[Reviewed by: Iaha Crax]
In 2003 I.corax and Karjalan Sissit performed on the occasion of the 5th year celebration of KMY (Kuolleen Musiikin Yhdistys) or the Dead Music Association, located in Turku Finland and working to promote industrial music in the country of the 100 lakes. They had on scene the best of (mostly) Nordic noise and ambient artists.
I.corax created this album to be played on that event, and this is a recording of the live rehearsal that preceded it. After its first pressing on Blue Sector in 2003, it has been reissued in 2014 by Aural Hypnox.
The songs are ordered in Roman numerals from I to VIII, as part of the other re-releases on the Finnish label. I have always appreciated in I.corax a special daintiness in coping with the raw material they are using: field recordings of natural sources, sounds created through special wind or percussive instruments. They truly animate the space around them with a particular sense of the natural. Passing from shapeshifting concrete loops on the first piece towards a daring hypersensitive ambient on track II, where they constantly swift the relation between distances and representation, the Finnish duo unconsciously provoke and perplex the listener. However, the sounds are being developed in such a spontaneous flow, that you are mentally walked about bleak and musically discomforting areas as well as through eerie, dazzling nebular frequencies (as in the next III and IV somnambulant dirges) within compositions infused with the same plasticity, space and volume.
There is an obvious continuity between songs as the debut of each one is developed on the tonality on which the former had ended. Like on other Aural Hypnox related projects, the deepness of the landscape is being discovered gradually. Circularly moving sounds are leitmotivs (like the dying fragmented voices on V) serving to anchor the mind against a hypnotic fantasy, while the real intention of a song resides in the metamorphosis of the regular perceptions (de-regulated by mantric processes on VI). On VII the common noises you can hear on a spring night, perhaps in the vicinity of a lake, are impregnated with mystical hues of colors becoming more and more dissolved and unrecognizable as they transform into a smoothly streaming acoustic presence on VIII, the final piece.
The resuscitation of this old golem of sounds is all the way harboring, and gives the possibility to exercise oneself into coping with genuine, worthy ambient records. And by all means, it’s an experiment in musically receiving the projections of the Old One.