Genetic Transmission ‎– Last

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[Reviewed by: Iaha Crax]

After 20 years of musical activity, Tomasz Twardawa has decided to end his musical career with this last offering. He left a deep mark on the Polish and perhaps the European scene, by his authentic treatment of unusual electro-acoustic sources, his sound collages created from only analogue sources and recorded without the surgical assistance of a computer.

There are 15 tracks on the disc; unnamed and unpretentious, they can be played in no particular order, because there is nothing to be disturbed, as succession or chronology are absent. Tomasz Twardawa reverts to the massive use of contact microphones connected to any imaginable sound source. During track 15 for example it’s chains, metal sheets, brushes on cement, colliding boxes connected to some outsource, thus giving sound to an incredibly resounding outburst. This one is particularly reminiscent of Luigi Nono’s tape recordings. The mastering executed by Marek Marchoff is both subtle and excessively powerful, exceptional for this type of industrial music. The Polish artist seems to be himself connected to wires, moving hazardously in a completely sunless room filled with metal bars and water holes, the sounds of which track 5 or track 14 retrace to our mystified ears.

The devise on his site, Surrealist Art Bruit, fits reverently the impact that his manipulations have on one’s psyche; take a listen at track 7, where control of oneself gradually fades, as the colossus of dark atmospheres reaches a pitch of lava-morphing trance. Attachment to objects is progressively lost through this reduction of matter to primal essential sounds. Tomasz is like Prometheus stealing the core of materiality and abstractness to deliver it into another reality, one composed of energies (playing loudly on track 1) and alternate time-space relativity.

What is interesting from an industrial perspective here is that Genetic Transmission succeeds in its task of spiritualizing the machine; his sounds are not the cold, brutal denotations of a factory or urban space, like maybe on track 2. Tomasz Twardawa animates metal, steel and who knows what other prefabricates, all of which begin to pulsate in front of our eyes. This haunting, ring-armoured Frankenstein walks behind us on track 8, as if it were our own shadow.

Every track seems to have an inexorable rise in pitch, and an occasionally tortured manipulation which forbids any moment of rest; track 9, at first thought fragilely articulated, starts throwing glimpses of noise-waves, so that you feel yourself being adrift in an oily ocean after a storm.

Albums like this transport the listener to levels beyond the simple entertainment value of music. The exceptional, controlled force of sound discloses an inner connection to phenomena, internal or external, and the vast, accentuated discrepancy between massive sounds (like the using of a metal box as a bell on track 11) and subtle crawling noises gives rise to the perception of supersensitive presences. Moreover, tracks like no.10 or no.3, have the power of an evocation, bringing forth the signature meaning of the objects that are being used now for their acoustic features. Tantrism considers Shakti (feminine aspect, consort of Shiva) as sound, verb and energy, aspects that can be awakened by repetition, the repetition of a mantra, like that rumbling on track 12.

Julius Evola wrote in “Yoga della Potenza” that “the mantra’s scope is to return the word to a state where the name no longer evokes the image of an object, but its power”. In many aspects, Genetic Transmission possesses the knowledge of this alchemy and makes of us a part of his incantatory laboratory through his last work, superbly prepared by Maciej Mehring and Zoharum.

Genetic Transmission ‎– Last
Zoharum, ZOHAR IYHHH 009-2
CD/Digital 2015

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