24.6.: Sink (finland) & Do Shaska! v Chapeau Rouge
O Sink se po stránce faktů nedá říct mnoho, skupina se před pár lety v tichosti zformovala ve finském undergroundu a jedinou komunikaci s vnějším světem představují nahrávky. Jejich poselství by ovšem nebylo záhodno přeslechnout – patří k tomu nejzajímavějšímu, co z odvrácené strany Skandinávie v posledních letech přišlo.
Od nesmírně surové kytarové řežby debutu Hexagon (který je na jejich stránkách dnes volně ke stažení), kde se daly vystopovat vlivy sludge, extrémního stoneru i black metalu, je aktuální album The Process celkem odlišné. Koncepčně postavená deska tvoří monolit, jenž nasál širší spektrum zvukových experimentů: vokály už nepřipomenou rašpli nejhrubšího ražení, ale hrdelní mantry, a většinu desky spíš napjatě posloucháte pokřivené cesty zvuku tichem. Ovlivnění „divným“ postindustriálem let minulých je též patrnější (střípky od Hafler Trio, Randy Greifa, Nurse With Wound, apod.)
O vydání se postarala dvojice labelů, industriální Kaos Kontrol (mj. Tiermes nebo Reutoff) a na okrajovou kytarovou hudbu zaměřený Kult Of Nihilow (mj. Fleshpress, Marzuraan, Church Of Misery, Boris). Sink se při živých vystoupeních hodně pouští do improvizací a pro své první evropské turné trvali hlavně na silné basové aparatuře, což slibuje mnohé.
Do Shaska! netřeba blíž představovat. Jedna z našich nejstarších postindustriálních kapel vzešla z ústeckého punkového undergroundu na konci 80.let a postupem času vytvořila svůj charakteristický zvuk míchající industriální ambient, opiově taneční rytmy a prvky etnické hudby, čímž si vysloužila častá přirovnání k Muslimgauze.
Místo jejich tradiční projekce uvidíte tento večer pásmo od výtvarné dvojice Pudon / ASS (Andere Seite Studio) a uslyšíte i nové skladby, opět více do dubu a temných ambientních koláží.
Sink a Do Shaska! Vystoupí 24.6. v Chapeau Rouge (Jakubská 2, Praha 1).
Vstup 180,- pouze na místě.
Odkazy:
www.myspace.com/sinktheprocess
Z tisku:
„Unquestionably this Finnish band has created a noteworthy album that is authentic and full of surprises. The heart of their sound consists of varied sonic experimentations, but they have also the capability to write songs with almost typical structures ... 'The Process' is a very suggestive album that will absorb time and space for over thirty minutes. Highly recommended.“ (cosmiclava.com)
„There is obscure and then there is Obscure. The difference is subtle, but when you hear Sink, you know the limit between obscure and Obscure has been surpassed. The Process is a beast that drags you below the surface and lets you gasp for air just enough to keep conscious and experience the horror. Monumental wall of sound built from demented vibrations, violent distortion, wailing feedback, reverberating clashes and almost choral (in)human voices echoing in your mind like amplified painful memories; and when the wall collapses, the undertow pulls you deeper into paranoid and disturbing surroundings filled with static drones, scorching electrical trills and gravely impressive Obscurity that defies mental health. You may never reach back to the surface...
This is not a sludge record. This is not a drone record. This is not an experimental record. This is The Process.“ (Kult of Nihilow)
„The Kult Of Nihilow website has this to say about Sink's The Process: "This is not a sludge record. This is not a drone record. This is not an experimental record." Which is not actually true, since it's actually an awesome mix of all three. More accurately, it's not an average sludge record, or a typical drone record, and isn't like most experimental music, but that's precisely what makes it so appealing.
Sink are from Finland and have shared a split with aQ faves, UK dronelords Marzuraan, and they traffic in a sound that is both crushingly slow, blindingly heavy, as well as mysteriously dark and droney, but just like anything, it's what you do with all that stuff that matters. Anyone can tune down and play an E chord for 10 minutes. But not anyone can make it sound like angels singing.
On their split with Marzuraan, we described their sound as "a swirling, sludgy wall of hissing fuzzed out blackened ultra noise, harsh and horrific", but there's nothing like that here. The Process is much more musical, and more measured, for a band who is typically defined as a sludge band, they spend much of their time unfurling dark muted shimmery dronescapes, hushed whispery smears of barely audible thrum. And even when they are dropping some serious sludge, it's not really sludgey, the guitars are thick and corrosive, but glimmering and crystalline, rife with haunting chords, the vocals deep monk like chants. The opener here is the perfect example, it sounds like Tibetan monks fronting a doom band, only the doom is strangely melodic, and hauntingly cinematic. Halfway through the track fades into some dark chiming ambience, all muted and blurred, before the crushing doomic blows begin to rain down again, those vocals returning to underpin everything with their thick rumbling whir (sounding quite a bit like Tuvan throat singing). It's a pity the track is only 11 minutes long. We could have gone for twice that! At least.
The second track is all soaring Sunroof! like streaks of sound and strummed acoustic guitars, sounding like a noisier doomier Kiss The Anus, but all washed out and smeared into bleary shoegazey drifts, reminding us of a way more abstract Nadja or Angelic Process actually.
Strangely enough, almost the whole rest of the record is devoid of any hint of sludge or doom, instead exploring longform guitar drones, super minimal sinewave skree, gentle dreamlike ambience, rumbling cavernous dronemusic, until finally, the not at all appropriately titled final song "The Silence", which is anything but silent, four minutes of murky corrosive drift, but like the opener, rife with mysterious melody, disembodied vocals, glimmering chordal blur, all spread out into a thick sluggish doom-ic haze, that seems to blot out the sun, bathing everything in a burnished blood red glow.“ (Aquarius Records)
„Pretty far out stuff.“ (Aural Innovations)
