Tuesday, October 24, 2017

Pineal Neuron Trauma – The Story Of… (2017)

  • Post-industrial 
  • Avant-garde 
  • Dark wave 
  • Electronic music 
  • Drone 
  • Experimentalism 
  • Dark ambient 
  • Electro-acoustic 
  • Psycho-acoustic 
  • Leftfield 
  • Illbient 
  • Neoclassical 
  • Noise 
  • Experimental electronica

Comment: it is one of the most voluminous if not the most voluminous release having ever been appeared at RMH. It clocks in at a 197 minute (based on the set of 24 tracks) which exceeds more than 3 hours of pure music. The reason is actually simple – it encompasses all the sounds having been produced by the artist. The status of the combo is unknown due to health problems, and collaborative disagreements between the members. The only constant member behind the project has been Tim Van der Schraelen from Antwerp, Belgium, and the members also have been Mattia P. (Italy), Theofil Tsiolakakis (Thessaloniki, Greece), and Joseph (Athens, Greece). In truth, a couple of tracks are added as the oeuvre by Drowned In The Sewers (a collaborative act between Tim, and Theofil). Contingently I tagged the music as post-industrial (among many other tags) because it is a contemporary example of industrial music though by its attitude, approach and characteristics of sound it may even more remind of early old school industrial and noise music acts like Zoviet France, for instance. Second, it also comes very close to neoclassical and dark wave artists because in some tracks the soundscapes are loaded with ominous and depressive seeds and even sickening milieus reflecting upon the shortness and decay of the human being`s life. Indeed, that has always been a moral statement of such sort of music. Given the extent of time, and the nature of music the listener can be very sure to be flooded by intriguing sounds and obscure and morbid moods of different kind. Experiments with disparate timbres and varied rhythms. And you should be warned again – it is very far away from an innocent fun. It more a kind of music providing you a stark accompaniment while walking through a catacomb or a graveyard. Such sort of sound (I mean noise music) is universal in a way because it used to incorporate so many sounds within it (lo-fi, spoken word, sample-based music/plunderphonics, electronic music, drone, improvised music, ambient, electro-acoustic) and while needing no any further categorization and explanation. It is more about the method rather than about certain sounds. The style is being an all-devouring phenomenon. The prodigious issue both by its physical, psychic and intellectual extent is a part of the discography of Etched Traumas, the imprint headed by the same Joseph being mentioned above.   
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