[Reviewed by Iaha Crax]
After releases on Freak Animal or Eibon Records, Control signed with Ant-Zen and this is the first record for the German label. Personally, “Natural Selection”, “The Means To An End” and “World Of Lies” are the records that I truly experienced in my auditory night shifts. For the music of Control is one to be mentally practiced: it is a sound meant for cognitive reaction and as such a subsidiary to aesthetical terrorism values promoted through music, that are meant to be physically practiced by the likes of Genocide Organ or Brethren.
Thomas Garrison is far from being a friend of the human race and seems to approach society with a resistance similar to Molière’s character from The Misanthrope. His anger and disgust are reactionary movements intended to change human habits. With this view in mind his struggle is no less reactive and produces collateral damages, because his victory cannot be fulfilled without violence. The record’s first track “Victory Equals Violence” sets forth the ever -renewed sense of disaster he wants to create with his sound manipulation: a torturous PE retuning of Bizarre Uproar and Grunt in one alchemical, masterfully controlled operation.
“The Resistance” moves from a dystopian menacing sound reminiscent of Nordvargr’s track composed for Thee Maldoror Kollective on “New Era Viral Order”. And it slowly progresses towards an intolerably dramatic harsh electronics discourse that becomes an appalling statement of accusation. It uses extreme musical devices of uncanny sensitivity, which can only be conveyed by artists who have managed to transform their inner pain and revolt into a personal style (Navicon Torture Technologies). There is a genuine dialectic played on the opposite terms ‘hard’ and ‘soft’ that produce both technically (musically) and thematically (psychologically) a tableau of frustrating, ambiguous nuances.
Resistance is an act based on sacrifices and renunciation, a state that demands blood in order to be maintained. “First Drop Of Blood” catches this kinematic viscosity by fierce menstrual noises conditioned under reverberative spine-chilling loops.
“Disgraced by this race” is composed with deranged fluctuations of sound, strongly industrial and with an impressive impact force. Here too, the vocals retain the declamatory spitting from Slogun, but the structure of the track is elegiac and so all the more irritating. The musician takes full inspiration form his conviviality with “the vilest worms” and puts forth a confidential testimony. In “Fuel The Fire” the composition seems to be derived from a more rhythmical performance, but Garrison rapidly returns to his trademark harsh aural atmosphere. The track beautifully moves from implosive rumbling sounds to an explosion of Merzbow-nian harsh noise.
Quite different in approach, “Before The Fray”, is an illustrative track combining industrial/ ambient and concrete music. The whole picture is one of mind-absence and a feeling of the upcoming horrors, a prefiguration of the madness to come. “Total War” brought to mind a black metal project I very much considered for its rudeness, War, and even if the music here is, from a technical point of view, totally different, it still creates a feeling close to Abruptum’s free demonic improvisations: a devastating sonic image of savagery and death. Atomic energy displayed with maddening percussions, hysterical vocals and down-tempo electronics.
“The Solution” ends the record much in the same manner as “Total War”, with dissonant upheavals of sound registering from cinematic melodies to chaotic sound conflagrations. However the pathos here culminates in an outburst of repressed energies that sound like a suicidal cataclysm.
Once more Control produced a record to be remembered, not due to its innovations or craft, but for its capacity to disturb and alarm.