DRONAEMENT/THE INFANT CYCLE

Klab (phonorecord)

LP CEIL022

the ceiling arts and crafts


Side A: 1) ER-9 noise transmission.wav 2) 33.3 rpm acoustic transmission.wav
Side B: 1) I-meant-a-drone.pop


ELD RICH PALMER

An artist cooperative-produced split LP that comes with handmade sleeve and transparent vinyl. Impressive! Following the 7"EP on Drone Recs. German DRONAEMENT presents here in one long composition entitled "Pre Historique Muzick Transmission" divided into two parts: "ER-9 Noise Transmission.wav" and "33.3 rpm Acoustic Transmission.wav", and do it slightly more interestingly than on "wassermond". Indeed, it's more ambient work than composition itself with dense texture of drones, shortwave radio noises, pulses and vibrations. As the track progresses, monotonous rhythm appears that becomes hypnotic the more you listen to. PAN SONIC meets ORGANUM?! The second part is mainly sole rhythm (acoustic) and ends in similar way as the whole starts. On the reverse we find THE INFANT CYCLE' s "I-meant-a-drone.pop". The project comes from Canada, but seems to be under one kind of vibe with DRONAEMENT (the artists help each other). It starts from subtle, sonic mist that reminds me of NURSIE's "Soliloquy for Lilith" which passes on quickly to lazy and fatty beats with references to SCORN and of that ilk. Embedded in droning background, the rhythm disappears altogether with the ending of the track being lost in radio noises...Good!!!
krzysztof sadza

METAMORPHIC JOURNEYMAN

The DRONAEMENT side of this album has a dusty, aged experimental atmosphere to it - like finding some previously unknown early TANGERINE DREAM side project in a second hand shop - it sounds old, has a clarity-lacking muted simplistic feel, yet the very act of playing it somehow gives it vitality anew, making for a fascinating journey through a metamorphic soundscape. At the core of this piece is an almost Techno kick beat, yet the whirling, gurgling, shifting morass of grey noises which weave tamed electronic helices keep it far from that pedestrian genre. There's something charming about this old school experimentalism which makes it's lulling hypnobeat refreshingly entertaining. The second piece by them follows in a similar style, grey and edgeless, a tunnel formed of diaphanous shapes, fleeting, momentary glimpses without chance to focus. With this you could be transported - maybe even to a time before we became aware of the myriad uses for, or indeed existance of, electricity. This is a less threatening, but no less fascinating area of Industrial music - moody yet unfocused, the colour of some hard-working, dust-spewing factory, ashen, almost mummifiied with lack of water-based lifeforms - no plants grow here, no creatures inhabit the shadows, not even rats, and if any humans still work the generators, stills, silos and great machines, you just know their lungs will be choked with the grey, their skin a lifeless leather, their very life fluid gradually drained by the toxins which surround them. Great stuff - imagination-inspiring stuff. As if picking up the ball DRONAEMENT have dropped, THE INFANT CYCLE continue this gentle journey through dust, stone and darkness. Take GILBERT & LEWIS's "3R4", ludicrously released on vinyl, breathe a tad more life into it and you have the opening track here - very minimal, very colour-bleached. When the drum machine kicks into life, surrounded by all manner of 'vinyl fault' noises, they fail to escape the early GILBERT & LEWIS atmosphere - similar stripped to nothingness approach, similar minimal input to maximum effect. Like the previous side, they take you on a journey - it ain't pretty, but it's safe - through an Industrial landscape where atrocities, violence and ugliness have been hidden away, or simply never happened.

Bottom line, this is superior Art School Industrial Minimalism. If you want to sing along with their music you'll be disappointed, but if you love ever fascinating moodscapes in various tones of grey, then seek this out - it is very recommended. A refreshing lack of samples (one's you can easily discern, anyway), voice snatches or raw noise. And, as much as I love CD purity, and find vinyl awkward to experience, the fact that they have consciously invited deterioration of quality to their music somehow compounds the concept of the album. Play over and over, let the clicks and scratches bury themselves deep. Hell, this record describes dustiness, so let it gather dust - it's a deliberately metamorphic record. Glorious.

(But I'd still like these recordings on CD - hell, they're great!).
Antony Burnham

CHAIN THE DOOR

A common project, two bands, a self produced record and two tracks. Marcus and Jim decided to produce KLAB with the will of distribute their music certainly, but first of all, they heavily wanted to release a vinyl record. The material is a part of their common project and listening to Pre Historique Muzick Transmission and Razor Grooved looking at the transparent vinyl it's different that thinking them on CD. It's like the material imperfections are part of the music: the drones, the frequencies and the fluent moments of the first track became alive and the rhythm imperfection of the samples of Razor Grooved became vivid. Is not a case if the notes written by M. Murkes talk about the first experimental records of Boyd Rice (he did the "Black Album" playing broken records) and like Jim Dejong states: "There are no bad records, if you own a razor blade".
Maurizio Pustianaz

VITAL WEEKLY

Two active voices from the underground of Canada and Germany who have both released a fair share of CDRs and obscure vinyl. Dronaement did a 7" for Drone Records and is one German guy. His first track is held together by a continuous simply beat sound, to which synth washes, shortwave and other psychedelic sound is added. The second track uses "manually altered vinyl" (recorded by The Infant Cycle), but is a beautiful drone piece of gliding sounds. This track wins the prize of the best. Dronaement supplied "sound-synthesizer" in the one track on one side by The Infant Cycle, who added shortwave, more vinyl, oscillator and feedback. The Infant Cycle builts his piece slowly from soft drones and feedback and adds percussive sounds in a kind of dark trip mood - obviously the locked groove from another record. Slightly amateurish recording, but it has it's moments.
Frans de Waard

NEO-BARBARIC

Is vinyl dead? Nope! This sound is wonderful, sharp, livelike, acoustically penetrating, and imperfectly vibrant like only a record can produce. The wax is a cool minty colour. The Infant Cycle sample up some electronic beat noise heavy on the hypnotic side and dark as the midnight sky. Like a disco tour of the universe, with a ship full of surprises and unique encounters, wrapped in the atmospheric starry mist of cosmic mystery. Dronaement waxes less musically and more with the ambient noise side of the globe, then suddenly launches rocket like into the heavy beats with a slightly unconventional, irregular rhythm, perfect for a record. I had to check for skips. These projects are a perfect combo, fully complimenting each other's styles in aminimal marriage. outer space, here we come.
Carnal H. Coitus

SPECTRUM

Coming from a label I was not previously aware of, this features one artist I have heard (Dronaement's 7") and one I have not (...I don't need to spell it our for you do I?!). The first Dronaement track (ER-9 noise transmission.wav) is very much the group's title would indicate in the presentation of thick sonic waves of mid to low range register with an ever so light hint of tune with the keyboard notes forming a slightly glitched sound. Interesting this track moves into regions I would not have expected from the group, utilising a programmed beat segment to push things along in a mid paced, almost groovy sound. Here as much as the drones are not noisy or assaulting, neither are the beats, rather opting to be understated, consisting of low toned bass kicks and light percussion. Mid way through, the drones slip off into the background upping the antics of the beats and slight driven noises and squeals yet still retaining the mid paced groove. Overall this track could particularily sit alonside any number of recent Ant-Zen releases of the dark electronica persuasion. Track 2 for Dronaement (33.3 1/3 rpm acoustic transmission.wav) on the other hand is a surging mass of low end psycho-acoustic tunings- layer upon layer building into a bleak monolithic structure, where even the surrounding inky blackness appears to shimmer. For my mindset, track 1 is good, but track 2 is where the real deal is at (I've always been a sucker for droning dark ambience). Flipping the clear vinyl over, The Infant Cycle has only 1 track to their side with this piece starting out with a section of good old classic drones that morph into accomidating slightly evasive sound textures. Things continue on in such a guise until totally unexpectedly it breaks into a dub/beat segment! Sharp and snappy percussion categorize the programming, yet ever present in the background are some semi-melodious keyboard drones. The format meanders along where the beats (and selected samples) are added and subtracted at a number of points with this both jarring and assisting the flow (in a good way, that is!). Again I would have to comment that this piece has quite a bit in ommon with cut-up electronica style of the current Ant-Zen roster. For interest this release is more than simply a split LP as both projects have assisted in the construction of each other's tracks via providing the basic source sounds and assorted noise treatments, likewise with Dronaement providing the handmade covers (grainy card with minimalist screen-printing and image attachment).
Richard Stevenson


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