No Volunteer 4 This Society Reviews

Heathen Harvest
MOURMANSK 150 WANTS YOU…… to go fuck yourself!!

Mourmansk 150 fans can rejoice, as their newest albums fails to disappoint. These masked misanthropes know their craft, yet keep finding different ways to improve and refine their trademark brand of hateful, primitive power electronics. For those new to this active French act, this would be as good a place to start as any.

I was quite amused by the promos and album artwork: children dressed in the band members’ ski masks and M150 t-shirts pointing guns and flinging things around screaming. Very, as they say in Japan, “kawaiiiii!!” However, appearances are definitely deceiving, as this is no playfully childish romp!! This CD is as dark, cold, and calculated as they ever have been, though not without a bit of tongue-in-cheek humor thrown in.

This CD balances carefully between the areas of power electronics/harsh noise and death industrial soundscapes. This CD borrows just the right amount of early Sutcliffe Jugend with a little dash of more agressive Brighter Death Now for a sound that comes as close to any in exploring all levels of hatred, with some humoresque samples thrown in to keep things interesting.

You have primitive, stripped down attacks of unfocused angst, serving as camouflage filling between even harsher walls of mind-stripping cold menace and darker, death ambient dirges. Here and there are even subtle hints of melody, though usually no more than two rumbling deep chords held down to achieve that really wicked feel to the album.

Starting off rather misleading, we are treated to a sample of a little girl speaking in French (main member Christophe Biot’s daughter, I think), before heading into a standard primitive motor drone, supplied with some screams and yells of “every fucking day!!!”

At first, I was prepared for a near-hour long ode to profanity, but this is deceiving. By the middle of the third track, we are treated to a sudden change of moods, and gone are we from a streetfight into a death chamber. Suddenly, deep resonating atmospheric tones, and foreboding vibrations tell us immediately what this album is truly about. We head back into anger filled screams for the next track, but for the rest of the album’s duration, these are more densely layered with other mind-warping sounds, shrieks, whirrs, clanks, and industrialized vocal distortion, as the war machine rears itself again and again for another attack against the festering human plague.

Transition plays a key role in keeping this album in motion, because each track is almost directly juxtaposed to the one that came before it. If one track is a hate-filled blast of white-hot energy, the next will be a plodding, tension-filled horror drone. French radio samples will directly precede claustrophobic walls of smothering electric pulses. Layers upon layers of grating noise will precede quiet haunting ambience and so on. The consistent thing is that the tracks are all rather direct and to the point, with few changes within the song, save abrupt ones.

Like most power electronics albums, this album is meant to disorient, wear down your senses, and finally hypnotize you into sympathizing with the artist’s violent intentions.

Anyhow, fans of Mourmansk 150 will surely not be disappointed. Nothing extremely different, but with an added death-industrial element that will surely please those craving pure anti-human spite!! For newcomers, M150 are a must-hear for fans of noisier/harsher material by Navicon Torture Technologies, Brighter Death Now, and Whitehouse/Sutcliffe Jugend.

The message is bright and clear. Mourmansk 150 supports total war against humanity, society, religion, and YOU!!!
“After the endless spinning of this CD during the current weeks, I still cannot decide whether this release is better than the previous one in Nil by Mouth or not. But if such questions arise, this means that “No Volunteer 4 this Society” is really strong product. With this release I see a serious definition in the style of Mourmansk 150. And it was characterized so that when listening to this release for the first time, disassociated from any subjective estimations, it is hard to mix these French terrorists with someone else. They seem to have no chance to sink in the mass of the releases. There are many songs in this album – 19. True, some of them are just short sloguns, excerpts from speeches or loops of samples, but all in all this CD plays for almost an hour. That sincere and hooking angst towards the whole society and the rotten parts of it. The sound of the album is remarkably clean and clear. Noisy and dirty rhythm and all the other layers that goes on it are heard precisely. Here and there while listening to this CD the comparison with Brighter Death Now comes into mind against my own will. But where latter one turns his back to society and goes on exploring different themes, Mourmansk 150 strikes forthright and without too much mystification of sounds or lyrics. Both, presentation of vocals and musical side of this album are very varied. Loops of rhythms, that transforms into plangent hums, (is it not the ordered engine of this civilization that start to disimprove?), drony seas of sound that lays above them, various effects on vocals… No, it won’t become boring soon. There are no ear-killing frequencies in this album, though feedback or high tones appears here and there. And it is not an aggressive album in it’s direct meaning. Maybe it works more as exhortation of political consciousness, but it goes without spitting directly into the face. The menace is greater and it lies deeper. It is more like a catalyst of surroundings and life as a whole. And I could not unambigously call this album power electronics too. It is more like a mix of death industrial/power electronics where the first one is felt even more in places. It is good to listen to this album when you live in metropolis. And the release that is good in various ways. Packed in a jewel case. On the cover of the album – all lyrics of the release. Powerful.”

vital weekly:
“Mourmansk150 is a honest, uncensored & unrestrained expression of my deep
hostility towards the inequities, corruption, abuse, ignorance & perversion of our civilizations, our species & the machinations of mans predominantly revolting existence. You, you, you, you, you, you are responsible for my current neurosis, my mental impediment, my fucking psychosis You and your legions of CRIME are responsible for my daily strain, my hate, my despair, my frustration, my apoplexy, my malevolence, my PAIN!! .” ..” Kadaver is Michael Zolotov. A project I started back in 2003 in order to vomit out and to drain the pus from what I feel inside. Because the meaning of Kadaver is to create an atmosphere, a mirror to inner sickness, sadness, depression, pain and grief and not to create “art” – there is no specific genre that can be attached to Kadaver. The sounds shifts from twisted dark ambient through industrial till harsh noise and power electronics.” There is a lot of shouting on the Mourmansk150 and pictures of the duo in face masks bare chested white males. the
Kadaver release is a more *musical* mix of noises – see above – industrial sounds. Significantly for me as you can also see above, both are using sound as a form of self expression, not yet taken to its limit of ritualization and into religion but that is where I guess it might (sadly) end. Not that I disapprove of these releases at all, they make a point – but fail my test that noise is or should be “data without meaning” – and again who am I to make this anything other than a piece of text. However, and I suppose both exasperating and annoying those who simply want to make shit – be it angst ridden or not I would like to make the point that such nihilism – self inflicted pain- or inflicted on others is no different to the very phenomena they seek to deal with. To say briefly they are in danger of becoming Zarathustra’s ape. “O Zarathustra, here is the great city: here hast thou nothing to seek and everything to lose. Why wouldst thou wade through this mire? Have pity upon thy
foot! Spit rather on the gate of the city, and–turn back! Here is the hell for anchorites’
thoughts: here are great thoughts seethed alive and boiled small.” My advice/critique to these is the same as Zarathustra’s.. “Bite”.. “And verily, what I saw, the like had I never seen. A young shepherd did I see, writhing, choking, quivering, with distorted countenance, and with a heavy black serpent hanging out of his mouth. Had I ever seen so much loathing and pale horror on one countenance? He had perhaps gone to sleep? Then had the serpent crawled into his throat–there had it bitten itself fast. My hand pulled at the serpent, and pulled:–in vain! I failed to pull the serpent out of his throat. Then there cried out of me: “Bite! Bite!” (jliat)

IkEcht (dutch)
Het Franse Mourmansk150 is zo’n act die in wisselende samenstelling al aardig wat werkjes afleverde. Als huidig laatste in die rij dit No Volunteer 4 This Society (waarbij de laatste twee letters aan de zijkant van de hoes zijn weggevallen). Het wordt uitgebracht op het Israelische label Topheth Prophet, bevat een klein uur muziek, verdeeld over 19 tracks. Waarbij voor een aantal tracks de naam track al wel bijna te veel is overigens, dat zijn meer korte intro, korte outro en een paar korte interludes.

Op het album treffen we power-electronics in optima forma. Echt opgekropte woede, niet meer zoals toen de act begon in harde noise, maar iets meer gestructureerd. Met een boodschap in de teksten over hun haat jegens en afkeer van de westerse maatschappij. Maar verwacht uiteraard niet die teksten terug te vinden in het boekje, laat staan ze te kunnen verstaan. Een deel van de boodschap is wel af te leiden uit de gebruikte samples, zoals een stuk over terroristen.

De herrie op dit schijfje is goed in elkaar gezet, doet soms denken aan IRM, regelmatig aan andere hardere Cold Spring en Cold Meat acts, maar is als totaal toch net niet van die kwaliteit. Dat wil zeker niet zeggen dat dit een slecht werkje is, want het is echt goed, hard, recht voor je raap. Power electronics zoals je die wil, niet standaard, daarvoor wordt er nog teveel gestoeid met aanliggende genres, van noise, drones en industrial zijn ze zeker ook niet vies.

Kortom een album om over je heen te laten walsen en het mooie is dat je niet alleen bij ieder walsbeurt platter wordt, maar het album ook met iedere walsbeurt een beetje groeit. Een erg leuk album kortom.

RadioDrone (Russian)

Участники группы «Mourmansk 150», в названии которой каждому обитателю некогда одной шестой части суши слышится что-то родное, продолжают свою непримиримую борьбу, втягивая в нее не только половозрелых единомышленников, но и детей, надев на них защитные маски и выдав молодому поколению боевое оружие – впрочем, не всегда обложки дисков нужно принимать всерьез. На сей раз волна шума докатилась аж до святой земли, постучалась в двери владельцев лейбла «Topheth Prophet» и воплотилась в альбом «No Volunteer 4 This Society», ставший не только первым «штампованным» диском коллектива, но и, пожалуй, лучшим их творением на данный момент.
Есть какая то странность в том, что в таком радикальном стиле, как power electronics/noise музыканты порой достаточно слепо следуют традициям, заложенными «отцами-основателями», не особенно заморачиваясь развитием и «шагами в сторону». Обязательный набор шумового террориста – маска на лице, черно-белые обложки с не самыми приятными образами, монотонный, лавинообразный шум и вокалист, насилующий микрофон воплями про то, что кругом «fuck», но наше дело правое. Жулиен Д. и Кристоф Б, записавшие этот альбом, от канонов не отступают ни на шаг. Другое дело, что вместо обычной звуковой «грязи» здесь слышна не слабая студийная работа со звуком, чему, видимо, французы научились от своего заокеанского коллеги, Томаса Гаррисона из «Control», который в прошлом работал с ними и как звукорежиссер в том числе. Отмечу также, что не малая часть из девятнадцати треков «No Volunteer 4 This Society», в целом, звучит достаточно спокойно и даже, да простят меня, медитативно, используя не самые агрессивные шумы и вгоняя в некую прострацию своей монотонностью и непоколебимой равномерностью. Вообще, слово «монотонность» можно применить почти ко всем трекам, но это ни есть упрек создателям – цели их легко определимы. Доводя своих слушателей до ступора, они пробиваются сквозь мозговые преграды к чему-то более сокровенному, куда и вбрасывают свои бомбы-слоганы, космополитично вещая на нескольких языках и добиваясь тем самым максимального эффекта. Ближе к концу альбом все больше и больше наполняется агрессией, используемые шумы становятся все более резкими и колючими, вокалист, ревя в микрофон и пропуская свои речевки через дисторшен, захлебывается ненавистью ко всему и всем. Ревут сирены, кто-то переговаривается по рации, дети о чем-то весело рассказывают, телевизор и радио передают последние новости – и в какой-то момент понимаешь, что скоро эти новости обернутся сводками с полыхающих войной городских улиц, по крайней мере, участники группы, видимо, очень на это надеются, возлагая надежды на подрастающее поколение. Серьезная, мощная, почти что идеальная в рамках жанра работа.


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