Five years to John Balance’s passing. Topheth prophet & HCB are proud to present the first ever Israeli coil tribute event.
November 28 , 21:00 , FAQ Café , Tel Aviv
Your fear of death attracts such strange objects
Smothering you, hiding you, don`t let it spoil you
Show yourself so the others may see you
So the others may feed you
They want to be near you
–where are you
I first met Kadaver in the shape of “Molested Into Form”, which was released in 2009 via the much-missed FracturedSpaces Records. At the time I wrote that Michael Zolotov had created the filthiest, most apocalyptic slice of harsh electronic noise that I’d ever encountered, and which surely heralded the End Of Days, but apparently this wasn’t so, because later the same year “Automatic Autopsy” was given putrid unlife. The most commonly applied comparison is with Atrax Morgue, and ok – the projects had their links, and their similarly vicious misanthropy. For me, the eardrum-torturing, soul alienating pulse approach has strong echoes of the Japanese (Merzbow’s too obvious a shout, although at least I’m warning you of the degree of inhumanity you’re going to encounter) but really, Zolotov’s output is so intent, so self-driven and in some ways so isolated that it wouldn’t obey a handy grid reference, even if I had the technical skills to give it one.
On the one hand, Kadaver is master of that horror film art of terrifying via what isn’t revealed, as in the case of “Re-learning to Breathe”, which has a low, burning churn to its frequency, overspun with odd, light tones that skitter over the surface of the mind. The listener is wrong-footed about what they’re hearing, opening the door for the most twisted corners of the imagination. It’s like when you hear a vixen shriek – there’s a second when your heart freezes because you mistook it for a human, but then you’re ok, you’re relieved, because it’s not, but it’s something from the natural world all the same. When the seething inferno of noise shrieks on “Back to Dirt” and “Bite Marks”, you freeze, but you don’t get the relief. A machine shouldn’t scream like a human. And was it a machine? Or was it a person? And why am I sitting in the dark pondering this, long after the album’s over…
In other ways, Zolotov just makes sound that’s explicitly horrific. Not just the clenchingly uncomfortable couple of minutes that is the male-female interaction of “Yel-low”, but in the merciless weight, disorientation and ferocity of some of his compositions. I have to mention “Suiside” here, a hideously painful, clanking monstrosity, all collisions of air disturbance and hidden teeth. The frequency of the sonic assault, and the buffeting disturbances thereto, actually become physically uncomfortable at any volume; call me hyper-sensitive, but I actually found it difficult to breathe through.
On a more superficial level you’ve got the combination of relentless electronics with track titles such as “Pieces of Children”, “Pretty Girls Into Ovens” and “Liquid Mind-Fucker (Murders That Occur During Sexual Intercourse”). These titles don’t mention who carried out the atrocities they list, but you get the sneaking suspicion that you’re sitting heart-stopping close to the perpetrator… in a vital way, I guess, you are: Michael Zolotov summons up the most outrageous possibilities of human depravity with his devilishly clever but infernally frightening racket, and lays them out before us. That he sent me a band-aid with this album in case it all got too much makes him wickeder than first presumed – serenity is only a razor blade away. You’ll be snatching for one. Masterful.
This CD, released by Topheth Propheth, is the newest product of Michael Zolotov. It is quite peculiar and strange album. The same is with all the creations of Kadaver that I’ve heard. During first spins of this CD I couldn’t find a way to approach the information in the CD while finally managed to do it. This is not just monosematic noise. Kadaver once more reveals his ability to mix several styles into one album, but the most important thing is that he is doing it quite well. Automated Autopsy reminds me Mike Page’s bends of creations. Dark and rather depressive pieces laying down in multilayered buildings of sounds. Feedbacks, loops of samples, field recordings etc. Everything blends into one frightening structure. It is not an aggressive album (the same goes for most of works of Kadaver that I’ve heard). Automated Autopsy is more like a journey that constantly takes you to the “forbidden” places of your mind to acknowledge them better. There are some noisier pieces in this album too. One of them, let’s say is the first one, noisy and rather chaotic “Pretty Girls into Ovens”, but they fit well with calmer (in respect of sound, not mood) places of the album and joins together into one totality without reproaches. Maybe the delayed woman’s cry Yel-Low sticks out a little and it contrasts with the whole picture, but it soon ends and we go deeper. One more thing that I’d like to praise is the sound quality. It is very clear and pleasant in this album. Now what’s not so good with this release and why I have problems with Kadaver’s creations overall – the measure of sincerity and certainty of the conception. Well, yes, “Serenity is always a razor blade away” etc. etc. and these emotional remarks goes with most of the releases of Kadaver, but these writings, notes and appendages does not convince me and while listening to Zolotov’s creations, host of doubts always buzz in the background. But if you dissociate from that, the sound is quite satisfiable. Diamondesquely sharp noise with reflections of ambient. Artwork – minimalistic, but it fits quite well with the release. The length of the album – almost 50 minutes and to those who search for dark and scary wanders and realize what to expect and what not to from Kadaver, this release should be perfect.
Michael Zolotov is a really nice guy; really. After few years of knowing his music and communicating with him through online websites and Emails, as well as real physical paper letters, I first met him when circumstances made it possible, and was able to talk with a guy that is intelligent and polite, with some ideas that I agree with and some that I don’t, but nevertheless a worthy individual to be able to talk to.
However – as you may know, if you ever listened to at least one of his many, world wider spread, albums, Zolotov stops being nice the second he changes words for sounds. Each Kadaver album is an ultra violent terror attack never ever compromising and always looking for a new way to stab deeper into the guts. Kadaver is always hate eternal through sounds, imagery and even the hard to ignore track titles.
“Automatic Autopsy” starts differently, however, with a rather minimalist cover, almost entirely black. Inside this album there is something else I identify besides 100% alienated, alienating noise, and never replacing the spewing vileness but rather adding to it even more, thus turning the knob to 11, if you will. Even from the first moments of “Pretty girls into ovens” you can sense a very different, ominous presence of pain, with almost unbearable shrieks created from the infinite sound collisions that Zolotov creates from his sleeve. Kadaver usually makes sure you realize that there were no musical instruments in his recordings, and this is very meaningful when you begin to grasp his concept.
On “Liquid mind fucker (Murders That Occur during Sexual Intercourse)” I realize that Kadaver’s sound had somewhat evolved into a new stage, at least in some aspects and in relation to the first four tracks, and in addition to being 100 percent hostile, Kadaver’s excess value is that of an ongoing aftershock. Not the shattering, violent and focused blow in the head, but the long moments between the actual moment of the catastrophe and the time of recovery, if there is one. It seems like on many moments within his album, Zolotov is denying the listener the moment of full sensor recovery and regained equilibrium. Imagine you are being hit in the face with an unearthly hit that numbs everything but especially your sight, hearing and balances, making you need the time to regain them in order to properly stand on your feet again. Zolotov takes questionable pleasure in delaying that moment for almost one full hour. Within that time, as everything’s balance is shifting back and forth, during the ongoing sonic assaults by Kadaver, this liquidification of reality results in many potent events inside every malicious kadaver track. These events are where the listener’s attention is actually working on two levels. One is penetrating the music, through the thousands of sound occurrences in every minute of music, and trying to give a fight to the overwhelming forces that kadaver sends against his audience. The second level is where the listener’s attention can wander off to different places through the aforementioned excess overload.
“Automatic Autopsy” is the second release Kadaver has on the label Topheth Prophet, following “This time…it’s cancer”. Whether I was wrong in my reading of his material or not (different points of view that we have), it is clear that, having already begun from a very high threshold of pain and emotional sonic hatred, Zolotov keeps trying to move onward and upward, never stopping; Never resting.
many new items including Genocide Organ , Navicon Torture Technologies , Black Sun Productions , Death Pact International , Folkstorm , Skullflower , john wiese , ain soph , the grey wolves and many others.
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.”
“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)
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.
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.
with Alex Drool , Finkelstein, Marina P.O.P , Polio Kollektiv
Topheth Prophet is proud to present :
TP018 Kadaver – Automatic Autopsy cd
TP019 Mourmansk 150 – No Volunteer 4 This Society
A new cd by veteran French power electronics unit After their highly acclaimed La Guerre, L’Anarchie Et le chaos , Mourmansk 150 return with a new assault against western civilization. No Fucking Compromise This time !!!
Nowhere 2 hide and nowhere 2 run Nowhere 2 hide and nowhere 2 run Liberation Liberation Genocide shall be done Genocide shall be done Genocide shall be done!!
and A new cd album by the mighty KADAVER !!
“… And then had come the scourge, grinning and lethal, from the nightmare caverns of Tartarus. West and I had graduated about the time of its beginning, but had remained for additional work at the summer school, so that we were in Arkham when it broke with full daemoniac fury upon the town. Though not as yet licenced physicians, we now had our degrees, and were pressed frantically into public service as the numbers of the stricken grew. The situation was almost past management, and deaths ensued too frequently for the local undertakers fully to handle. Burials without embalming were made in rapid succession, and even the Christchurch Cemetery receiving tomb was crammed with coffins of the unembalmed dead. This circumstance was not without effect on West, who thought often of the irony of the situation — so many fresh specimens, yet none for his persecuted researches! We were frightfully overworked, and the terrific mental and nervous strain made my friend brood morbidly….”
(h.p lovecraft – Herbert West : Reanimator)
Serenity is just a razor blade away
each cd is 14$ + postage
order by email : urix93 (at) yahoo (dot) com
Topheth Prophet , Heart & Crossbone , the Eastern Front
July 16 – faq cafe (ravnitzky 7 tel aviv)
Noise Room :
Drone Lebanon vs. Kadaver , Kreuzer , Remesh , Finkelstan , Yanko Popa
Hardcore \ Techno Room :
DJ Ori Lichtik , SNC , Control Delete , Katyusha Kid