Restart:

Среднестатистический западноевропеец падок на экзотику и считает себя парнем очень сообразительным и весьма открытым к новшествам. Однако так уж получается, что на пути к расширению горизонтов сознания он неизменно наталкивается на одни лишь суррогаты, принимая их за чистую монету: азиатскую культуру он постигает через несвежие суши и порнографическое аниме, индийскую – через термоядерную крупнолистовую траву и гоа-трансовые вечеринки для еврошвали, греческую – через одноимённый салат и людные пляжи с медузами, а фоновые знания почёрпывает из туристских буклеток, голливудских лент и научно-популярных телепередач. Когда же с падением железного занавеса дошёл черёд и до русского наследия – в ход пошли старые-добрые babushkas и balalaykas. Ребята более продвинутые, конечно, слыхали, что, например, был такой парень dostoyevsky и что был он первый на деревне эмо-бой, бился в истериках и припадках, плакал, утирая слёзы окладистой бородой, и ревел как beluga, у которой, кстати, говорят, очень ценный caviar. Постепенно в музыкальный обиход вошёл и великий и могучий, однако принёс больше вреда, нежели пользы. Ещё куда ни шло, когда чешские грайндкорщики Malignant Tumour на ломаном русском поют «Катюшу» – это до нелепости глупо, а потому смешно. Однако когда цитаты из русских фильмов всплывают в серьёзных работах – тут уж святых вон выноси. В худшем случае это заканчивается плохо, в лучшем – никак. Так, ни к селу, ни к городу русскоязычные вставки на ранних дисках Biosphere, и уж точно как корове седло сакраментальная телега про «крашеный металл» в композиции ‘kobresia’ – тем паче, что Йенсен и понятия не имел об эксперименте с участием экстрасенса, угадывавшего предметы на расстоянии, а просто списал звуковую дорожку с радио. А, например, такие художественные артефакты как культовую ленту «Сталкер» и вовсе растащили на цитаты. Гневная тирада в исполнении Алисы Фрейндлих («Чтоб ты там сгнил, подонок!...») только навскидку встречается в альбоме французского шумовика Brume “Unrelated Landscape” и дебютном альбоме норвежских эксцентриков Virus. Мотивация автора в первом случае более-менее ясна, во втором же – туманна, как Альбион. Вот с чем у американского проекта Post Scriptvm всегда было хорошо – так это с подбором речёвок на русском языке. Оно и немудрено. Даром что из Бруклина, это ребята с так называемыми ‘Russian roots’. А это значит, что будь они хоть «гусскими», розмовлять великоросской мовой эти парни более чем в состоянии – им и карты в руки. Однако Post Scriptvm есть чем заинтересовать слушателя помимо грамматически и стилистически верного употребления «варварских» восточноевропейских наречий. Искусно смешивая органические и неорганические инструментальные слои, а также естественное и искусственно порождённое звуковое окружение, проект создаёт увлекательные альбомы рассказчицкого эмбиента, исполненного поистине детективного накала. Инструментальные мотивы, живая гудящая среда, манипуляции с объектами и «конкретные» врезки воздействуют мелодически и шумово, складываясь воедино в остросюжетный триллер и вовлекая слушателя в увлекательное и драматичное ожидание развязки. Скупые сведения, выуженные из названий композиций, купно с ассоциациями звукоряда и графической информацией, увязываются друг с дружкой в нешуточную интригу. Всё, что не договаривает рассказчик, слушателю приходится достраивать на основе собственной перцепции и интуиции. Искомое невербальное держит в пристальном напряжении, но и без того за уши не оттянешь. Post Scriptvm одинаково хорошо умеет гудеть и лязгать, быть пронзительным и умиротворяющим, монотонным и рваным – подчас безо всякой рисовки демонстрируя свои недюжинные композиторские способности в пределах одного единственного трека. Эклектика клавишных пьес, зернисто испещрённых нуар-эффектами, мрачного эмбиента, тяготеющего в индустриальную сторону, и пасмурных атмосфер пультового шума изящно сливается в цельный образ. И кладбищенское позвякивание готичных колокольцев, и сердечная аритмия перкуссии, и цеховой грохот оказываются на своём месте в веренице приёмов и выразительных средств, обеспечивая непредсказуемость сюжетных поворотов – слушателя то поливают дождём мрачных гармоний, то посыпают градом пескоструйного нойза. Форма соответствует содержанию, а цель – средствам. Сумрачный, безжизненный пафос “Grey Eminence” наводит на воспоминания о золотых годках Brighter Death Now, а осязаемая кинематографика музыкальных тем “Grey Eminence” живо напоминает Propergol. С Жеромом Нугайоном, кстати, у Post Scriptvm отношения особые – причём настолько, что тот позволил им записать пятую часть своей эпопеи Sea-Green Series, с которой у “Grey Eminence” также немало общего. Вообще же, Tesco Organisation впервые за долгое время выпустили истинно классный индустриальный альбом, на все сто соответствующий собственному классу. Индустрия по-русски.

Review by Restart


Stigmata:
В последнее время, как вы уже могли заметить, TESCO не балует своих почитателей новыми именами и все чаще практикует переиздания старых пластинок. Происходит подобное не случайно, ибо Клаус, хозяин лейбла, по его признанию не является большим поклонником того, что происходит в наши дни на индустриальной сцене. По-своему он прав.

Поэтому выход на TESCO очередного альбома американской группы POST SCRIPTVM (уже второго на этом немецком лейбле) кое что да значит. Логотип TESCO – это своеобразный знак качества, ибо культовый лейбл, с которым сотрудничали такие гранды как GENOCIDE ORGAN, DEATH IN JUNE, DER BLUTHARSCH, лишь бы кого «брать на поруки» не станет, особенно сегодня, когда он практикует уже описанную ранее политику переизданий «золотого фонда» индустриальной музыки.

И вот прекрасно оформленный дигипак из сурового грубого картона у меня в руках. Сразу привлекает внимание оформление диска – винтажные коллажи в духе фотографа Виткина и арт-террора от SURVIVAL UNIT радуют глаз и создают впечатление серьезного подхода музыкантами к изданию своих работ – это вам не тупое перепечатывание фотографий из интернета.

Приступим к прослушиванию. Первое, что бросается в глаза (ну или в уши, если угодно), – определенная «новизна» звучания POST SCRIPTVM. Я привык к другому материалу, более прямолинейному, темному и грубому, новая же пластинка абстрактна и субтильна как никогда ранее. Композиции POST SCRIPTVM мало похожи на то, что издается сегодня индустриальными лейблами. Музыка группы – это особый «авторский» подход к industrial, лишенный модных штампов и клише, к которым мы настолько привыкли, что стали воспринимать как данность. Практически ушли в небытие прежние «постскриптумовские» агрессивные порывы шумовых ураганов, стало меньше мрака и холода, при этом композиции стали интеллигентнее, многослойнее и продуманнее. Чем больше ты слушаешь новые работы POST SCRIPTVM, тем больше они тебе раскрываются. Более того, каждый раз ты слышишь в них нечто новое. Да, сразу хочу предупредить – эту музыку лучше не слушать на ходу в МР3-плеере. Перед нами не тупой rhythmic noise и не сладкий неофолк, для нормального восприятия нового POST SCRIPTVM желательно иметь хорошие колонки и диск, а пикалки в ушах и пережатые добрыми друзьями файлы. Аналоговый звук и целая куча «живых» инструментов требуют качества воспроизведения всех нюансов. Имейте это в виду. В прочем, эта музыка и не предназначена для суеты, она как хорошая толстая книга в твердом переплете, – явление сугубо домашнее.

В общем, перед нами один из самых интересных индустриальных релизов этой весны. Любителям интеллигентной музыки советую не пропустить пластинку.

Да, упомяну и вот какую деталь: мастерингом диска занимался дядька Андрейка Wahnmann из FIRST LAW.

Alternativmusik.de:

Raspad kommt aus dem Russischen und bedeutet Zerfall. Ein gut gewählter Titel für die Klänge, die Post Scriptvm auf ihrem zweiten Album präsentieren, denn die Industrial-Stücke, die es hier zu hören gibt, evozieren beim Hörer durchaus Zerfallsszenarien. Langsame Tonstrecken bauen sich auf, der Zerfall ist schreitend, aber kontinuierlich. Dies zeigt sich bereits im Eröffnungstitel Crepusculum, der zusammen mit dem ebenfalls über zehn Minuten andauernden Titel Fever Dream das Werk einrahmt. Mit einem konstanten Basston, der immer intensiver wirkt, geht es los, gefolgt von einem Frauengesang, der wie ein Abgesang auf das Zerfallende deutbar ist, bis die Kulisse danach insgesamt zusehends bedrohlicher wird und unter eingeworfenen langsamen Sprachsamples Klänge wie auf einer Baustelle vernehmbar sind. Bohrende Töne und immer wieder Geräusche, die schwer zu orten sind, beispielsweise schrilles Pfeifen.
Diese Beschreibungen bieten dabei gleichzeitig einen guten Boden für die weiteren Stücke des Albums, die sich alle in einem solchen Spannungsfeld abspielen, bei dem die Gewichtungen der Bestandteile differieren. Es ist langsame Musik, die einem konstanten in sich geschlossenen Wandel ergeben ist. Immer wieder neue Geräusche, bei denen zwar der altbekannte verstörende Zwischenton immer wieder zu vernehmen ist, jedoch in einer Art und Weise, die nicht unbedingt intendiert erscheint. Intendiert scheinen hier eher die Zerfallscollagen und die behäbige Langsamkeit.
Insgesamt ist Raspad ein durchaus spannendes Industrial-Album geworden, das durch seine betont langsamen Stücke nah an der Schnittstelle zum düsteren Ambient anzuordnen ist. Was der eine als spannend empfindet, ist jedoch für den anderen schlicht langweilig. So bewegt sich Raspad auf einem schmalen Grat zwischen Spannung und Langatmigkeit. Wer sich von diesem Tonträger angesprochen fühlt, sollte also die Möglichkeit des Probehörens nutzen, was in Zeiten von Web 2.0 durch Plattformen wie MySpace kein größeres Problem darstellen sollte.



Apostazja:

"Raspad" to trzeci pełny materiał projektu POST SCRIPTVM. Płytę wydała znana i ceniona wytwórnia Tesco z Niemiec. Zawartość CD to dark ambient z elementami industrialnymi. Na początek mała dygresja. Często przeczytana recenzja powodowała, że sięgałem po dany tytuł i niestety byłem bardzo rozczarowany, po prostu odczucia po przesłuchaniu płyty nijak nie pokrywały się z wrażeniami recenzenta. Zmierzam do tego aby poniższych parę zdań na temat POST SCRIPTVM i ich wydawnictwa "Raspad" traktować jako moją subiektywną ocenę i wrażenia po kilkukrotnym wysłuchaniu tejże płyty. Pierwsze wrażenie to bardzo dobra jakość nagrania. Może to nie jest najważniejsze, wiadomo zawartość muzyczna jest na pierwszym miejscu, ale chodzi o to, że jakość techniczna nagrania idzie w parze z zawartością krążka. Nie będę owijał w bawełnę, płyta jest po prostu świetna. Jak na płytę dark ambientową bardzo dużo się tu dzieje. Elementy industrialne świetnie współgrają z ambientowymi tłami. Sporadycznie pojawiają się elementy rytualne (track nr 3), sporo analogowo brzmiących ("tłustych") dźwięków o niskich częstotliwościach (track4) zapętlone głosy, nieco noisowych, ale nie extremalnych dzwięków (track5). To jedna z niewielu ostatnio słuchanych przeze mnie płyt którą po zakończeniu mam ochote włączyć jeszcze raz od początku. Płyta została wydana w digipacku lecz nie ma tam zbyt wielu informacji, tylko tytuły utworów. Podsumowując - według mnie bardzo dobra plyta wybijająca się na tle innych produkcji z tego gatunku muzycznego (to oczywiście moja jak najbardziej subiektywna ocena).

k.

Chain D.L.K.:

I usually tend to describe the sound of a CD as well as I try to fold out the emotions I felt during the listening session. This time I must admit that it's hard to explain the tense industrial atmosphere created by Post Scriptvm. Their music is based on clanging sounds mixed with dark ambient drones but the final result and it's atmosphere it's hard to being described. First of all the experience of listening the opening ten minutes of "Crepusculum" is a particular one, because its cyclic structure is mesmerizing. The duo is able to create an "organized chaos" which builds an incredible tension. Tracks like "Purge echelon" are able to create the noise of a demonic factory thanks to the metallic percussions, the humming samples and other undefinable sounds. The grinding sound is destructive but the tracks runs smoothly and this is particular for a recording of this kind. This is one of the few cases when post industrial music is really working and sounds like the soundtrack of de-evolution!

Club Debil:

Raspad - "Zerfall" ist der Titel dieses Albums, des vierten des New Yorker Projektes Post Scriptvm. Die aus dem russischen Sprachraum stammenden Protagonisten haben damit ein eindrucksvolles Werk vorgelegt, voller ambienter Düsternis und abwechslungsreichen Klangerfahrungen. Passend zur Jahreszeit vom Fallen des goldenen Herbstlaubes bis hin zu eisigen, windigen Nächten. Für russische Projekte fast schon typisch ist der Rückgriff auf liturgische Traditionen der heimatlichen orthodoxen Kirche. Ein guter Tipp für Freunde von z.B. Lustmord oder Schloss Tegal.


Darkroom Magazine:

Terapia musicale per letargia avanzata...! Dalla Brooklyn newyorkese, ma espresso in caratteri cirillici, giunge "Raspad" (termine russo per 'disintegrazione'), secondo full-length ufficiale del duo americano Post Scriptvm (dopo una manciata di CDr pubblicati fra il 2000 ed il 2004). L'interessante opera, peraltro interamente masterizzata da Jerome Nougaillon (già noto nell'ambiente per il suo progetto Propergol), ci propone una visione dall'alto su tutti i variegati generi sonori di cui la statica materia oscura è composta. Da odorosi prati dimenticati, sui quali imperversano languidi temporali. Prati in fiore, prati di erba secca... emergono i richiami e le sinistre fonazioni di fantasmi lancinanti, intrappolati nell'etere, offuscati dalla patina di una pellicola bruciata, che troppo a lungo ha raccolto polvere nei luoghi dell'abbandono. Da prati dimenticati, l'orecchio si adagia sul terreno di un opaco ricordo, sin nel cuore pulsante della stanza del Rituale: solo una giocosa, soffocante dimora che giace appena al di sotto dell'erba. È l'ora del té, nel salotto di spettri, ci si annichilisce, si evoca... si dorme e ci si strangola, nel salotto del ricordo che giace appena al di sotto dell'erba... ed i geni fuoriescono, cantilenosi rituali di parole, con voce di fantasma e per sublime catarsi, richiamati dai 'drones' medianici e le statiche oscillazioni monotonali, come ci si trovasse innanzi a reali fenomeni 'e.v.p.', ossia registrazioni di voci provenienti del mondo nascosto dell'aldilà. Stridenti, magnifici paesaggi di rovine post-industriali e profondi fluidi organici scaturiscono, sapientemente creati con l'aggiuntivo ausilio di macchinari analogici. Semplicemente bellissima... solo sento di dover sconsigliare quest'opera agli ascoltatori facilmente impressionabili ed a coloro che non amano la 'pelle d'oca' e si lasciano facilmente trasportare in un vortice di ansia ed apatia, in presenza di emissioni interiormente disturbanti. - afelio


The Enochian Apocalypse:

A very curious release. Hypnotic, rich drones, hisses and operatic vocals start the proceedings off in enigmatic fashion with ?Crepusculum'. The journey is a long one that soars and is interweaved with almost radio like electronics that are enveloped in the bass like hum that rises six and a half minutes into the affair. Like some nightmare waiting to happen, Post Scriptum appear to have the ability to punch out long tracks that don't lose face half way through. The drones and screeches carry into most of the tracks on this release and somehow keep a warm melody, albeit a very long drawn out one. Early industrial outlets possibly give the listener the true nature of what PS are actually trying to achieve. A mix of the traditional and the modern complement each other right throughout this disc, only occasionally drifting off on later tracks where a little more thought could have been thrown into the mix, as some of it does tend to meander on a trifle too much, where plenty an opportunity for their obvious talent for melody could have shone through. However, an engaging release at times, and I am more than curious to see what future output may bring. Interesting.



Filth Forge:

From Brooklyn, New York, comes Post Scriptvm, a project that has released two albums and some mini CDs through different labels, including the unknown Somnambulant Corpse Recordings, the Italian Stridulum Recordings, French Hermetique, known for the early Propergol outputs, and others. "RASPAD", Russian for disintegration, is its third full-length, this time published by prestigious Tesco Organisation. Jerome Nougaillon of Propergol mastered the six tracks of the CD, assuring them a powerful and effective sound. Post Scriptvum can't be filed under "dark ambient", since his music has little to share with the atmospheres evoked by the north European school of Cold Meat Industry, or the deflagrating cosmic sceneries of Lustmord, Inade, etc. It's still ambient, since the sounds keep a descriptive function, stimulating the listeners' imagination and subconscious, weaving images and scenes before their eyes, but their nature is definitely industrial, with distorted electronic frequencies, metal thuds, reverberating chains and angry machineries. Particularly representative in this sense are the exciting "Purge Echelon" and "Ruins Of Men", where memories of even Cabaret Voltaire and Throbbing Gristle emerge in the intelligent use of analog equipment, while the aggressive "Exacerbation" has little to envy to the likes of BDN. Final "Fever Dream" is the most disturbing of the six tracks, with its nervous, suspended atmosphere, a funereal organ playing in the finale and a telephone ringing without answer. Post Scriptvm confirms itself as a very interesting name, capable of creating original sound collages and combining the ambient, industrial and power-electronics matter in a personal stimulating way. "RASPAD" stands easily out as its best effort till now, and as another remarkable development for Tesco. - Simon V.


Heathen Harvest:

Somnambulant Corpse record label? I did. Fucking marvellous debut from the man recording as Post Scriptvm when all said and done. Well I thought so anyway. I don't suppose then that anyone reading this bought the 'Marginal Existence' release on the Hermetique label as well? I reviewed that little dancer for another website. If 'Gauze' was the cake then 'Marginal Existence' was the cherry on top. I called it a ?no holds barred, no prisoners taken, recording that's totally electrifying in every sense which it still is. I know because I've been playing it again and reliving every fine tuned note. This is something reviewers must do when another release from the same act comes in for critical dissection. It's a dirty job but someone has to do it. I even have all the compilations Post Scriptvm have appeared on. This was more through luck than design. I did miss out though on the 2 x 3inch Post Scriptvm releases, 'Chiaroscvro' and 'Sea-Green Series Chapter V' which was rather fucking annoying to put it mildly. EBay here I come. They'll turn up there one day. Everything does eventually. Until then I have an itch I need to scratch... 'Raspad' is Russian for ?disintegration'. Something I never knew if it wasn't for the promo sheet thankfully enclosed with the release. Which is a good job to because the cover of this release is written in Russian. So don't expect to see the title 'Raspad' staring out at you when you purchase this?which you will. Which you damn well will. Why? Because you'll not hear such an imaginative and contemporary take on the whole Industrial / Ambient / Power Electronics / Experimental genres that's why. I know what you're thinking. You're probably saying to yourself, 'but he says something like that about every release he reviews', and you would be so fucking wrong that it should hurt. Really fucking hurt. Sure I've given the mega thumbs up to many releases. I admit to being a fanwhore for certain acts. What's wrong with that? If I had my way you would all be listening for eternity those acts I worship and fawn over. Fuck you and the boat you came over on if you don't like my attitude. Here's another review that I'm not ashamed to kiss ass to. Love is in the fucking air. For starters 'Raspad' redefines everything you thought you knew, but actually didn't, about the genres this recording covers. The record label, who will get a mention all to themselves at the end of this review, and, probably, the artist himself wants you to think of it as a Power Electronics / Industrial / Ambient music recording. I, on the other hand, added in the ?experimental' bit because that's what I heard whilst sinking slowly into the thick and dense sonic quicksand of the six tracks composed here. Down, down, downqand loving every minute of it. Using analog and digital sound equipment and instruments, with some nice samples popping up here and there, the compositions set out to explore the lethargy of the human spirit in today's modern society. These ambitious pieces of music connect to the cerebral cortex of the brain through the auditory stimulus of the multifaceted approaches employed by the artist. This in turn is akin to an emotional tap being turned on and off repeatedly. You are at harmonious peace one moment. Living on the edge of nerve shredding fear the next. Back to euphoria. Hitting the depressive streak once more. On / Off. On/Off. Kept enraptured at every turn wondering where the music will go next. Sounds are looped, sounds are created by the great Gods of cacophony, metal strikes metal in a frenzied bashing dance for the damned, tricks are continually played as high frequencies pull back and forth in a tug of war for your attention and all the while the puppeteer that is Post Scriptvm pulls the strings leading you to where he wants you to go. You come away from this recording exhausted by the overwhelming exhilerence of it all. Like a sleeping cobra it strikes home relentlessly when least expected. You begin to question whether you actually heard what you first thought you heard. Doubts begin creeping in. So you play it again. And again. New sounds emerge that you missed before. The recording becoming more and more addictive through repeated plays. He's under your skin. An itch you just can't shake. Have I piqued your interest? Surely I must have. My ploy was simple. Tell you something yet tell you nothing. I deliberately missed out so much to be found on 'Raspad' because you need to live through this recording yourself to understand the visionary aspects that it holds hidden away. 'Raspad' is the icing on Post Scriptvm's cake. Go on and gorge yourself. Nothing will give you greater pleasure this year. Fat bastards of the world unite. Fanwhore 1: 'Raspad' was produced by Jerome Nougaillon of the mighty Propergol and other acts fame. He walks on water as far as I'm concerned. Fanwhore 2: The Tesco Record label. This leading German label from the late 80's onwards have released so many fabulous and diverse recordings over the years that trying to pick out a highlight from their catalogue is an impossible task and one I'm not even going to try and attempt. 'Raspad' is obviously up there. But so are many, many others. There was a UK record label called Stiff Records back in the early days of punk that had the slogan 'if it ain't Stiff it ain't worth a fuck'. Substitute Tesco for Stiff to bring things bang up to date and you wouldn't be far wrong.


Ikonen:

Post Scriptum fiel mir zuerst mit einer CD auf dem französischen Label Hermetique auf, das vor allem durch die Veröffentlichungen der Powerelektroniker Propergol bekannt sein dürfte. Bereits auf dem ersten Album waren dick verwobene Schichten von atmosphärischem Noise und gelegentliche energetische Ausbrüche zu verzeichnen, man hatte jedoch etwas das Gefühl, hier halte sich jemand bewusst zurück.

Die aktuelle CD "Raspad", die nun auf dem Industrial-Kultlabel Tesco erschienen ist, knüpft stilistisch an das Debüt an, erscheint jedoch etwas differenzierter und dramaturgisch raffinierter. Man ist bei der bräunlich-monochromen Covergestaltung geblieben, die auf dem matten Digipak zu voller Geltung kommt. Der zunächst verhaltene Aufbau der Soundscapes erscheint hier als Methode, um eine fast nervenzerrende Spannung aufzubauen. Manche Störfrequenzen werden lange durchgehalten, so dass sie langsam ins Unterbewusstsein des Höreres einsickern. Vor allem das erste lange Stück 'crepusculum' erinnert so an die Hohphase von Schloss Tegal: morbid, befremdlich, düster.

Wer mit Propergol nicht nur die krachigen Tanzflächenfeger kennt, wird die Verbindung zwischen beiden Projekten erkennen. In beiden Fällen geht man fast cinematografisch vor, was u.a. durch den massiven Einsatz von Samples bedingt ist. Auch sind die Strukturen von Post Scriptum nicht unbedingt immer repetitiv, wie man es von Postindustrial gewohnt ist, sondern abwechslungsreich, voller Entwicklungen. Positiv fallen die gelegentlich eingesetzten apokalyptisch-rauhen Metalperkussions auf, die man länger nicht vernommen hat in diesem Bereich. In Track 5 'Exacerbation' kommt dann alle aufgestaute Energie zum Ausbruch: mit flirrenden Hochfrequenzen, pumpenden Subbässen, Ethnosamples und verzerrt-aggressiven Vocals erinnert man hier zeitweise gar an Genocide Organ. Zugleich sorgten Propergol hier für ein kraftvolles Mastering, das die zahlreichen Stereoeffekte gut herausstellt.

Es erscheint also wenig erstaunlich, dass Post Scriptum den Schritt in den größeren Aufmerksamkeitsbereich geschafft haben, denn 'Raspad' ist ein geschlossenes und stilistisch überzeugendes Album, das zahlreiche Hörer verdient.

:ms:.


Judas Kiss / Lee Powell:

'Raspad' ushers in a welcome return of one of the truly impressive and forward thinking labels in the post-industrial scene, Tesco Organisation and demonstrates just how skilled they are at selecting only the most innovative and true to form industrial music. Hailing from Russia its composer Post Scriptvm utilises old school industrial analogue noises and sounds with cutting edge digitally produced electronic fragments of sounds and disjointed jars of noise with highly impressive results. Continuing on an exploration within the original aesthetic of industrial music Post Scriptvm creates track after track of compositions that challenge the preconceived notions of music and reformulate these into a powerful and darkly unsettling amalgamating of noises, distorted sounds and dense thick drones to produce a bleak, sludgy ambience that sits uncomfortably between the dark ambient and death industrial genres whist still having one foot firmly rooted in the old-school styled industrial soundscapes.
With an immensely dark spirit and essence 'Raspad' (Russian for disintegration) produces a mood and atmosphere which forces the listener to consider the merits of what they are hearing and challenges them interoperate the dense layers of sounds and frequencies for their own, whilst giving Post Scriptvm a voice to project their own personality and thoughts.
Music of this nature is never easy listening but when it's done properly and of a high standard it's deeply rewarding and this is true of 'Raspad'. Occasionally the fragments of sounds and collages of noise just reach that point of annoyance before they subside into engaging aural sculptures that challenge the listener to examine their form and presence with the results being occasionally impressive. If, of course you give your self the time to past their initial abrasive and complex first impressions.
With another release of such high calibre it's easy to see why Tesco remain such a strong post-industrial label and as you'd expect from them 'Raspad' only strengthens this.
It's also worth mentioning for those industrial geeks out there that 'Raspad' was mastered by Jerome Nougaillon (of Propergol) which should produce anther spark of interest for this release.


La Defuncion:

Desde el otro lado del charco y más concretamente desde Nueva York nos llega este interesantísimo larga duración de una banda de Dark Ambient que hasta la fecha me resultaba desconocida. En ocasiones, el simple gesto de mirar el sello en la trasera del disco te puede decir mucho y en este caso tratándose de Tesco, uno de los sellos punteros en Europa en cuanto a música oscura se refiere sólo podía ser sinónimo de calidad, y así ha sido.
Estamos hablando del segundo CD del grupo y el primero editado en Tesco, habiendo pasado primero por la edición casi obligada de un par de CD-R y algún tema incluído en recopilatorios antes de dar el paso definitivo a un gran sello. "Raspad" ("Desintegración" en Ruso) es un album espeso, que navega por los sonidos del Dark Ambient de tintes industriales de la "escuela" del norte de Europa y sin nada que envidiar a bandas tan consagradas como Desiderii Marginis, Raison D´etre, Inade, etc, pero con su sonido característico y una producción de bastante nivel.
Ahí ha tenido que ver bastante la mano de Jerome Nougaillon, conocido principalmente por su proyecto "Propergol" y productor de algunas otras bandas de corte industrial. Creo que ahí está el punto fuerte de este disco, la producción y la inclusión de algún toque (mínimo) de experimentalidad en un estilo en el que es difícil innovar y diferenciarse del resto. Los potentes sonidos analógicos y el punto justo de ruidismo obligan al oyente a subir más y más el volumen y disfrutar con todo el esplendor de los repetitivos loops, las voces inquietantes, los susurros rotos por las interferencias, etc...
Un disco recomendado para los seguidores del Dark Ambient Industrial de pata negra.


Mentenebre:

Post Scriptvm es uno de esos proyectos que todo amante de la tendencia ritual alabaría. Su estilo está muy emparejado con el esquema presente en los primeros proyectos de los italianos Ain Soph, combinado con influencias más industriales y menos ritualísticas como el "Time Machines" o el fantástico "Ans" de Coil. "Raspad" es el segundo trabajo oficial -excluyendo los editados en formato CDR- de este conjunto ruso. Tan intimista como inquietante, Post Scriptvm propone un viaje hacia lo desconocido y lo metafísico. "Raspad" está ampliamente influenciado por la obra del célebre estudioso del esoterismo contemporáneo René Guénon. Este autor es uno de estos personajes que no tienen término medio: O le odias a muerte, o le admiras sin condición. En el caso de Post Scriptvm, la declinación está bien clara, la banda ha decidido inspirarse para la realización de "Raspad" en la obra "La crisis del mundo moderno". Básicamente, lo que se expone en ella es una crítica feroz, de carácter semi-metafísico, sobre la desestabilización de la cultura contemporánea en comparación con las anteriores edades del hombre. René Guénon asegura que el mundo moderno está en crisis, que los valores principales que conformaban a las sociedades se han terminado invirtiendo de forma radical e inexorable. Post Scriptvm no sólo apoyará esta teoría, es más, se encargará de conformar una increible banda sonora de la que deben sentirse orgullosos, puesto que representan muy acertadamente el sentimiento de crítica y desolación ante la espectativa de futuro conceptual que Guénon sintetizó en su obra. De este inquietante disco tan sólo se han editado 600 copias, por lo que invito a todos los amantes del ritual y el industial con matices de dark ambient, a que se den prisa en adquirirlo cuanto antes. Como comentaba anteriormente, la discografía de este proyecto se basa en 4 trabajos en CDR, que fueron presentados a raíz del comienzo del nuevo siglo. En el año 2005, la discográfica Hermetique editará "Marginal Existence", con una limitada tirada de tan sólo 500 ejemplares. El dark ambient de carácter inquisitorial e introspectivo ya se manifestaba con todo su esplendor en esta obra, muy recomendable para todos los aficionados al decadentismo contemporáneo o, simplemente, los que saben disfrutar del sentimento físico generado por una resaca de fin de semana durante la sobremesa del domingo. Post Scriptvm es frío y oscuro, pero a su vez conmedido e inteligente. El titulo de este último trabajo, "Raspad", fue extraído de la información presentada en un documental que trataba los sucesos producidos en Rusia durante 1917, "Raspad" aparecía escrito, en letras bien grandes, en la portada de un diario del momento, y anunciaba la muerte del mundo de forma clara. En cierta manera, y con una revolución entre las manos, pensar que el fin de la humanidad se aproximaba no es una reflexión del todo desapropiada. Sin embargo, aunque hemos estado buceando en un océano de crítica decadentista, siempre resulta apropiado exponer un poco de luz a los contextos extremadamente oscuros; como diría el propio René Guénon en la conclusión de su libro "La crisis del mundo moderno", aquellos que estarían tentados a ceder al desánimo deben pensar que nada de lo que se cumple en este orden puede perderse nunca; que el desorden, el error y la oscuridad no pueden arrebatarlo más que en apariencia y de una manera completamente momentánea, que todos los desequilibrios parciales y transitorios deben concurrir necesariamente al gran equilibrio total, y que nada podría prevalecer finalmente contra el poder de la verdad; su divisa debe ser la que habían adoptado antaño algunas organizaciones iniciáticas del Occidente: Vincit omnia Veritas.


Nonpop:

Eine Industrialplatte zu besprechen und einzuordnen, ist immer schwierig. Zu viele Genredefinitionen gibt es, und zu beliebig wird der Begriff inzwischen allen möglichen anderen Stilen voran- (Industrial Metal, Industrial Rock) und nachgestellt (Ambient Industrial, Electro Industrial). Ich bin mir nicht einmal sicher, ob ich überhaupt von 'Industrial' sprechen darf. Puristen glauben, dass nur die Bands dazu zählen, die ins Umfeld des INDUSTRIAL RECORDS-Labels gehörten, das 1976 von THROBBING GRISTLE gegründet wurde. Alles andere müsste demnach einfach nur 'Post-Industrial' heißen. Ich erlaube mir bei der Besprechung von 'Raspad' (Zerfall) trotzdem, bei 'Industrial' zu bleiben, zumal das aktuelle Album von POST SCRIPTVM vom (Industrial)Label TESCO auch so einsortiert wird. Außerdem kann sich darunter immer noch jeder etwas vorstellen: Klänge, die an industrielle Produktion erinnern und Wortsamples mit aufrüttelnder Thematik zum Beispiel. Die Russen von POST SCRIPTVM bieten auf ihrer zweiten regulären Veröffentlichung aber noch viel mehr als das. Auch Elemente, die ganz sicher überhaupt nichts mit ursprünglichem Industrial zu tun haben. Diese Spannbreite macht das Album für mich zu einem Highlight, um das Fazit ausnahmsweise einmal schon vorweg zu nehmen. 'Raspad' beginnt mit dem knapp elfminütigen 'Crepusculum' (der physikalische Begriff für Dämmerung). Wind weht, Loops von summenden und sirrenden Insekten liegen über einem leichten Donnern - und schon nach zwei Minuten passiert etwas völlig Überraschendes: Eine Stimme singt, die aus einem der bezauberndsten Folkalben von COCOROSIE stammen könnte (und die nachher auch in anderen Tracks wieder auftaucht). Spätestens nach drei Minuten hat einen das Album 'geschluckt': Die Langsamkeit, die Intensität und die Ästhetik, mit der hier - teilweise - Industrialmusik präsentiert wird, ist berauschend. Selbst nach dem Verklingen der Stimme, wenn 'Crepusculum' zu einem eher klassischen Industrialtrack wird, mit hochfrequenten Störgeräuschen und undefinierbaren Samples, bleibt die Erhabenheit noch haften, bis der Track mit künstlichem Regen aufhört, so wie er mit Wind angefangen hat. 'Declension' (Niedergang, Track 2) fängt mit abgehackten Samples von Silben an, so wie sie Avantgardekünstler gerne verwenden oder Elektropioniere wie JEAN-MICHEL JARRE verwendet haben. Und auch hier gibt es schon nach wenigen Sekunden die nächste Überraschung: ein Rhythmus! Er schleicht sich langsam an, wird noch versteckt von einem Dröhnen und gibt sich dann zu erkennen. Die Tüftler von KRAFTWERK würden Beifall klatschen. Spätestens hier zeigt sich ein wichtiges Credo von POST SCRIPTVM: Nie zuviel auf einmal! Ein Effekt nach dem anderen, langsam, von vorn nach hinten oder von links nach rechts. Ein Statement gegen das Überfrachten. 'Declension' endet dann nach knapp sieben Minuten wie eine Dampflok, der die Kohlen ausgehen. 'Purge Echelon' (die reinigenden Truppen), das dritte Stück, hat mich zu Beginn leicht an 'People Are People' von DEPECHE MODE erinnert. Das Gehämmere klingt tatsächlich wie eine marschierende Armee, und der Schlachtruf passt dazu. Die Truppen ziehen ab, und es setzt wieder ein Rhythmus ein, der eine stampfende Riesenmaschine aus 'Star Wars' nachahmt, untermalt vom einfachen Geräusch eines klopfenden Stahlrohres. Ein weiteres Geheimnis von POST SCRIPTVM: Sie verwenden virtuos digital erzeugte und analog aufgenommene Sounds nebeneinander, was das Produkt organisch macht. Bei aller Liebe zu technischen Spielereien, aber was klingt mehr nach industrieller Produktion aus den Tiefen eines Fabrikkellers als ein Stahlrohr? Nach dem Flüstern, das Track 4 ('Ruins Of Men') einleitet, wartet ein von Störgeräuschen überlagerter und verfremdeter Priestergesang und die Ruhe eines permanenten, dunklen Brummens. 'Exacerbation' (Verschlimmerung, Track 5) ist der unruhigste und härteste Song der CD. Dunkle Bässe wie Gewehrfeuer, Schreie und viele verschiedene Sounds auf einmal - das Stück liegt dem klassischen Industrial am nächsten. Offenbar findet hier der im Albumtitel beschriebene Zerfall statt, es bröckelt, bröselt, kreischt und sägt an allen Ecken und Enden. Aber der kurze Auftritt der 'COCOROSIE-Stimme' deutet schon an, was im letzten Track ('Fever Dream') musikalisch passieren wird. Nach einem Dahindriften (wirklich wie im Traum) durch seltsame Geräusche (Autohupen? Telefontuten??) endet alles in Harmonie, versöhnlich, mit ein wenig Gesang. 'Raspad' hat etwas von einem HIERONYMUS BOSCH-Gemälde: Es ist rauschhaft, gewaltig, morbide, bilderreich und feiert den Untergang. Ich dachte bisher, dass Industrial per se nicht schön sein darf, aber ich bin belehrt worden. Zu diesem Eindruck passt auch das stilvoll-düstere Artwork: außen ein matter, brauner Karton, die CD selbst bedruckt mit dem Ausschnitt eines Gemäldes, auf dem russische Bauern riesige, aber nicht unschöne Heuschrecken verjagen. Bei der Musik auf 'Raspad' überwiegt zwar das Industrielle, aber immer, wenn man es nicht erwartet, greifen POST SCRIPTVM in die Trickkiste und zaubern. Zu diesem magischen Effekt trägt die schon erwähnte Zeitlupentechnik bei, das langsame Zelebrieren einzelner Effekte, alle hervorragend bearbeitet von JEROME NOUGAILLON von PROPERGOL (die vielen Stereoeffekte kommen natürlich am besten unter einem Kopfhörer). Ich hatte in letzter Zeit den Eindruck, dass es bei vielen Industrial-Platten nur darum ging, noch mehr Sounds übereinanderzulagern und noch wüster und irritierender zu klingen. Das mag dem aufrüttelnden Grundprinzip des Genres genügen. Aber 'Raspad' zeigt viele andere Ideen und Möglichkeiten der Entwicklung von Industrial auf und ist deshalb für mich eine der besten Veröffentlichungen, die passieren konnte. Falls die Puristen jetzt böse auf mich sind und über eine weitere Genre-Verwässerung schimpfen, hier ein Versöhnungsangebot: POST SCRIPTVM klangen vor knapp zwei Jahren, auf ihrem noch erhältlichen Vorgängeralbum 'Marginal Existence' (HERMETIQUE, 2005) viel, viel mehr nach klassischem Industrial. 'Isolation Of Sores' etwa ist ein einziges Bombardement an trommelfellstrapazierenden Frequenzen. Was da wohl zwischen den beiden Alben passiert ist? Michael We. für nonpop.de


Stigmata:

Я уже говорил как-то ранее о том, что TESCO выпускает свои новые релизы редко, но метко. Собственно, сам факт выхода некой группы на TESCO – это знак качества, сигнал всем ценителям качественной электронной музыки. Впрочем, разве может быть иначе? Разве могут создатели GENOCIDE ORGAN марать свои руки о никчемные релизы?
Итак, в самом конце 2006 года мануфактура TESCO выпустила очередной подарок любителям качественной индустриальной музыки - POST SCRIPTVM, американский проект с российскими корнями. Думаю, большинству наших читателей имя POST SCRIPTVM ничего не говорит, хотя для самой группы Raspad далеко не первый альбом. Ранее ее работы выходили на французском лейбле Hermetique, принадлежащем лидеру проекта PROPERGOL. Да и на этот раз без Джерома дело не обошлось – он делал мастеринг «Распада». Впрочем, слушатель вдумчивый найдет немало общего между музыкой PROPERGOL и POST SCRITVM – перед нами перфектное воплощение идеи так называемого «кинематографического эмбиента». Абстрактные звуковые полотна, представляющие собой искусную манипуляцию аналоговым звуком, сэмплами и самыми новейшими цифровыми технологиями, погружают слушателя в искусственную среду, которая пытается заменить окружающую действительность. Есть немое кино, а перед нами кино слепое – звукоряд без картинки, настроение без образов. Берите пластинку и включайте свою фантазию – это путешествие будет тем интереснее, чем вы сами того захотите. При всей концептуальной близости POST SCRITVM с PROPERGOL, музыка американской группы весьма и весьма оригинальна – спокойная, немного медитативная, вдумчивая, лишенная агрессии. Перед нами новая генерация индустриальной волны – эдакий post-post-industrial: канула в лету ярость панка, пропала агрессия первых опытов с жестким звуком, исчезла аналоговая прямолинейность середины девяностых – перед нами уже не переосмысление работ тех же SPK, а попытка побороть застой industrial сцены последних лет, ее пресыщенность и серость: интеллигентные опыты со звуком, кропотливая работа над композицией, педантичная шлифовка каждого из компонентов. Музыкант не ищет дешевой популярности, не заигрывает с «мясным» звуком, не пытается переплюнуть «монстров» безумным напором звуковой стены – он, словно паук, медленно плетет паутину, обволакивающую слушателя, переваривающую его. К этой музыке хочется вернуться еще и еще. Она не надоедает, с каждым разом раскрываясь все больше и больше. В общем, смею утверждать – полку хороших проектов прибыло. Ну, а слушателям хотелось бы порекомендовать не проходить мимо.
[8/10].


Terrorverlag:

Ein düster-mattes Artwork in kyrillischer Schrift, eine neue Veröffentlichung der Tesco Organisation. POST SCRIPTVM stammen aus New York, haben bereits ein paar Tonträger auf eher exotischen Labels hinter sich und praktizieren im weiten Spannungsfeld ambienter Klänge. Jerome Nougaillon (PROPERGOL) war für das Mastering verantwortlich, Ausfälle sind in dieser Hinsicht also nicht zu erwarten. Der Titel ?Raspad? bedeutet zu deutsch ?Zerfall? und wurde natürlich nicht zufällig gewählt, insofern auf den 6 Titeln das Thema der Dekonstruktion eine bedeutsame Rolle spielt.

Los geht es mit ?Crepusculum? und der Kombination von geisterhaften Funkwellen und weiblichem/ sphärischem Gesang. Eine recht eigenwillige Melange, die sich abhebt von pechschwarzem Ambient der Marke MZ.412. Hier wird innerhalb eines schwer abzugrenzenden Genres tatsächlich mal wieder eine neue Duftmarke gesetzt, indem man ?artfremde? Elemente integriert, ohne damit die stilistischen Gefängnismauern völlig zu durchbrechen. Bestes Beispiel ?Purge Echelon?: Rhythmische Arbeiterparolen im Einklang mit den metallischen Schlägen ihrer Werkzeuge lassen gar an ganz frühe NEUBAUTEN denken. Hier entsteht eine Dynamik, die man nur sehr selten im (Dark) Ambient anzutreffen pflegt, mag dafür auch ein wenig die ?Schwärze? weichen.

?Raspad? wird je nach Hörer zu unterschiedlichen Assoziationen führen, in mir baute sich das Bild vom Zerfall der Industriegesellschaft auf ? ?Metropolis gone forever!? Durch die vielen kleinen kompositorischen Details und den perfekten Klang eine Delikatesse für Ambient-Anhänger mit leichter Industrial Neigung. Chapeau Tesco!

TK (29.04.2007)


Absolute Zero Media:

The 1st time I heard this Unit was on there CDR on Somnambulant Corpse label a few years back. Odd Noisy Dark Industrial music with bizzare foreign loops and samples. This has a very analog and old world Industrial feel to it almost a Throbbing Gristle or Early Coil vibe. Then at time it what the early Noise guys use to do as well. Maybe this is more a homage then anything else. Simply this is kicking my ass very cool Audio oddities. It comes in a very over the top textured enevlope with several card stocks of different textures as well all in the old world black and tan colors like you would have seen in early 20th century. This release is of the highest music and presentation quality. Yet another stand out in the always growing American Industrial/ Dark Ambient scene.


Apostazja / J.W.:

Muszę od razu przyznać, że jestem dość mocno zdziwiony zawartością muzyczną tej niespełna 45-minutowej płyty. Oprawa graficzna (notabene rewelacyjna; niekonwencjonalne wydanie w czarnej kopercie, karty z ciekawymi ilustracjami, trochę tekstów?) natychmiast budzi skojarzenia z power electronics/noise. Takie właśnie miałem oczekiwania - powiem więcej - na taką właśnie dawkę dźwięków miałem apetyt, gdy wrzucałem krążek do sfatygowanego lecz zawsze wiernego Technicsa... Mamy tu industrial, elektroakustykę, sample? Generalnie rzecz ujmując, można to wydawnictwo śmiało zaszufladkować jako experimental music. Jednak jest coś, co odróżnia dokonania POST SCRIPTVM od wielu innych projektów brylujących śmiało po przestronnych salonach eksperymentów dźwiękowych. Tu się naprawdę COŚ DZIEJE! Są, rzecz jasna, pętle, nie wyobrażam sobie zresztą tego typu muzyki bez ich obecności, są wokale (przesterowane, a jakże), są wreszcie i noise'owe niemal eksplozje, ale przede wszystkim jest koszmarny niepokój. Uczucie niepokoju towarzyszy każdej minucie, ba! - sekundzie tej płyty. Właśnie tak: niepokój. Lęk, strach, przerażenie - te słowa w żadnej mierze nie oddają nastroju, który towarzyszy przy konsumpcji. Niepokój wydaje mi się jedynym adekwatnym słowem. Być może się mylę, jednak odnoszę wrażenie, że znaczna część tych dźwięków została przygotowana metodami analogowymi. Tu oczywiście châpeau bas dla twórcy (lub twórców) POST SCRIPTVM. To niestety rzadkość w dzisiejszych czasach nie poddać się komfortowi i - co tu kryć - zwykłej łatwiźnie jakie oferuje nieźle wyposażony PC. Jest ten old-schoolowy pazur, jest to mięsiste analogowe (albo bardzo sprytnie podrabiające analog) brzmienie. Jest ogólnie bardzo dobrze! Ogólnie rzecz ujmując: płyta dziwna, bo bardzo pomieszana; czasami może być zbyt duży natłok różnych stylów, tym niemniej bardzo, bardzo rozwinięta i, jak sądzę, przemyślana. Polecam tym o w miarę otwartych umysłach, ciekawych czegoś nowego, niekoniecznie poznanego wcześniej.


Aural Pressure / ANM:

I don't usually abuse my position as a reviewer on Aural Pressure but for the first and last time I'm going to. Hermetique? please re-release the Propergol CDRs "Un Dechainement De Violence" & "Cleanshaven". These recordings are missing from my life and I need them so badly it hurts. Thanks. Sorry Jo . I won't do that again. Promise. [I'll slap your wrists Al! ED].
The debut recording by Post Scriptvm was the CDR titled ?Gauze' on the Somnambulant Corpse record label. That dark ambient recording, although there were other different genres thrown into the mix over its far too short 36 minutes, showed great promise from this American artist but even I wasn't expecting how much he would up the ante with this follow up. The first thing that struck me was how clean and crisp the sound quality was throughout "Marginal Existence"s' eight tracks. Every note resonated with a clarity that made his previous work appear murky and muggy by comparison. This highlights his move into a more power electronics / experimental dominated phase and is fully welcomed with open arms. The electronics employed cut with a ferociousness of a surgeons knife removing a cancerous growth.
The first two tracks are a bewildering sample rich mix of sounds that appear and disappear leaving you wondering where its leading to. The answer is the maelstrom of track three that surges with a ferocious sound to wake the dead. Will the rest of the record sound like this you will ask whilst trying to regain your composure? This cunning artist knows his craft too well. What you expect to happen never happens. He hits and runs like a terrorist at an ambush. Forever leading the listener on a merry dance of confusion. Bang!?here's a quite piece dominated over by a sample that produces goose bumps before hitting the experimental noise button once more. He moves swiftly zig zagging into cover. Bang!?the build up of reflective ambience destroyed by throbbing pulsing noise and unfathomable voices. Unseen he begins his next ass ault?Bang!?another sample over an electronic beat foundation that is slowly pulled down into a degenerating shower of debris. Strike, retreat and regroup. The mantra of the skilled assassin. Make no bones about it "Marginal Existence" has the killers touch. You could compare the work to say later Brighter Death Now?even touches of Propergol can be heard here?but that would deny the artist his proper dues. The sound is pure Post Scriptvm working to his own methods and agendas. "Marginal Existence" is a no holds barred, no prisoners taken, recording that's totally electrifying in every sense.
Lastly?a quick mention must go to the packaging of this cd which is housed in a special black envelope with four enclosed picture cards and does the artist and his work proud. I appreciate any label willing to put that extra bit of effort into making the visual package as exciting as the aural experience to be found on the recording.


Aversion Line:

This is Post Scriptvm's second full-length, and the material was recorded back in 2002 ? 2003. I believe around that same time period I heard one track from this project on a compilation, but based on this release I'm pretty stunned that I haven't heard the Post Scriptvm name get mentioned more often. Contained herein are eight tracks of solid dark ambient/death industrial that builds upon pieces of the two styles' common foundations, but manages to come off as something unique in its use of very subtle musical smatterings and a slightly more structured approach to its repetitious cohesion. So expect everything from lush synths and ethereal ambience to rumbling low-end loops, machinated rhythmic sounds and industrial textures, generally tasteful samples, searing distortion, etc. On occasion the use of samples can become mildly problematic or overused (the frequent pitch-shifting becomes very tiresome and breaks up otherwise well paced tracks such as "Cadaverine Deficiency", for example), but there's a lot of potential here that points to this project becoming a force to be reckoned with. The third track, "Isolation of Sores", immediately becomes thicker and harsher than the preceding pieces, breaking in right away with throbbing distortion and some distant percussive sounds with a strange sort of low, grinding squeal. Like most of these compositions the song remains very largely consistent throughout its duration, but the way things flow feels methodical and focused, so that's not a problem at all. "Etch" even hits 10 minutes and takes a more ominous road, with fluttering hums and drones and outlying textures reminiscent of flies hovering over filth, eventually bringing in pitch-shifted spoken samples that have a specific narrative quality ? certainly making for one of the more disturbing outings of the disc. "Grey Rat in White Morgue" is another harsher piece, but it possesses a nice level of crude melody that adds a sinister atmosphere and makes for my personal favorite of the disc. "Crumbling Personae" is the only composition that I don't particularly care for, as its throbbing sounds and watery panning sort of clash with the aesthetics expressed elsewhere. The rhythmic feel is nice, but I don't really enjoy the effects or sounds through which it is achieved, and at more than six minutes this is also the only song that feels a little redundant (the latter half is definitely more effective than the former, though). The CD is beautifully packaged in a black envelope with a few cards inside (and one adhered to the cover). All of the imagery is done in a sepia toned black and white style and depicts high contrast photography of charred remains and burnt out buildings, with the disc itself attached to a card bearing some text about how animal byproducts can be processed into other materials. All of the printing is done on matte stock and the photography is fucking excellent. Overall it's an incredibly attractive package. The release is limited to 500 copies, so I imagine it will be available for a good amount of time, but I would suggest picking one up regardless, as sooner or later this material's gotta catch on out there. Nice work. With a bit more progression there's going to be some really strong output coming from this artist. "Grey Rat in White Morgue" is already excellent.  


Axess Code / Kether:

D'apr? le site d'herm?ique, Post Scriptum est le projet d'un homeboy de brooklyn, dont le second album a ??enregistr?et mast?is?pour Mr Propergol lui-m?e. Autant dire que je m'attendais ?une d?erlante harsh-no?e martiale dans la lign? de ? Renegade ?, l'un de mes albums favoris de 2004. Aucun d?our. Chronique frontale. Marginal Existense est un album d'exception. Pas un projet indus dark ambient de plus, avec infra basses au ralentis et sons bizarro?es.Marginal Existence est une approche, au plus pr? dans ce qui pourrait ?re? la mort. Le tour de force presque suffocant de cet album est qu'il n'est ni morbide, ni triste, ni sinistre, si provocant, ni suicidaire, ?l'instar de la pochette, gros plan d'un cadavre. Mais une photo qui n'est absolument pas trash, ni tir? d'un contexte historique d?ini, ni esth?isante.
Certains tracks ?oquent une plong? sans violence, malgr?quelques voix italiennes d?hirantes, vers la fin de vie, dans ? Warped in sickness ? par exemple ou dans ? In order of derangement ?. ? Etherized erosion ? glisse ?alement avec la m?e douceur retenue, battements de c?urs, crissements, nappes claires et venteuses. Comme une noyade consentie. Un d?? apais?
Je repense ?cet album de remixes de Sielwolf par Mick Harris de Scorn, qui ?ait dans une ambiance dub/indus assez semblable. Antechamber. Mais Mick Harris s'?ait arr???l'exploration de la chambre des morts, il n'?ait pas descendu aussi loin que Post Scriptum, qui, avec un respect absolu nous fait presque traverser la fronti?e de la vie.
D'autres groupes, dans le dark ambient, ont cherch?cette musique, beaucoup se sont perdus dans des m?ndres soit grandiloquents soit trop minimalistes. Marginal Existence ?ite les deux ?ueils et n'affecte aucune pause. Aucun effet dans cette pure po?ie de la mort, aucune notion qui puisse le rattacher ?un quelconque ? underground ?. Unique
La mort ne serait donc pas un silence mais un crissement ?h??qui se prolongerait au-del?de la cessation des fonctions vitales. Mise en son de la derni?e respiration, de la rupture d'an?risme puis de la d?omposition du corps, le tout sans aucun pathos, sans tristesse, comme une ?idence, un fait accompli. M?e la lecture m?ico l?ale de ? Cadaverine defiency ? ne fait na?re aucun sentiment de r?ulsion. L?er comme un suaire, d'une beaut?absolue. On approche de la grande clart? Requiem par del?l'industriel, le dub, le dark et bien d'autres genres, Marginal Existence est un album ? mortel ? dans les deux sens. Renvoi, sans brutalit? ?la condition ?h??e de chaque femme et chaque homme. Ni d?rimant ni glauque.
Serein et terminal.


Funprox / HD:

In a wonderful, special cardboard packaging with great, yet macabre artwork comes this album by Post Scriptvm, which I knew from earlier recordings on Somnambulant Corpse and Stridulum Recordings. This time the project from New York has found shelter at the French label Hermetique, which earlier brought us Propergol amongst others. Post Scriptvm really has evolved on this album, filled with noisy ambient and death industrial or whatever you like to call it.
The music is dense and claustrophobic, making you long for an entrance. The tracks are thick and heavy, though not very rhythmic and melodic. There's lots of distorted machinery and rumbling low noises going on, with suffocated voices in the background, unpleasant harsh sounds and various samples to enhance the atmosphere. The eight tracks are very solid and create an uncomfortable, ominous environment. There's also enough variation, thick and gritty noise creations are combined with bleak drone and sample-based soundscapes. A consistent, worthwhile album by Post Scriptvm.


Heathen Harvest:

Marginal Existence Is the second full length album by Post Scriptum following the bands debut CD in 2002 on Somnambulant Corpse and two 3? CDs released on Gasoline and Stridulum Recordings. Marginal Existence comes with special packaging that includes the CD wrapped artfully in a sealed black envelope and four separate cardboard cards that feature morbid and isolated images of abandoned buildings and scenes of industrial and urban degradation. The artwork on the cardboard cards is a fitting addition to the music and adds a visual reference point for the desolate and psychologically disparaging sounds found on ?Marginal Existence.?
The music of Post Scriptum is best described as dark ambient with old school industrial, power electronics, noise, and experimental influences. Marginal Existence does not fit neatly into any one category but rather stretches itself across a number of genres incorporating varying sounds into a catastrophic musical force that penetrates the listeners mind and undermines all sense of security and mental stability. The above-mentioned musical elements are carefully constructed into dark songs driven by morose frequencies, cascading noise, industrial noise assaults and unsettling sound samples. The music never settles into any given pattern nor is the narrative direct or predictable. Rather the listener is propelled through a sonic voyage of harnessed aggression, isolationism, and mental anguish. My first impressions of ?Marginal Existence? were that it invoked a sense of being inside the mind of someone admitted to a turn of the century mental asylum in Europe. The bombing blitz is occurring outside the shattered windows of the asylum and fighting echoes up through the war torn streets. The staff has fled to safety and you are left in near rubble alone with your delusions and scattered corpses.
Track 1 titled ?Warped In Sickness? begins the album on a austere note. The song begins with the sound of swishing static that skips respectively like an old album left on the turn table never be to retrieved from its repetition. A distant male voice speaks in a foreign language over the hissing static. After this brief introduction a deep reverberating drone is introduced that grows steadily in volume until it has consumed the whole of the song. The static stutters and gives way to the drone as tightly controlled industrial noise is applied to the drone. The manipulation of sound is expertly conducted allowing space to dominate amidst the harsh elements within the track. The various elements of drones, industrial noise and additional voice samples are held in a delicate balance as they shift and mutate. Differing voice samples dominate the track and various noises and industrial sounds weave their way in and out of the composition. The drone remains the steady elements as it loops and skips like the introductory static noise. ?Warped In Sickness? is quite successful at cultivating a dark and slightly schizophrenic atmosphere that holds the listener tightly engaged while still allowing room to breathe.
Track five titled ?in Order of Derangement? continues the dark psychological journey with a frantic track that incorporates a more stern and frantic energy. The track begins with various sampled sound of metal chains being moved about or some other metal object being moved across a wooden surface. These sounds only last shortly before deep industrial sounds begin to echo out of the depths and odd organ like sounds see saw through the track. The mood is bleak and hopeless as a solo drum begins to beat a solemn beat across the music. A heavy dose of industrial noise creeps into the song and steadily overcomes the other sounds as it consumes everything in its path. The noise is filled with static and evolves slowly releasing additional sounds into the fray until sampled voices yelling in foreign languages begin to penetrate the wall of sound. A repetitious siren like sound echoes from behind the wall of industrial noise adding a sense of panic and anxiety to the already tense soundscapes of screaming voices and apocalyptic noise. Just when each element has reached its peak and the listener is threatened with being hopelessly lost in the vortex the song decomposes and the torrid passes.
?Marginal Existence? concludes with the final track titled ?Grey Rat in White Morgue.? ?Grey Rat in White Morgue? begins with an expanding wall of sound that builds steadily into a goliath. The unforgiving sound is dense and impenetrable as it grows and evolves releasing individual industrial noises amidst a densely laden background of steady industrial noise. Though the music seems impartial, it actually imbues a sense of sadness and sensitivity as if you have found an exit from the asylum yet leave with the knowledge that you will never find an escape from your memories. The sentimental quality of the music is very subtle but detectable and is quite an achievement given the sheer brutality of the industrial noises. The song reminds us that though we have escaped we have left others behind.
Post Scriptum has constructed an impressive release that balances the delicacy of the human psyche and emotions with the sheer brutality of industrial noise and the foreboding gloom of dark ambient music. Rather than suffocating the listener in endless rounds of rumbling darkness Post Scriptum transports the listeners down a desolate road of mental imbalance, naked aggression and nightmarish soundscapes. The music is your guide but the journey will only be as harrowing as your imagination.


Synthesis / Troy Southgate:

Conceived in Brooklyn, New York City, this is Post Scriptvm's second full-length album. Released on Jerome Nougaillon's Hermetique label, the imaginative packaging is superb and closely rivals those produced by Chris Donovan over at Somnambulant Corpse. Wrapped in a jet-black square envelope, 'Marginal Existence' is accompanied by a series of grim postcards, each of which function like windows looking onto scenes of utter devastation and despair. There are archways of light falling upon desolate rooms, debris scattered through filthy hallways and thick woodland observed through broken glass. The cover shows a rotting human corpse, the macabre remains strewn across a dirty mattress like a discarded patient in an NHS hospital.
The first of eight tracks, ?Warped In Sickness', flickers erratically like a spluttering hosepipe of white noise, a barely-discernible Italian voice permeating the void like a semblance of reality in a world devoid of references. A hum increases in volume before descending into a pit of half-formed screeches and crackling rumbles. A female voice joins the fray, edgy and hysterical, like a recently-bereaved mother walking alone through the aftermath of a violent earthquake. More brutal samples appear, sounding like a cross between Caligua in a bad mood and Gabriele D'Annunzio auditioning for the latest Merzbow album. ?Etherized Erosion' is hollow and metallic, like someone emptying a bag of coat-hangers in a bowling alley.There is drama and suspense, the incessant flapping caught between a pitiless alarm bell and the mournful drone of an endless wind. This increases as the track goes on, systematically wearing down the final sinews of your mind like acid thrown in the face of a straw man. It's like taking a wrong turning and then finding oneself inexplicably stuck on a stretch of the M25. Avoidable and slightly uncomfortable, perhaps, but somehow you eventually find your way out.
?Isolation of Sores' sounds like a form of damage-control after a visit to a local brothel. The track itself contains high-pitched beeps, the unhurried chug-chugging of a steam train pushing its way through the middle of a radiophonic hurricane and what sounds like a general Japanese Noise free-for-all. Towards the end you can hear the sound of a solitary pick striking against stone, as the noise of the engine becomes isolated and slowed. ?Etch', I must admit, made me feel slightly uncomfortable, filled, as it is, with an unmistakably waspish drone (a personal phobia of mine which ruins all my best nightmares). There are more cleverly-crafted electronic effects used here, mixed with distorted American vocal samples which remind me of Endura's ?Bio Mechanical Soul Journey'. The theme concerns the story of a man taken to an isolated line of graves and being forced to simulate a form of burial. It's a fantastic track with some incredibly complex and original effects, a rattle of slamming doors or heavy footsteps ending in a climax of pure energy and vision.
?In Order of Derangement' is equally menacing, with aural cut-ups partially-formed and then sealed together with slow drumbeats and harsh swathes of pure Noise. Men and women yell in the background, although there is barely any space left to breath in this claustrophobic mish-mash of sound. ?Crumbling Personae' is a good name for this stage of the album and it's exactly how I feel about being forcibly deconstructed like a vital organ in the immediate vicinity of an exploding dum-dum bullet. There is a sense of rhythm about this track. It begins as a 2/4 beat flanked by slurred vocals and submarine-like beeps, but eventually deteriorates ? perhaps accelerates ? into swishing echoes and something approaching two electronic didgeridoos sharing a conversation in stereo. The whole thing burns out slightly after five and a half minutes, soon replaced altogether with the sound of gunfire, screaming children and what sounds like a broken extractor fan. ?Cadaverine Deficiency' employs more Italian samples ? albeit comparatively more sane and controlled than the predecessors - and howls of manipulated anguish. One of the strange pseudo-didgeridoos returns under an Eastern-sounding rhythmic barrage. Diverse frequencies come and go, spitting madly like a forgotten sausage left to the mercies of a furnace.
Finally, ?Grey Rat In White Morgue' is a torrent of formless power that seems contained like a dangerous lunatic in an asylum. In terms of volume and pitch the track manages to keep to a steady course, but inevitably breaks out towards the end before quickly gravitating towards a slow and dissipating demise. This is a pretty impressive album, certainly far better than most of the Dark Noise material I've heard recently and well worth a listen.


Wormgear / Scott:

This project is one of my favorites of the newer generation of Dark Noise, and "Marginal Existence" marks their first widely available CD release after a couple of limited CDR's. The first thing you will notice about this is the gorgeous packaging. It comes in a black envelope with a sepia toned card stock image pasted on it. Inside there are three additional cards like this, and the disc itself is affixed to a fourth card that has the album information. Simple but so nice. Post Scriptvm mixes unique Dark Ambient, Old Industrial and Death Industrial atmospheres with elements of melody and the end result on this new release evokes a genuine sense of decay. The artwork throughout this portrays decrepit building, and the feel here reflects that, though not just the buildings themselves, but the human history attached to them. There is a clinical and yet somehow dreamlike side to some of the tones and pulses, that is difficult to clarify but remarkably effective. It makes for a curious combination that leads the mind in several directions. The corrosive quality to the electronics is so crisp and then to that the layers of atmospheric texture, samples, and more organic field recording type sounds that reinforce the palpable decay. This is by and large a record that feels ambient yet is in no way passive, the shifting tones and layers hide and reveal new things all the time, and it is produced so pristinely that every nuance has a presence. "Marginal Existence" is a cohesive evolutionary listen that truly draws you in and commands that you pay attention to what's going on. The flow of the record is powerfully conceived and builds environments that are both expansively imaginative and claustrophobically uncomfortable. If you haven't listened to me any of the other times I have carried on about how good this project is, listen to me this time.


Industrial.org / Moron:

If sitting down to write a manual on composing dark and harsh ambient, I'd likely start with an evil looking pie chart with the larger slice labelled
"sound design" and the smaller one "placement". While melodic content has its place the hook here is not a catchy riff primed for crotch grabbing and air guitar. Nope, it's the sounds themselves that decide whether the atmosphere is acrid and dry or clammy and cold. In these days of cheap CPU cycles and seemingly endless sources of sound it is not so difficult to flesh out the pallette as it once was which means that the eyes fall to the smaller "placement" slice all that much quicker. It's lucky for us then that Post Scriptvm is a master chef with a well stocked cellar (everyone likes pie).
This 20 minute EP uses the format of the gods (3" CDR) and features some rather tasteful layout chops that suggest someone should be finding their way into desktop video, hint, hint. The recording is comprised of a single track which is tolerable but I think it wouldn't have broken the back to add a track marker or two since there is some delineation (though this probably only matters to those dissecting as opposed to just slackjawed consuming).
My initial impression here is of Wilt's 1940s themed release on Ad Noiseam. No so much because this sounds like that but more that Wilt's disc should have sounded like this excellent recording. Initially dust and cobwebs cloak warbling pianos from beyond the grave while and elderly man misleads the listener into entering the darkened halls of some abandoned and accursed building. The way the floorboards give out from under the initial sleepy charm is like a jumper who has changed their mind being pushed off the ledge unwilling. Once you start falling downwards you get to tear your nails on bursts of static, reversed vocal snippets, analog sweeps (tasteful always), the metallic clank of hooks and chains and a frustratingly smooth wall over reverb that is never close enough to slow your fall but always near enough to give you false hope.

The sheer amount of differing tastes and colours evokes images of the three store recycling stack that no one wants to take out but which continues to have more new elements delicately placed on it the the point of impossibility and imminent collapse. I'm not saying this EP is either over stocked supermarket or random chaos - not at all. I just find myself feeling a little jealous that Post Scriptvm can pull such clarity from his dense layering and with such apparent effortlessness. "Chapter V" is nothing short of perfect and for fans of darker realms a mandatory tonic for keeping one's cultural sanity.


Worm Gear / Scott:

This is part of a series of 3" CDR's put out by Gazoline a side label of Hermetique. It contains a single 20+ minute track. The music is a dreary,
haunted style of Dark Ambient, that is well layered and bolster nicely by a sparse bits of melody. Beneath the tonal drifts crash reverberating erosions and crumbles and the shifting of peculiar electronics. The sound quality is rich and deep, and the use of crisp electronics against the vaporous tones and reverb makes for a nice contrast. There are samples throughout that are pressed down into the mix that add yet another layer to the recording to further flesh out the atmosphere. There is also a nice bite to some of the grittier frequencies that gives this some venom mixed into the overall ambient feel to pull in some more Death Industrial type moments. Post Scriptvm is a project that has yet to disappoint me and are among some of the very best Dark Noise coming out of the States these days. This really is an exceptionally crafted piece with lots of movement and depth to it that does a great job of build sincere mood with a genuine sense of horror and unease. Finally I would be remiss not to mention the absolutely gorgeous packaging on this release. It comes in a black envelope with a full color panel on the front of it of a decrepit old building. When you open the envelope there is a single sided full color piece of card stock with what appears to be the fence network at one of the concentration camps. Affixed to that card is a CD spindle and the CDR is attached to that so it isn't sliding around loose in the envelope. The release is also hand numbered and limited to a tragic 99 copies. There is nothing about this release that isn't first rate. Really nice.


Funprox:

The second release of this dark ambient project from NYC, after a decent debut on Somnambulant Corpse. With 'Chiaroscvro' Post Scriptvm again delivers a solid release filled with darkest sounds. This new mini cd, with over 20 minutes of music, is released by the new Italian label Stridulum Recordings, which focuses mainly on 'unconventional sounds and noises'. This is the second release of the label, after the excellent album by Apatheia, which I will review later this week.

The first track on 'Chiaroscvro' is a short introductory piece, with vague industrial rumblings and more ritual and exotic sounds, directly creating a lot of atmosphere. The second of the apparently untitled tracks is a fine piece of very dark ambient, with deep drones. Hidden in the background various machine-like sounds can be heard. Low whispered male vocals fill in the voids. As the track evolves it gets noisier and more industrial, taking you deeper into the factory. The bass becomes so low that my speakers tremble. Track 3 is another short atmospheric piece, going further where track 1 left. Towards the end it gets rather nightmarish through the distorted otherwordly voices. Finally there is a 10-minute track, which is a good piece of death ambient, dark and scary, with some sudden turns. Don't listen to it when you're home alone...


HMP:

Seconda uscita per la Stridulum records, giovanissima label di cui abbiamo già recensito l'ottimo "Lifethesis" degli Apatheia. Qui il genere cambia radicalmente e ci troviamo nell'ambito industrial-ambient con i Post Scriptum di New York (Brooklyn, per l'esattezza), un combo davvero interessante per la capacità di creare uno scenario realmente claustrofobico nel suo incedere a tratti asettico/meccanico a tratti marziale. Già usciti su Somnambulant Corpse Recordings con "Gauze", i Post Scriptum ci presentano un mini cdr composto di quattro brani da fruire, già nella volontà dei due musicisti, come un unico momento sonoro. Il cdr si presenta in un mini jewel-case davvero ben realizzato che sposa benissimo il meccanicismo delle composizioni (quasi si trattasse di un dischetto da utilizzare nel pc per dar vita a chissà quale tecnologia avveniristica) ed è, come nel caso di Apatheia, una edizione limitata e numerata in sole 100 copie. Anche questa uscita della Stridulum ha un suo ben preciso motivo di esistere e riesce ad attirare l'attenzione dell'ascoltatore, inserendosi in un ambito dove facilmente si rischia di scadere nella sperimentazione sterile e nel pressappochismo noioso/fastidioso, evitando questi ostacoli ed al contrario segnalandosi per una personalità davvero interessanti (non solo nell'uso di drones e suoni bassi, ma soprattutto nei disturbi/campioni inseriti nel contesto delle composizioni). Anche la scelta del minutaggio ha giocato a favore dei nostri, rendendo snello e non ridondante l'effetto finale.
Speriamo vivamente di ritrovare al più presto i Post Scriptum con una prova più corposa



SDC / F. Paco Gonz?ez:

This is an interesting project New York that made their debut with a CDr release on the Somnambulant Corpse label. With this new disc, they reach new audiences thanks to the fact that they are given an opportunity through the Italians Stridulum. This limited mini-album contains only 4 tracks, and in spite of being a CDr, it looks rather professional since it comes in a jewel case with full coloured artwork.

Post Scriptvm are practising a style based on dark experimentation through rather descriptive music full of details that made it quite attractive. The four untitled tracks start with a short introduction made up of wind sound with soft noise accompaniment and other little components drawing a dark cloak as a first path towards a new longer experience. To make it even more metaphoric, we can also hear a string melody as if it were coming from a traditional tune. This rare overture put the listener within the appropriate path for a really sinister piece. This is where their music accentuates its potential; drones are evident but along the journey an important variety of images composed by very detailed sounds can be found: unintelligible voices, low modulated frequencies and noisier loops to increase the general disturbance. This second cut started subtlety, as giving more importance to littler details, but later it changed almost drastically with a progressive sound forms adding. It becomes a rather powerful piece abandoning its initial atmospheric intention; soft drones are turned into rumblings aided by a variety of loops.

I would affirm this disc is conceived as a unique journey divided in four parts that obviously has a lineal connection. Thus, third track is an interlude of one an a half minute that has a similar function to the prelude, even, we hear again that strange tune that seems to be out of place, in the best sense of the term, of course. Last cut is again a long voyage, and in my opinion the most interesting one. A fairly slow pounding bit, like a harrowing step towards an unknown place, composes its essence. Like in the second, again selected details portray little images and the atmosphere is increasingly becoming more surrealistic and rare. It seems like we were witnessing strange experiments inside a laboratory of horror. Again, low frequencies interfere over the general dark spirit, which is augmented by the permanent pounding and the chain of noise sampling.

As I haven't listened to their previous album, I would like to know how the project evolves in a next, probably a new full-length work. I think ?Chiaroscvro? brings a concrete idea developed through a special conception of ambiences, sound manipulation and interaction, but it is probably too short to judge a musical entity with a lot of possibilities.


NULLL / OS:

Flesh is weak, and human life is so ridiculously frail?

You wake at night, screaming, but the nightmares you had believed you have escaped from follow you into the waking world.

You stare at night, dreaming, at the wall that crawls with phantasmagoria which was summoned forth from the depths of your unconsciousness, unveiled by the fever that rages inside your weakened body.

You tremble at night, weeping, because the fabric of reality has become suddenly transparent, and you feel you might reach through the haze and accidentally tear the thin gauze that separates you from insanity.

POST SCRIPTVMґs short but formidable effort has the same hypnotic and overwhelming power as a strong fever dream. It hauls you into a contorted world of loose association, an industrial landscape in which humans lose their form and randomly merge with animals and bizarre machinery, where perception is warped and hours flicker by in an instant.

Illbient soundscapes are enriched by powerful voice samples ? looped, distorted, delayed or reverbed, they serve as the voice of madness, contrasting and also supporting the semi-industrial ambience.

This whole album radiates a strong grotesque atmosphere. While sometimes disturbing, the music is highly compelling and one gets easily absorbed in the weird, perverted realm of ?Gauze?. Highly recommended.


Funprox / Hans:

I only knew this act from the Outsider compilation (see earlier review), now they have released their debut cdr in a nice looking dvd box. Post Scriptvm from Brooklyn creates a dark ambient landscape. A dark soundscape with diabolical laughter and twisted choirs immediately gives you an uneasy feel. Track two, 'Trepan', sounds more industrial, with noisy distortion, metal percussion and weird sampled voices, reminding me a little of Megaptera.. 'On the brink' is rather minimal, but its low frequencies cause trouble for my loudspeakers... 'Pore' starts with the sound of an alarm-signal, perhaps warning for an very dark ambient track. 'The binding' really is an unnerving, painful piece. 'Vox calamantis' starts with some underwater sounds, and then evolves into a very nice soundscape, with a lot of tension. 'Gentle diversions' lasts over 7 minutes, with strange scraping sounds, a storm blowing, low frequencies and staggering rhtyhms.

This debut of Post Scriptym is of pretty high quality, with a good combination of ambient and industrial elements. The music on this cdr has enough variation and a fine dark atmosphere. You can listen to some of the music on the band's mp3.com page.

8/21/02


Corridor of Cells:

Somnambulant Corpse Rec. is a brand new CD-R label that specializes in experimental/industrial music and seems to be quite focused when it comes to the quality of their releases (both visually and musically). I dare say this (presumably) hand-made CD-R is better looking than most regular CDs, as it comes in a DVD-style package with a graphic cover and a beautiful glossy label attached to the CD itself, very impressive in terms of packaging. Musically, Post Scriptum perform an extremely creepy brand of dark ambient/death industrial that should appeal to fans of bands such as Archon Satani, Brighter Death Now and maybe even Lull. Most of the tracks are rather understated, relying on subtlety and skill to get under the listener's skin. Post Scriptum construct their pieces from a varied mixture of drones, analogue sounds, post-industrial samples, strongly maintaining a claustrophobic atmosphere at the same time...thick with an uneasy sense of a catastrophe about to happen. They very skillfully blend in samples of speeches (incantations? threats?) in various rarely heard languages (Russian, Arabic, etc.) which adds just a very uncomfortable, tense feeling. The term "dark" seems like an understatement when describing Post Scriptum's style, so I have to admit being quite impressed with both the variety of approaches evident on this CD as well as the underlying quality of their work. A very promising newcomer to the experimental/death industrial scene. Visit www.somnambulantcorpse.com for ordering information.


Industrial.org:

This is the second soundscape oriented disc I have received from Somnambulant Corpse and as the previous effort, this disc proves to be an interesting aural descent. Post Scriptum are pretty firmly planted in soundscape territory but unlike dark ambient acts like Monstrare which focus almost strictly on tone and ambiance, these folks concentrate their efforts into discrete events and found sound. There are of course underlaying pads and the odd bit of floating chordal motifs but these are pushed well down into the noise floor by more positionally immediate audio disturbances. Nothing here is distant really, the religious chanting of "trepan" has the listener raising their hands to keep the fanatic's spittle from touching their lips and even calmer pieces such as "pore" still make their presence known as an ashen wind through your hair and uncomfortable secrets whispered in your ear by an unseen form.

The disc is comparatively short for this type of material, reaching 36 minutes spread over 7 tracks. I hear a lot of Nurse With Wound in this release but from a darkened and almost death industrial vantage point, still spooky and all but just that little bit meaner and direct most of the time. It's no where near as unforgiving and caustic as say Vedisini but likewise, it tends to be a bit more subtle with its malaise which can reach some emotional crevices that more brash material cannot. As mentioned previously, instrumentation is centered around manipulated found sound with the bed formed out of discrete tones and textures instead of pouring on the reverb like many other acts are want to. Captured voices are mutated into long dead emanations, fragments of orchestration are bounced along delay lines and a lot of black water flows between the tracks. Mainstays like filter swept white noise and long reverb decays appear but the excellent mastering job has pushed these strangely into the foreground which gives them a certain immediacy, perhaps just slightly at the expense of creating a sense of aural space. There is also a lot of variation between pieces, movement quite important to the surge and stall and all of the tracks mostly succeed in dragging the listener through torrents rife with suggestion and experience. Post Scriptum have chosen to use progression instead of overall density and for the majority of this recording this proves to be a wise choice. The only real exception is the bit of lurching slowdown that creeps in on the last track "gentle diversions" - it's dependence solely on delay manipulation becoming a tad pedantic well before the closing clock ticks.

"Gauze" sounds quite a bit like a live recording, like being immersed in a real-time psychosis simulation. Repeated listenings have tended to increase my satisfaction with it, with fresh compositional elements becoming apparent with raised familiarity. While there is a simplicity to some of it, this allows the chosen elements room to expand and works well towards the ultimate goal. Except for the final track I have no real complaints and as a companion to the label's other releases this disc proves worth your trust.


SEVEN / JC Smith:

Post Scriptvm create ragged dark ambience full of trepidation and strangeness, as scratched into the flesh of weird, dimly lit corners of aural resonance. It seems as though the Somnambulant Corpse CD-R label has chosen this region of strange sonics drenched in dread as their focus; well, since they're getting it right, they'll get no complaints from me. Jagged metal rubs splintered bone on the opener, "Cunctator," while tension synths and quirky samples (what are they laughing about?) create a patchwork of discomfort. Sirens wail during "Pore," followed by nervous, reverberant voice samples, and trekking through mud percussion. The sounds are dissected by rumbles and screeches and a general sense of insoluble distress, sinking into a machinery clank ambience. I am reminded of early BDN, not bad company, indeed! The scraping of spades (shovels to those of you not digging graves) opens "Gentle Diversions," followed by electronics that spin and hover, and manipulated voices stuck on gurgle and confusion. And then something undefined gallops into focus; "On The Brink" loops some glitchy tapping sounds, adds ever looming synths and some unknown scavenger birds that sound agitated as they await their spoils from the body on the desolate beach that is about to die; a body having succumbed to the audio dread at hand. Though there's a tattered, imperfect feel to the music, I am inclined to find a certain charm in the all-around presentation, the balance of ambience and noise(s) littered throughout. A very worthy venture!


Ortus Obscurum / Ectonaut:

General Facts: Post Scriptvm comes from the United States and was formed in 1999. Gauze is their debut CD. Prior to it they have appeared with a track on the H.P Lovercraft tribute compilation The Outsider on Somnambulant Corpse Recordings.


Review: Gauze is a Dark Ambient/Industrial release of a quite uneasy and disorderly nature. It is mostly composed of cleverly arranged samples and low drones creating a tense, very dark atmosphere.

It is a very varied album. The second track for example presents a very unorthodox blend between playbox melodies, Arabic(?) speeches and a shipload of impetuous harshness. On the Brink on the other hand is calmer, though when heard at higher volumes, it sends out very delicate vibrations throughout the entire room in a most magnetizing fashion. Vox Calamantis starts up with some sampled sloshes of water that eventually moves in order to give room to a slow rhythm, drones and a sampled Russian voice.

The final track Gentle Diversions is composed of several layers of drones that send out some very powerful, oscillating vibrations when heard on high volume. The track grows even more powerful toward the end, with the drones becoming more violent before they suddenly disappear and the track ends, unfortunately a bit to abrupt. I think this is somewhat a problem since it often feels as if the tracks on Gauze ends far too soon. Often it feels as if the atmosphere suggested by the various tracks on this CD has just been established when it is dismantled and replaced by a new one. Even though the material on this CD is often great and it certainly has a very refreshing degree of originality, it sometimes feels like the endings of several tracks could be made better.

Generally the album is also maybe a bit short, on the verge of being an EP with these days standards of CD playingtime. Nevertheless, most of the tracks suggest that Post Scriptvm has potentional and several interesting ideas up their sleeves and it's an enjoyable listen while it's on. I hope Post Scriptvm will get the opportunity to expand and further develop their ideas in the future.

Fans of Schloss Tegal and Megaptera and other likewise Industrial/Dark Ambient projects with an appetite for more should look out for Post Scriptvm.


Beauty & Pain:

This release is mind numbingly dark industrial in very horror based style. The vocals are not from this dimension . There are slight neoclassical and chanting passages in the mix as well. The rumbles and noise begin to fill in the Cd as it progresses as well. This is one stunning fucking release. Not to mention the killer DVD case it's housed in with the very fitting medieval artwork its wraped in. Don't let the invocations get to you to strongly or you maybe lost forever. I await this artist next CD with baited Breath.


LD50:

We played it in the rain, over and over again, slowly and quite painfully. The walls were whitewashed, the plants in the windows streaked themselves white in seconds and then fell, leaving only ashes, Post Scriptvm was the score to the clouds and the cacophony of the torrent's raindrops outside. "Turn it off", she said, suffocating, "it strangles my neck, physically." Soldiers play with their victims among the debris, did we load the gun or did we not, will your head turn inside out now or just five minutes later? - that's Pore. A candle flickers to life in a wave-struck hut, as the flames bite the walls, the old Icelandic fishmerna lulls a strange song and grabs the ragdoll even stronger - that's Trepan. Brooklyn-based Post Scriptvm formed this concept LP around the superstition hidden behind science and the tortures disguised as cures for undiagnosed diseases. For me, for me this whole album is a glance upward from a head shattered to splinters, taking in the view of a blood-and-dirt-stained boot, moving incredibly fast.


M.O.N.A.S. webzine / Roy:

I got to know this US band from mp3.com and later I saw that they got a deal on SCR so they ended up on the "The Outsider" compilation (see elsewhere) and here is the first cdr. Rather short (36 min), but in a nice DVD box like other SCR releases. Post Scriptvm makes pretty dark ambient with extremely low frequencies. The music is quite monotous, but just not too monotous to become boring there are industrial and noise elements to be heard as well.

So, get in contact with the young and interesting SCR recordings, visit their wonderful page and learn about the music they release. So far they have been worth it, so who knows what the future will bring?

31/7/02


Worm Gear / Scott:

This is a nice looking CDR release in a DVD case from the increasingly impressive new label Somnambulant Corpse. "Gauze" is a hazy swirl of dark ambient, subtle ritual elements, esoteric samples and mild death industrial textures. The deep tones and the cryptic vocals samples and chants combine to make some truly eerie atmospheres. They are foreboding and even surreal at times and in that regard truly help advance the premise of the disc which seems to relate to primitive science and the crude beginnings of medical treatment. The music is subtle and spacious, but weaves it's elements well and stays engaging in even it's most minimalistic moments. Very nicely done collection of dark ambient tracks that does their theme justice.