TERROR APART - KNIGHT RIDER - CASSETTE
POWER ELECTRONICS/DARK ELECTRONICA/POST-INDUSTRIAL
COMES IN A PLASTIC CASE WITH INSERT AND DOWNLOAD CODE.
ON BLACK CASSETTE WITH STICKER LABELS.
TERROR APART IS:
I.) INTRO / II.) INTO THE SUN / III.) HEAD IN /IV.) MAMMOTH:
The opening "Intro" is an extended introduction to the album. Quite lengthy
for an intro piece at nearly seven and a half minutes long. Lo-fi psychedelic
guitars play out over the sounds of rattling chains in looped rhythms. Unknown
instruments create middle eastern sounds that drone out as if attempting to
induce a shamanic trance. Otherworldy beings speak in powerful alien tongues
filtered through pitch shifters tuned down. It sounds like a jealous demi-god
cursing all other gods and belief systems. The backing music sounds like it
could be an early live recording from a band like CABARET VOLTAIRE at times.
Early Industrial style experimentation. Deep and heavy synth drones rise along
with various tones and textures that could be described as cinematic or horror
ambient. Clanging percussive elements are employed as well as churning sub-bass
movements. A slow throbbing pulse is created on what sounds like tribal hand drums
adding a "mystical" sound to the piece. The audio equivalent of a drugged out spirit
journey. We head into the sun accompanied by a continuation of the immense synth drones
that we heard in the previous song. Pulsing secondary synths form a heartbeat as things
come alive. Mid-tempo rhythms courtesy of a drum machine begin. The drums have a 90's
Goth-Rock quality. Minimal, cold, miserable and inhuman. Anna Leja's soft vocals come
barely above a whisper. They are however sung in a clean, yet sinister style. Spacey
cosmic synth layers flow, spiral and mutate into a myriad of various sound experiences.
What sounds like distant synth or guitar walls come at you like headlights in a tunnel
and then vanish leaving room for the next one to pass by. Additional sci-fi/space noise
style textures are added for effect and atmosphere and all eventually flows like a stream
of plasma that weaves and bleeds out from one track to the next. "Head In" is a powerful
piece that takes us further into the distant suns of another world. Heavy tribal percussion's
and catchy vocal chants come over pooling synths that ripple and drip. Again we have a very
90's Goth sound with some similarities to the darker tracks early COCTEAU TWINS or SWITCHBLADE SYMPHONY. I must note that everything is excellent here but the vocals really stand out. Secondary tribal rhythms come in bombastic slams with an almost militant slant. This is
the type of sound I had wished ZOLA JESUS would have pursued.Epic and ethereal but heavily
leaning on the dark side of audio expression. The synth tones utilized here are top notch.
Subdued and controlled, yet fierce and immense at the same time. Everything is perfectly
balanced to bring you an incredible mix. Anna Leja has an excellent grasp on composition.
Definitly something I'd recommend checking out. "Mammoth" opens with Warped cosmic ambience
creates an alien world populated by disembodies otherworldy voices and hazy atmospheres.
A vortex spirals around containing the track within. Electro meets Martial Industrial
percussions echo in time and space until we shift into reverb drenched guitars that jangle
and dance along with a throbbing bass line. The off-beat and oddly composed melodies remind
me of MY BLOODY VALENTINE's classic "Loveless" album. Samples feature the alarming sound of babies crying adds a strange level of distress and urgency to the piece until clarity comes
as we hear a desperate mother pleading with her child to "Take their hands off their sister."
V.) MY HOUSE / VI.) GRASPING HANDS / VII.) 4X4 IN LEATHER /
VIII.) KNIGHT RIDER / IX.) LAST FROST / X.) FEEDING HOUR:
As we head in to "My House" on the B side we are greeted by hazy and surreal atmospherics,
wet dripping ambiance and the echoing clang of metallic percussion's.This drops off and we
awaken in a mysterious realm filled with spacey drones and ascending soft vocals that are
sung in a quiet and soothing manner as if attempting to lull you to sleep and then change.
Heavy hitting industrial drums slam in repetition and the vocals grow in loudness and
intensity as the ground rules are laid down with the line "Not in my house." The synths
remain quiet still but add a feeling of lurking malevolence and forboding.Groaning voices
rumble the ground as pin pricks of sound for tiny patterns.Heavy bass and pounding drums
bring early SWANS to mind and then boom! things get even more intense as GODFLESH style
rhythms build along with mechaniacal experimental Industrial layers and textures.If you
are into stuff like YOUTH CODE or OPPONENTS then you should check this one out. Utterly
heavy but not harsh.Whistling wind effects and various other additions are present at
the end of the track as it slowly winds down into "Grasping Hands." Dark Electro patterns
crawl in from a room away accompanied by fragile chimes and distant object abuse.A mechanical
hum begins to permeate the piece as chants come that sound part Native American, part Gypsy
begin to fill the air.It sounds like a magical meditation in the process. A great work being
completed."4X4 In Leather" comes with a similar "Gypsy caravan" sort of style. This one sounds
very much like DEAD CAN DANCE at first. Mysterious music you'd expect to hear accompanying a
bellydancer or firedancer until the phased out synths are layered on top of it.SIOUXSIE AND
THE BANSHEES style music but done with a different set of instruments.The vocals are dreamlike
and sound like they come from the ecstasy of trance and mystical dance.Blaring brass instruments
suck the atmosphere from the air and retreat.A wide variety of bells and whistles are employed to
create the drum beats and the vocals are airy and ethereal, Breathy and elegant but with a dark
outsider art flavor to them.The title track, "Knight Rider" starts as a cacophonous experimental
jam that sounds like a NURSE WITH WOUND concert is happening in a dingy basement and you are listening from a floor or two up. Muffled drums and smothering drones under mind shredding
jolts of electric sound and echoing, ghostly wails. Not at all what I had expected to hear
but a cool track either way. "Last Frost" begins in a similar style, but slower and once
again featuring shamanic chants and mid-tempo drum rituals. Pan flutes are present as well
as airy choir synths played on deep keys to create a spectral drone. Rainmakers and many other
percussive elements are also featured to give this a really primitive and ritualistic feel.
Certain moments of this record recall LENE LOVICH or DIAMANDA GALAS, At least in terms of
vocal approach. Mix this with clean Power Electronics drones and drums that fall into Trad
Goth and Industrial as well as World Music categories and you may have an idea of what it
is that TERROR APART does. "Feeding Hour" builds on melancholic singing laced in tremolo
effects until slamming 90's Electro Industrial drums similar to early FRONTLINE ASSEMBLY
stomp on and keep stomping. Disorienting rising/falling synths and loud and miserable
trumpets fill the air giving it this weird COIL meets THE RESIDENTS type of sound. Certain
synth tones here sound like something you'd hear in a film like Videodrome. An anxious ocean
of 80's sounds. Treacherous territory. Dive in.
TERROR APART'S BEST RELEASE TO DATE.SERIOUSLY UNIQUE AND INFECTIOUS: