Krister Bergman has been active for a long time. It started in the first decade of this century, and many releases under various names have already seen the light of day. These projects include Demons That Drove, Leg Ryan, Positive Adjustments, Secondstroke, Step Further Away, The 36th Movement, V.O.E.R., Audiorcist, and a collaboration with Hiroshi Hasegawa (Astro / C.C.C.C.) called Pulse Detonations. And I can only say I never heard of them except for a few tracks on a sampler. But those tracks were under his Positive Adjustments moniker, and believe me, there’s no comparison between those two. It’s all new territory from here on.
“And The Fire Said To Me” is a six-track, 34-minute release with, according to the info, the cursed recordings from the long-lost Mojave Desert tapes. Never released before, and they seem to be two different planned tapes. There is a difference in the style between the two halves of the release. ‘Tape 1’ is more open and accessible than the other. But rest assured, open and accessible only means that the first tracks have a bit more of a Power Electronics feel, while the second part is better labelled as harsh noise with vocals. So I’ll try to dive into those two halves a bit.
“Humanity On Repeat”, “And All You Can Do Is Pray” and “Great Halls Of Fire” are the first part and with the opening track, it’s already audible that you’re in for a treat. A heavy looped bass sample with a dead industrial voice, sparse rhythmic structures, and atmospheric sounds … In the ‘Pray’ track, a rhythmic structure forms the track’s base, and the vocals have only gotten more disturbed. The third and final ‘Halls’ track is the noisiest of these three, yet the composition has a lot of open space. It’s pretty erratic at moments, but it only takes the ears off any possible expectation you could have as a listener.
The second tape has the tracks “Allt Ger Vika”, “Common Sense” and “Believe In Nothing” are, as said, way harsher noise compositions with vocals. Compared with the first half, the voice is processed much darker, as if an octaver or pitch shifter signal has been added. As we heard in the first part, the ‘eeriness’ of Death Industrial/death ambient vocals has been eradicated. “Common Sense” is my personal favourite of this release. I don’t know why the only words that come to mind are relentless and unforgiving—pure energy. And finally, “Believe In Nothing” may start as a drone, but you’re proven wrong as it develops.
This is an excellent first encounter with a new name in the noise scene.
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