Virus – Memento Collider

Posted: 6 June 2016 in Albums
Tags: , , , , , , , , ,

Karisma Records – 3rd June 2016

Christopher Nosnibor

When an album contains only six tracks, and is housed in over art like this, there’s a certain degree of indication of what one may reasonable expectancy. Memento Collider fulfils some of those expectations, but confounds just as many. For a start, it isn’t a drone / doom / metal album, although it is heavy and it is dark. And the tracks are on the long side.

Sure enough, the album’s ten-minute opener is a tense, dark and expansive affair, built around an interlooping bassline and uncomfortable, – guitars that bounce contra to said bassline to build an uncomfortable dissonance. It’s heavily steeped in the post punk / proto-goth tradition in the vein of acts like The Danse Society circa 1983, the flat yet portentous, nihilistic vocal delivery only accentuating the awkward and uncomfortable atmosphere, a sonic dystopia.

‘Rogue Fossil’ again works a groove centred around looped motifs, a hectic, nagging bas coupled with urgent, stuttering jazz drumming hammers insistently while the guitar clangs and chimes at obtuse angles against its claustrophobic shell. The theatrical enunciation of the lyrics, in particular the hook (i.e. the song title), which accentuates the ‘i’ in ‘fossil’ adds a peculiar, alien slant to the track’s angular discordance.

‘Dripping Into Orbit’ melds together theatrical goth-tinged art rock and hectic, angular math rock to forge a bleak and uncomfortable sonic space. The rolling tempo changes re disorientating, accelerating and decelerating bar by bar in a fashion that evokes the spirit and sound of Shellac.

As the album progresses, it becomes increasingly locked into an inward-facing mesh of difficulty, an aura charting increasing stress and crackling cognitive disorder. The effect is cumulative, but each song brings with it new layers of dis-ease.

Listening to the jarring post-punk of ‘Gravity Seeker’, the track which features the album’s title buried in its lyrics as guitars trip and trail all over a lugubrious and repetitive groove, I find myself being sucked into a vortex of bleakness and begin to wonder just what kind of hell the and members have endured to produce music this unflinchingly bleak. The recording sessions for Memento Collider can hardly have been a laugh a minute. But perhaps it was a lot more fun than the music suggests: it’s a mistake to conflate the art with the artist, and equally, catharsis can often be the means by which mental equilibrium can be maintained. Its’s healthy to channel all of the ark stuff the weird stuff and the negativity into something creative – and this is indeed dark and weird.

The final track, ‘Phantom Oil Slick’ spans a full nine minutes and fills it with jangling guitars which bounce every which way over a bass that surges and swells before it breaks in a tidal frenzy. It’s dark, intense, and borderline psychotic in every aspect. A collision indeed. Strap in and go for it.

 

Virus

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