KTL--KTL-(eMego)-DD-2006-UKi

Section
MP3/FLAC
Group
UKi
Size
103,38 MB
Files
6
Date
2006-11-02

NFO

      a r t i s t : KTL (Sunn 0))) & PITA)
        t i t l e : KTL
          d a t e : 2006
        l a b e l : eMego
	    c a t : eMEGO 084
        g e n r e : Ambient / Doom / Black Metal
  r l s.  d a t e : Oct/2006
      t r a c k s : 06
    b i t r a t e : LAME 3.97 -v2 (APS)
          s i z e : 103,4 MB

   _______________________________________________________________________

     It seems we can't escape the influence of a certain Steven
     O'Malley (Sunn O))), Khanate) at the moment. Not content with
     giving the world countless albums of horrifically enjoyable
     doom drone, he has now decided to team up with one of the
     world's most influential purveyors of extreme computer music,
     Editions Mego boss Peter Rehberg aka PITA. There has always
     been a big difference for me between the world of
     computer-aided noise which Mego had made it's core sound and
     the more rock influenced noisy abstraction that has bubbled up
     to the surface with help from musicians such as O'Malley. Not
     just in sound but in the philosophy and the attitude behind
     it, where one camp would push the realms of what it is
     possible to listen to, the other would at most times sound
     like people just trying to make any kind of sound û it just
     came out pretty damn noisy for some reason. It is interesting
     then to hear this collaboration purely from a historical
     standpoint; the two musicians reside in seemingly totally
     different areas of the musical spectrum, yet on listening to
     KTL it seems like a match made in heaven (or maybe hellà). We
     begin the journey with 'Estranged' û a 25 minute exploration
     into gothic ambience, which maybe edges closer to Burzum's
     ritualistic (and prison-bound) electronic work or the icy
     cave-scapes of Thomas Koner than the ear-bludgeoning
     noise-fest you'd expect. Slowly O'Malley's guitar is
     introduced, creaking and scratching its way into the sound
     field and coming up to the fore only briefly in the final
     quarter of the piece. A nice way to lull the listeners into a
     false sense of security, this cavernous chunk of gloom is
     followed by the first part of four 'Forest Floor' tracks,
     which with a skeletal finger ushers us into O'Malleys
     black-metal inspired world while allowing Rehberg to conjur up
     wobbling sub-bass frequencies and horrifying electronic noise.
     The second part pushes us more definitely into Rehberg's world
     as distorted squeals erupt over O'Malley's bass drones; this
     is extreme music as it should be, all-encompassing and
     visceral, rich in imagery and deadly in it's statement. By the
     time we reach the third part our bodies are already battered
     and sliced to ribbons so we are pushed beneath a thick swamp
     as Rehberg processes the sludge and doom so synonymous with
     O'Malley's name and makes it sludgier andà wellà more doomy.
     This is where you realise this is music that simply must be
     played at a high volume. Like Tim Hecker's incredible 'Harmony
     in Ultraviolet' the distortions and computer-processed sounds
     only reveal themselves when the decibel level pushes the point
     of discomfort. The fourth and final part of the quadrilogy is
     probably the closest to 'proper' black metal, with heavily
     distorted riffs bursting through the crumbling noise and
     coming across like a Xasthur track playing in a room next
     door, I keep expecting Malefic's throaty groans to appear
     horrifically on top, but they never come. Now the disc takes a
     turn, after the narrative epic that was 'Forest Floor' we are
     heralded out of the album with 'Snow', a track which to me
     sounds what I imagine it would be like to be trapped in an
     underground storage unit in Siberia. It's frightening but at
     the same time strangely beautiful, and as chains clank and
     metal scrapes against metal you become somehow drawn in to the
     intense imagery that has been left exposed. The density of the
     previous tracks is sidestepped for a more minimal approach
     which strangely enough enhances the terror and dread felt
     across the whole disc. 'KTL' is easily one of the most
     involving and simply horrific discs I've heard this year; it
     marks a disparate new phase in doom music and is the finest
     exploitation movie you'll never see. A huge recommendation.
   _______________________________________________________________________

      01-Estranged                                              [24:47]
      02-Forest Floor 1                                         [08:32]
      03-Forest Floor 2                                         [13:44]
      04-Forest Floor 3                                         [09:29]
      05-Forest Floor 4                                         [08:16]
      06-Snow                                                   [13:02]
                                                                -------
                                                                 77:50 min

Files

PathSize
01-ktl--estranged.mp331,36 MB
02-ktl--forest_floor_1.mp311,56 MB
03-ktl--forest_floor_2.mp319,89 MB
04-ktl--forest_floor_3.mp311,07 MB
05-ktl--forest_floor_4.mp312,03 MB
06-ktl--snow.mp317,47 MB