Nordra – Pylon III

Posted: 2 August 2020 in Albums
Tags: , , , , , , , , ,

Sige 071 – 31st July 2020

Christopher Nosnibor

Nordra is the vehicle by which Monika Khot, of Zen Mother, and a touring member of Daughters delivers ‘apocalyptic dirges combining modern classical explorations of electronic ambience with hardware-fueled industrial barrages’.

The press release explains the transition and difference between Pylon III and its predecessor, Pylon II: ‘Nordra’s second outing, the commissioned score for PYLON II, was a hard-edged martial exercise—fitting for the dystopian nature of the series’ second installment. But for PYLON III, Pester was looking for the light at the end of the tunnel and requested that Khot instill her work with hope and calm in order to serve the utopian aims of the performance’.

Hope and calm aren’t the initial senses I draw from listening to the ten compositions that comprise Pylon III. In fact, I find myself adrift, and also buffeted from one emotional moodspace to another. Lugubrious, haunting, and often eerie, unsettling, Pylon III is no relaxation tape by which to practise meditational breathing.

Stuttering beats, murky and muffled and rapid like machinegun fire bather hard against dense, slow-turning, ethereal drones, juxtaposing tension and tranquillity. The seven-minute ‘Monologue on the Beach’ is very much representative of the album as whole: piano notes ring out, sparse and lonely against eddying, undulating notes, particularly as it’s followed immediately by the booming drones of ‘Un-Hopeful’, the sonorous parp of a cruise liner’s horn sounding into a thick fog.

‘Reconciliation’ marches hard, a short, stabbing loop thumping insistently while dark serrated drones loom unexpectedly and seemingly at random, like sharks emerging from the depths. ‘Transcendence 1’ hints at something approximating conventional dance tropes, with its regular, pulsating beat that booms into a ocean of reverb as the bass builds. ‘Transcendence 2’ could well be off another album altogether as Nordra goes ‘rock’ – a chugging guitar plugs away at a couple of chords while drum twitches away nervously, and strong seep in with additional tension. It has hints of Swans about it in its density and its mesmeric insistence, and it makes for a compelling and hypnotic conclusion to an intriguing album.

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