Recorded by Jorgen Traeen at Duper Studio, Bergen. 2010
Norway's Ultralyd take their heavy approach to industrial improvisation in a more rhythmic direction with relentless drumming and massive bass while unusual guitar and reed treatments add dark overtones.
Bass - Kjetil D. Brandsdal
Guitar - Anders S. Hana
Saxophone - Kjetil T. Møster
Vibraphone, Drums - Morten J. Olsen
"Ultralyd can be said to operate in a sonic landscape that has as much in common with modern contemporary music as with heavy metal. While their vinyl-only release Renditions (TLRC 002LP) on The Last Record Company label in 2009 and their contribution to Rune Grammofon's Twenty Centuries Of Stony Sleep (RCD 2100/RLP 3100LP) compilation can easily be described as belonging to the former, Inertiadrome introduces a more rhythm-based, rough-edged sound. What you get is an instrumental album of ensemble playing, practically free of soloing, largely driven by Olsen's relentless drumming and Brandsdal's monster heavy bass. Hana and Moster's unorthodox instrument treatments are filling the gaps while the bleak and futuristic-sounding production brings a sense of doom."-Rune Grammofon
Wydanie angielskie.
This Norwegian jazz-rock-improv-noise quartet create throbbing, trancey moods on this, their fourth full-length CD. Of course, they keep the noise level pretty high; Kjetil Møster's saxophone lines, Anders Hana's distorted guitars, Kjetil Brandsdal's throbbing bass, and Morten Olsen's pummeling drums all recall the work of the U.K.-based noise-jazz mini-orchestra God in the late '80s and early '90s. But there's more melody, and less screaming and roaring here than there was on God albums like Loco and Possession. Ultralyd frequently settle into an almost soothing, dubby groove before bursts of dissonance emerge, cutting across the sonic field. Some tracks are more aggressive than others: "Contaminated Man" is a showcase for Olsen, who plays a beat so complex it's almost a drum solo, while the guitars and sax go wild around him like something out of the Last Exit catalog, while "Street Sex" is calmer, almost post-punk/No Wave like a sleepy James Chance. The album's final cut, "Cessathlon," is both its longest and its most maniacal track, with Møster blowing harsh, almost Albert Ayler-esque horn atop another thunderous rhythm bed from Brandsdal and Olsen; it's like a more rock-oriented version of Archie Shepp's "The Magic of Ju-Ju," and it leaves the listener pleasingly exhausted when it and the album are over.