[Reviewed by: Iaha Crax]
Negru Voda remained Peter Nyström’s personal project after he decided to end Megaptera; he released a few records among which “Dark Territory” and “Dobruja Region” are fine examples of his extreme approach on electronics. He simply takes the massive and haunting power electronics drones of Megaptera and treats them in a rhythmical style with flavored touches of brutal industrial.
Malignant Records contributed to the revival of the project with the “Våld de Luxe” promo and now this split that is marked by a minimal albeit savage death industrial. It starts with “Still Death”’s oppressive drumming low bass ending in a completely crunched disarticulation, and then Negru Voda searches on “Different Layers” some misconducted articulation of sounds tending to exude an undifferentiated melodic cryptogram. The flow rate of the noises is always constant, only once in a while unestablished by slackened elongations of these abrasive death-fuelling drones.
Negru Voda bears more in common with powernoise and death industrial projects because of its tendency to fervent, amok drumming. “Der Scharfrichter” makes use of this paradigm akin to Manufactura, Esplendor Geometrico or Melek-Tha: drum machine entertainment music for factory Sabbaths. The Russian speech opening the track fits sarcastically to this social imperialist anthem of calling to work the labor mass of perfectly responding machinists. The industrial era established new entertainment paradigms for the new hybrid worker. Nature has lost its influence upon the inner human rhythms, and allowed the machines to take their hold.
Instinctively man feels and strongly reacts to the environment around him. He is “Inside The Broken Machine” and unable to see a solution by himself. It is such despondent feedback that the artist uses to voice the present state of mind in the aforementioned track: cold BDN collages of steel despondency.
“Distorted Warfare” is all but a raw manipulation of what could have been a pleasant rhythmic movement: the old industrial frame is tortured and submersed into dense layers of drones, resulting in some unbearable alteration of the insipid easy-listening.
Knös completes the disc with 5 tracks quite different from Peter Nyström’s work. The titles are in Swedish and the whole ambiance is calmer and far more introspective. “Fasanfull” explores cavernous territories of minimal noise atmospheres and “Mörda Ofta” pictures bleak, almost demonic passages, akin to the second period of Mz.412. In fact, I find here as an ominous influence some works of Nordvargr, because of the way Knös gathers and manipulates harsh abrasive sounds in a delicate but intense manner. Here and there (mostly on the third track, “Slå Ihjäl Dig”) he samples bombastic gratifications, psychotic vocals and rumbling electronics. “Du Har Fan Inget Ansikte” is reminiscent of Haare and the final track, “Tänk Om Jag Vore En Elefant”, contains some simple, melancholic ambient-noise passages. Thus, a project of fine, intimate death electronics worthy of consideration.
A fine meeting of an old sound experimentalist with a young noise researcher resulting in a disc that demands a positive response from those of us in need of dark-sounding music.