[Reviewed by: Iaha Crax]
I first encountered Dødsmaskin when they released “Fullstending Brent”, a conceptual power-industrial album narrating 17th century witch-stories from Northern Norway: a pyre of crude and strange notes.
“Fiende” comes this year under the Cyclic Law banner, in an edition of 500 copies, enough to reassure the few fanatics of the explicit influence that brutal electronics can have on senses. Particularly when Dødsmaskin imposes a clump of abrasive textures submitted to a ferocious and, all the more, meticulous treatment. The listener is dragged within an architecture of geometrical noise-designs with throbbing movements.
Five tracks of different coloration interfere practically with cerebral function and reshape thoughts as elements or knobs into a web of self-analysis. “Syndrom” slowly brushes at the surface of the mental like a piece of sandpaper and “Konsekvens” unleashes military percussions urging out the radiance of undisclosed thoughts. Dødsmaskin has concocted an unpredictable musical text despite its alleged redundancy. “Den Nye Doden” pulsates with a shape-shifting energy translating noises through different pitch levels and rhythm pace. Needless to say how unrecognisably the listener is captured inside this colossal drama; percussion recaptures a primitive and demonic stanza which accommodates incredibly with the modern–industrial rawness.
The shaman was used to sing and beat drums for the purpose of maintaining his power. The two Norwegians from Dødsmaskin work out reversely, they let loose this power of the electronic gears and cast it out upon the world: “Blod Fra Helvete”, blood from hell. Cleansing and purging through music (like the music of Trepaneringsritualen), descending inside the guts of the mental connexion (“The Infernal Age” from Ex.Order) and infiltrating through dimensions of evilness (close to last Nordvargr, “Metempsychosis”), Dødsmaskin explores the dark recesses of industrial-electronics and touches territories beyond the genre, like on the final track “Posthum”.
Maybe ahead of its time, “Fiende” announces the sound of future power-electronics and discloses the new enemy man will have to face (besides himself) in the form of his own creation, A.I.