MC/CD/DL – Nakama Records –NKM012 – 22nd September 2017

Christopher Nosnibor

I’m not entirely sure what a no-input mixer is, and I’m not sure I have the energy or motivation to find out. But it’s one of the ‘instruments’ Utku Tavil ‘plays’ on this album, in addition to snare drum and sampler.

What I do know is that Juxtaposition is a studio work of four Oslo based improvisers (and not the indie mongs who went by the same name who came round to my flat in Glasgow in 2000 to be photographed by my achingly hip flatmate) recorded in the spring of 2016. Various timbres of opposite extreme, as a result of each musicians’ different approach and background, coexist without hierarchical restrictions. Having that in mind during playing, the mixing process played a crucial role to deliver a concrete body of equalitarian sonic output. Without compromise, moments of joy and pain, screams, feedback and bird sounds are layered on top of each other.

This is not music that’s easy to listen to, let alone love. Scraping, distorted clanks and clatters echo atop growling, prowling, near subsonic bass intrusions and an elongated howl of sustain. And that’s just the first thirty seconds. An overloading mass of shuddering, screeding extranea rapidly builds to skull-crushing intensity, as shrieks of treble erupt like solar flares from amidst the tempestuous racket.

‘Pakistansk Mango’ is a fiendish mash of vocals – Natali Abrahamsen Garner does not sound of this world, and it’s hard to compute that the sounds emanating from her being are untreated, unprocessed – shudder and judder to a babble of stuttering repetition, against a backdrop of bubbling synths, ear-shredding bursts of pink and white noise, and nail-scraping feedback reminiscent of Total Sex era Whitehouse. Pleasant it is not. In fact, as distorted metallic bangs and hammers batter through a sonic riot of indeterminate origin, I’m feeling pretty fucking tense.

A yammering percussion that sounds like a cross between a locomotive and a nailgun provides the spine behind a whirling aural assault for ‘Revolver’.

Natali Abrahamsen Garner and Agnes Hvizdalek’s voices exist outside the realm of the human, and serve to add a disturbing, unheimlich aspect to the already hellish, grating sonic torture. Screams, shrieks howls and growls are all integral to the traumatic experience. ‘1000 Poeng’ features a host of primal screams over growling synth bass and brutal, waspish feedback. On ‘Enkle I’, a deranged bleating entwines with a surging skitter of overloading electronics and a swirling vortex of nastiness, and a mess of brown noise buzz blasts in around five minutes into the final track, ‘Trost’.

Juxtaposition is a cruel and punishing work, which exploits the full sonic spectrum and every texture, from grainy abrasion to the razor-sharp to inflict maximum pain.

AAA

- dsn - JUXTAPOSITION - VIDEO titles

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