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Classical voices are echoed and often sound distant. They seem really professional and create a really original contrast with the ambient / electro indus elements. But, it remains really balanced: no elements have much more importance than others, although maybe the voices are globally put ahead. For the most, this album rather deals with the arrangement, the alternance of different genres than with a mix of all these elements. Some improvment might however be done to make music and voices match better so that we could truly have a neoclassical electro indus hybrid.
The guitars are heavy, straight forward, noisy as fuck, and just a little sloppy.
The drumming is tight and lightning fast (no triggers here!). Songs like the sixth
track “Fog Ritual” are my favorites. These combine the field recording aspects,
power electronics like noise, and some unique bass heavy, doom laden black metal
Once thst sense of balance has been dislodged the rider continues on without an option, but with sparks flying and momentum subsiding slowly. Such is the intro to the first TADM piece on disk one. What follows is equally abrasive as shows its digital ass in a less than flattering light. In other words, it's sloppy as hell and undermines the potential for some seriously potent laptop noise. Strangely enough I can't stop listening even as the tinnitus-inducing bits cut through the room like a freshly-sharpened machete. Is that the tempation or just that your noise can beat up my noise?
Keith Brewer (aka Taint) is a Texas-based power electronics outfit; here he provides us with eleven slices of sleazy psychotic nastiness. This isn’t your average run-of-the-mill power electronics assault though; rather than bludgeoning the listener with totally unbearable noise and excruciating digital whine (although these elements are there), this has instead a subtly unnerving and discomfiting effect through the use of minimalist and sparse instrumentation combined with appropriate voice samples and distorted vocals. It’s the sonic equivalent of the quiet twinkly-eyed next door neighbour who gives sweets to kids and helps out in the community but who actually turns out to be a twisted sadistic serial killer who has a dark secret in his basement....
Far from the standard holocaust of machine noise, this sounds as if it were constructed to a grand design, each individual element placed where it can cause the most mischief before being manipulated into the most excruciatingly perfect sonic form. It also sounds as if both perpetrators had a whale of a time creating this piece. Too often Noise is just Noise. Nothing wrong with that in my book, but occasionally, such as with this release the human element is still there to see and hear if you dig deep enough.
Another side of this album is its reference to different cultures. There’re so many influences you can hear: oriental ones are easily recognised on Sandstorm track, african percussion in Silent Reflections or The Cliff track, celtic feeling in Rough Baltic Shore and Goodbye of the Certainity . There’s also no boarders for time in Silent Reflections – track seem to be coming from different epochs: majestic Eismeer, The Cliff (that has a mood of an old legend being told, due to the horns used, I think) or Goodbye of the Certainity (this one somewhere in the middle made me think to Minotaurus of Fix8:Sed8), completely contemporary Such a Perfect Day or Power of Eclecticism.
Tam Quam has an interbred style, weighing as somewhere between Ambient, somewhere between Ritual, and somewhere between Noise. Much to my utter, utter chagrin, this vinyl is corrupt, and the A side constantly splutters, stops, and fails for the duration. Short passages of music, before it breaks up.
These two CDR’s were initially released by OEC on their great cassette issues and have been cleaned up and brought kicking and screaming into the digital age. Looking at that impressive catalogue I can only hope for further re-releases in the future because there is some cracking stuff on there that I doubt many of you will have heard before.
This unique story of Tangorodrim's should tell you one thing; that while they may seem, from the outside looking in, like just another old school black metal clone, there is one huge difference. While Varg and Euronymous and the like spent their lives in Scandinavia trudging snow and bitching about the christian onslaught in their nation, these guys have it spit on them and made to be surrounded by this bullshit every waking second of their lives.