Just found out about this single this morning coming out on The Control Group Records from Kriget. A swedish trio made up of an insane trinity of bass, drums and the saxaphone, the A-Side track, Holy Mountain is off their second full length Dystopico which the band describes as:
Dystopico describes our civilization as an inferno, a beautiful and frightening world where the well known gets unexpected dimensions, where the catastrophe threatens and where the war is present, a never ending fatal war.
So you can be sure to expect a lot of harsh, layered bursts of challenging experimental noise, but in Kriget's case not without a focus on the heavy BPM's and electronics. It's the future, it's fast and loud, catching you off guard and running on it's own crazy logic.
A-Side's "Holy Mountain" introduces this dystopia with massive bass drops and the electronics just squirming around. Heavily abbreviated beats and clicks from the percussion while the sax takes on heavy melodic duties driving this crazy sound. It's dark, with all glitchy laser beams and sine wave synth, but it's steadily moving forward at speed, along the neon grid, clicking and whirring away. The sub bass start slowing down into a game of pong, played by digital giants. The sax honks are a little bit of John Zorn caught in a groove or Zs, if they were caught creating a video game soundtrack or theme park commercial. A dark laser tag arena, canned beats in and resampled, giving these live drums a weird platform to dive from. Even as they play back and forth, a fill challenge, dueling beats with itself, it's easy to get lost in the wood block hits and high hat gymnastics. The synth is old school whirring, piled to an insane degree and completely clean, they let those crazy sounds shine through. The drums baloon out destroying the whole thing as if they had to start over go hardcore and then drop down to a drone beat that isn't even rhythm anymore. That sax has all kind of octave shifting and extra harmonics, mutating into a few electronic saxes coming out of the woodwork. The track takes over everything, there's no thinking about this. It's too demanding, it has to have all your attention. Bizarre and impossibe to pick apart, a wall of nu-oise. Instrumental, a definite plus in this case, the plodding rhythm and beat stomping along, unware of it's own layers... super weird, really unexplainable.
B-Side's "Aghori Diet" has an off kilter percussion... a real casual crazy rhythm, the electronics are a glitch party, sawing themselves apart, playing in the middle of a church. The synth sound, (which could be sax now I think about it) is optimistic and unaware of just how specific the other references are, like some kind of carnival live rave band, the digital approximation of sound whirls around a single effect, creeping its way through the paces, like a slow phaser walking the cycles. Like disco-avant-jazz, I mean those two things should be enough to give a band pause, but Kriget blindly plows ahead in their own unclassifiable genre. That sax-ish sound is replaced by huge oscillations that range from huge drooping low wooow's to a high pitch speed squeak. The drums really never let up or even change that much for that matter, smashing on, they keep this tom roll, snare fill, march beat plowing ahead. It's playing a melody with your little brother jabbing at the voice key, switching between every posible weird sound while repeating that central melody. How would it sound as a ufo, or melting electronic transformer? A crazy tirade of eccentric information, it's creepy and altogether too fast but long enough to feel like that scene in Clockwork Orange where your eyes are held open by metal clamps.
Pick this up from The Control Group Records
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