Videncias

Intro is seismic in its deepest sense, up to an almost unbearable pitch. A cacophonous chorus indeed! Genocidio, an even more disturbing subject and atomosphere surrounds you. The truth of whole ethnic groups being wiped out, sometimes at the merest whim of some megalomaniac. Sometimes, due to profoundly disturbing interaction of the 'civilised' West. Ancestral lightens the mood somewhat, with a burbling of noises that spiral into crescendo. This is like some dark historic consciousness that exists somewhere, maybe somewhere dark already, polluted, filthy. Then in a flurry of bass, things get even higher in the aether, a new place, maybe a place to start again.

Et tout elles is immediately more accessible, with a comparatively safe structure and deep, resonant melody. Then something monstrous slithers by, or is it just something spoken by some hidden monster. The transcendence is a partial one, like being halfway through a mirror. By the end there are many mirrors. Tricolor tinkles into being and then breaks into a drumbeat and goes all synthetically creative. Lovely ambience to this piece and a nice experiment in electronic form. Strong and simple, though very effective, more so in a way, because of the lack of vocals/sound bytes. It changes tone in the middle a little and speeds up a bit, with a lovely organ sound that remains in various versions.

Gargola begins with a desolate atmosphere, barren of steady structure, unstable in melody. Sounds and noises begin to emerge, as a slow, deep rhythm is established and embellished upon to a greater degree. The melodious rocket engine sound sears any structure into virtual non-existence. Suegno is a very dance-like structure, with some wonderful interpretation of the genre, with layers of synth and percussion. A decent electronic, instrumental track, executed with confidence. Ritos takes us back into the darkness, with an eerie interpretation of something like a level of Purgatory, or a leper colony of cenobites chanting their pleas for forgiveness and relief of pain and suffering. There is something evil towards the end, something that has no name we can name. Even angels fall.

Acid Jungle is all bass in yer face to start, classic wind up to start and boom boom boom, you're off on the classic acid trip, jungle style. Quite a generic jump considering the malevolence of the former track. Perhaps there is not so much difference, this could be somebody else's interpretation of hell and suffering just as much! Were those chains rattling? Vocal begins quietly, it's getting dark again. Flipside or same side, different form, slightly altered structure and melody? Is this what Vocal is saying?

Wired Brain presents us with a soundtrack from an old horror film, and that eternal dream that we are but electrical current, with that missing x-factor that encourages growth and evolution. It jingles a lot, and then a very slow bass wires in. Then there are variations of the tune and a new mid-range layer, the soundtrack now gone. Three minutes in the drums assert their laborious rhythm and turn into the track with drums too now. I loved its eerie, mournful melody. Again, having the space to do it, the track takes a slight diversion into a nice, safe atmosphere. Maybe life can be heavenly after all... or hellish!

Lastly, Genocidio II, starts with a lovely noise for such a heavy subject (I was almost dreading this one after the first intepretation, being aware of some of the horrors that are perpetrated around the world). The beat is soon in play with a scatter of percussion, and a much lighter perspective, almost industrial in feel. Nice track, and I'm only a minute or so in. Sure enough almost halfway in it takes a break and this is the point of experimental bifurcation, which way. Sound samples to hang it out for a bit, the suspense is almost too much. Synth sounds promising, beat is coming back. Left turn no... OK, I was hoping for too much, but was pleasantly disappointed to find the track reiterates itself instrumentally, and makes up for it with sound bytes. Relevant as the words used may have been, I think my only disappointment was that after the horror of Genocidio I, I hoped Genocidio II would develop the theme a bit more experimentally.

However, that aside, and its a difficult subject to cover because of its' unbearable reality, talking specifically about Genocidio I and II, but also about the whole album. I have realised again, and I think this is proven musically, is that 'hell' sometimes is just a perspective, but sometimes it is a reality too.