    8:41

2-5        Skar Konstellation    9:14

2-6        Rheingold    7:33

Veteran UK noise act Skullflower are about as far from the mainstream as possible. Kudos to Neurot Recordings for bringing this savage yet mystical monolith of guitar-oriented noise to American ears (with no regard for commercial potential). Yes, this is truly a labor of love, though some listeners may be scarred by the end of this 2 hour mass of mostly formless and rhythm-free aural siege. Beginning with the fried feedback of "Shivering Aurora", the first disc moves abruptly into the drone/noise masterpiece "Starlit Mire", which refers to noted chaos magician and artist Austin Osman Spare, not Psychic TV, I'm sure. From there, it's back to the reckless "Enochian Tapestries" before the all-consuming invocation within "City Of Dis". "Basement Of An Impure Universe" is the sound of pain, pure and simple. Disc 2 is no less forgiving, opening with the grinding "Nibelungen" and continuing to the absolutely brutal catastrophe of "Blood Mirror Streams". While some bands coax different sounds out of their instruments, Skullflower strangle them, for lack of a better description. Theirs is the sound of all-consuming terror. Not for the faint-hearted, "Strange Keys.." is an overwhelming, overloaded, and ultimately purifying listening experience. (Neurot Recordings)

Don't enter Strange Keys to Untune Gods' Firmament-- a 12-track, 2xCD, two-hour-plus marathon of feedback-and-distortion charges for electric guitar and electronics from Britain's Skullflower-- casually. Sure, released by Neurot Recordings, it's one of the few titles in the band's two-decade run to have a substantial marketing push, but it's also one of the most extreme. Built on depth charges and swan dives into razing nine- and 14-minute instrumental immersions, and forgoing any pause between them, Strange Keys overpowers and exhilarates, the sort of record that rewards the commitment it demands with intensity and brutality.

The history of British experimental legend Matthew Bower is perhaps the only thing more overwhelming about his discography: Since the early 80s, Bower has been a persistent if oftentimes overlooked presence in international sound exploration, first with his projects Pure and Total and then with Skullflower. That's the band that took Bower places, particularly to North American audiences, thanks to 1992's IIIrd Gatekeeper, reissued stateside on Crucial Blast in 2007. A lumbering, playfully psychedelic record that cut big-beat paths through a world of weird guitar tones and stretched riffs, IIIrd Gatekeeper served as an introduction for Bower, who's since proven to be one of music's most restless and prolific souls, rivaled in his own spheres only by Jandek and David Tibet for variety and output.

In 1996, though, Skullflower disbanded. Bower busied himself with the often still, stately collaborations of Sunroof! and the earliest releases by his power electronics duo, the Hototogisu. After a seven-year break, Bower revived the handle for the LP Exquisite Fucking Boredom, a sprawling, gorgeous record that seems to revel in reverse. But on the closing track, "Celestial Highway IV", the sound bristles, the melody and beat wheezing beneath the pressure of static, noise, and a guitar line that won't sit still. By track's end, you can kind of trace a melody.

That concept-- burying and occasionally revealing something familiar beneath a harsh flood of sounds-- has served as Bower's chief compositional device with the second incarnation of Skullflower. It's loud music-- really loud music-- that demands you sit close and listen up. Strange Keys ups the ante: Though "Gateway to Blasphemous Light" and "Enochian Tapestries" settle into moments of warped bliss, Strange Keys is generally relentless and tremendous, burying its themes in kaleidoscopic distortion. It's as if the comparisons that Bower has earned in the last seven years-- Merzbow, Wagner, second wave black metal-- finally took magnificent hold.

All of those comparisons compute, too. In fact, together they are only parts of a much bigger musical picture, where dozens of sounds connect in a dense though meticulous web, waiting to be teased out and untangled by the listener. And in the end, devoting two hours at a time to Strange Keys and chasing down whatever phantom sounds you think you might hear at work is what makes this such a rewarding-- if difficult-and-demanding to irritating-and-impossible-- listen, especially on return spins.

Something about "City of Dis", for instance, suggests the mechanical flux of a breathing machine, though its wide peaks-and-valleys motion recalls an all-star noise team scrambling the Death in June discography-- rigorous and mean with drama-- and dredging up an album that sounds nothing like the source. Similarly, "Gateway to Blasphemous Light" sounds as though every cheap black metal recording in the world-- you know, those early ones so loud that everything sounds like a smear-- was dumped into a 14-minute space and blurred together into one tidal piece.

Most illustrative, though, are "Rheingold" and "Blood Mirror Streams", two seven-minute pieces on the altogether more-finessed second disc. They pile pounding sheets of noise above gentle, distended riffs, which poke out of the maelstrom like lone rays of light. In its loudness, it faintly recalls Fuck Buttons' "Sweet Love for Planet Earth", where ruined tones hovered above house beats and chirpy keyboard melodies. That's all to say that, for its controlled destruction and distortion, there are moments here that suggest the possibility of redemption. Listen for them: You at least know you're bound to hear something else, too.— Grayson Currin, March 10, 2010

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