Artist: Vladimir Hirsch
Label: Ars Benevola Mater
Genre: Orchestral / Martial Industrial / Industrial / Dark Ambient
01 Ante Lucem
04 Mécaniques D’État
05 Advenit Orator
06 Transformation (Ulterior Act)
08 Chant Des Maequées
10 Clausula Retis
11 Transformation (Violent Act)
This is probably the most “heavy” and decidedly martial album I’ve listened to so far from Vladimir Hirsch. The experimented avant-gardist compositor brings this somehow divergent aural division as an elite item only available for the subscribers of the deluxe box that is about to be released on Ars Benevola mater titled: “The assent to paradoxon” soon to be reviewed here at Heathen Harvest. This work connotes power and force both musically and thematically, leaving open the gate for possible philosophical speculations on its quest. Nevertheless it seems that its own inspiration comes from factual realities surrounding us and permeating history as a spray of blood, thus the never ending round of “mud a blood” that the course of human sovereignty has implanted as an imperative in the practical modus operandi from civilization.
During this work the premise on orchestral arrangements and industrial clangour with some martial outbursts will be generally the common course of action. Dark ambient will be present more as a result of the orchestral manoeuvres, incidentally appearing with textures and occasional backgrounds handled by synthesizers ornaments but not as a normalized regime. Obscure orchestral undertones will emerge as menacing clouds over the powerful orchestral trepidation and pounding percussions. Aside from that tense and dark tonality the general unfold from the work will be powerful and bombastic, connoting mighty strength and mechanized rhythmic structures with vertigo inducing vistas. The aperture is progressive and not immediate though, commencing with the first movement “Ante lucem” that as its name indicates is the apparition of light in a platonic sense, presenting the contours of the desolate valley from reality. The clash of metals and sibilant hisses derived from these frigid structures present a panorama full of sharp edges and profound abysms that result menacing and thrilling. The mechanized clangour progress with the apparition of shattered violins and occasional trumpet flames in “Synapsis” with a distant choral layers that fade away amidst the infernal maremagnum. Everything is conceptualized in a very expressionist application, using the orchestral sound as a sort of device to imprint images to ultimately bring a general atmosphere of terror. The martial tone is the previous hall to the apparition of total horror. This aspect subtly starts to appear on “Nonterra” (murdering latin, it more or less means “No man’s land”) and kicks in full in the virulent “Mécaniques D’État” where tints of political direction can be speculated. Power is the essence from state and its maintenance can only be acquired by the use of unrestricted force. In here Hirsch blasts with a Martial industrial strength of significant magnificence and shattering pulse that many will envy in the scene. The track has all the elements that make it memorable for its rhythmic power and explosive tension.
So now we can speculate a bit about the possible political implications from “Nonterra”, seems like a descriptive exposition on the state politics in the historical context and the character of freedom, the particularities from power and the crescent labour to achieve control over the individual. In synthesis a defined destination as usual in Hirsch works that connotes a conceptual blending and philosophically marked direction. “Advenit Orator” increases the sentiment of industrial repetitiveness through the amalgam of orchestral movements and explosive martialism, bringing the feeling of the sense of politics as a rhetorical conundrum that hides the inner truth from the real politics behind politic itself. War! a war against allies and follies alike and the undermining of the individual as the ultimate enemy from power and its tactics. Subsequent tracks eloquently deliver a passage through industrial mechanization and martial apparition, setting a conformed but restricted atmosphere of oppression and obfuscation. “Parahymnus” brings an aspect that Hirsch never used before, the introduction of vocals as ghostly recitations from a distant and isolated voice, grunting a series of unintelligibly words while the orchestra marches its course over them. This is another piece filled with a sense of martialism with a dry snare and somber atmosphere of clangour and orchestral advancement. From there on the work starts to consciously degrade into a cacophonous interplay of textures, violin scherzos, murmurs and obscure layers until “Transformation (Violent Act)” kick in. This last track brings an odd element to play, an analog sequencer loop that will be set as the core element of the background with a metallic mechanized percussion pounding unfading over it. This is truly an epic piece connoting the automatism from the synthetic sequence with the robotic clangour shattering the listener with its might. Is this the ultimate rebellion or the final instance from power acting upon the individual? It’s for yours to judge that.
Nonterra is a singularity in Hirsch discography and quite obvious plus addendum for the “Paradoxon” box, instigating the buyer to decide its choice. Besides as usual in Hirsch the work is dedicated, expanded and possessing a power that will be a must for all lovers of original martial industrial, that aside from highly experimental, abandoning the introduction of Dark ambient as a rigorous agenda and exploring further the capabilities from the orchestral strengths. Highly Recommended!