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Old January 22nd, 2007, 02:50 AM   #1 (permalink)
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TMK "Pilot (man with the meat machine)" reviews

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Old January 22nd, 2007, 02:51 AM   #2 (permalink)
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Artist: Thee Maldoror Kollective
Title: Pilot (Man With The Meat Machine)
Type: Album
Label: Code 666


To answer your first question, yes this is as odd as it sounds! Thee Maldoror Kollective or TMK or I believe at this point in time Textbook Modern Karate are an Italian group practicing what is described (perfectly) as cinematic avant-garde music. This may not appeal to the thrash till death members of the readership but if you are looking for something a bit different, you are in the right place. Mainly an instrumental affair this 4 piece rely on chaotically fusing movie samples in with their filmic instrumental scores. Be prepared for snatches of Bond and The Matrix to pop up and have you playing a “where is that sample from,” game along with the music.
On the whole Pilot is tinged with a lot of what I would attribute musically as feelings of a film noir ideology, very dark and very gangster fuelled as though it is flirting with anything from James Cagney right through to the excesses of the more recent Sin City. Nothing is to be taken for granted though as every number here is complex and different, in fact if you head to the bands myspace page you will see they have in the region of 250 influences listed and not only musical ones, I can understand the likes of nails and tobacco implicitly after listening to this.
Opener Exile is full of the blues with a lonely wailing saxophone bringing about a meeting of John Zorn with Ulver in Perdition city, with William Boroughs looking on whilst nodding off to junk excess. Catching you on the hop the track suddenly flies into a post rock jam out enforcing heaviness like a zombie attack spurred on by a crazed Goblin soundtrack.
Microphones And Flies is crazy by comparison and centres round a cat chase mouse sort of cartoon cavalcade and a sort of 50s bar punch up brawl before laying out some bizarre country and western licks. Confused? You should try reviewing the damn thing! Phones ring, guitars strafe and everything races around in a complex musical headfuck before it descends into a juke box jive. Zombie Children is built upon a drive time desert twang and to me instantly transposes visions of a dusty, dusky vampire movie coming across like the soundtrack to Near Dark or John Carpenter’s Vampires, that is until it decides to go into Stand By Me at conclusion. At least I got the Bad Boys sample here.
The Night Mr Clenchman Died has industrialist Z’ev adding what is described as a “hypnotic noise imprint,” the vocals here work well with the music adding an extra dimension with their mournful chanted delivery. I swear I can here the throbbing keyboard pulse of Killing Joke’s Requiem sampled here as well. The three part Pilot is a dark city of a trip through dodgy alleys and whisky soaked bars, fights are inevitable and you may only just get out of here with a hangover and your life. The smoky bar room blues vocals of Helen add a sophisticated dash ala Nina Simone.
The upbeat romp of A Gasoline Hero (which also features on the CD as a video) is a good way to end things, full of a hyper kinetic energy as it bounces along. The ultimate sample of “initiating shutdown sequence,” (argh is that from Resident Evil?) is the perfect conclusion to this somewhat strange and enjoyable listening experience. www.myspace.com/jailhousedog

Pete Woods
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Old January 22nd, 2007, 03:55 PM   #3 (permalink)
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While I enjoyed Thee Maldoror Collective quite a lot with their previous effort, A Clockwork Highway, I have to admit that I wasn't expecting a new one this soon. But that's quite a distracting thing to say, as it's been already three years in the making. So either the guys are fast, I'm goddamned slow or somebody has found a way to warp the time. Whatever. The new album Pilot (Man With The Meat Machine) is here and it's different. Quite a bit different.
From the smoking rain and dirty concrete of Blade Runner, the band has moved down to more organic textures. The changes aren't limited to just adding actual vocals or taking the guitars and drums out of the closet, as the guys must have been eating truckloads of psychotic drugs as well. There's no other way you could do something that resembles most post rock bands, Neurosis, searching for a suitable radio station in your car, Ulver's post Marriage albums and Ephel Duath (just to namedrop a few better known bands). And that's just the first four songs.
On the other hand, the eleven minute epoch "The Night Mr. Clenchman Died" (and dare I say, the most consistent and memorable of the nine 'cues') seems to lend a bit of ambiance from the old, the wise and the dead storytellers, mainly Jim Morrison and Johnny Cash, while perhaps throwing in a bit of Depeche Mode into the scene as well. The versatility of Pilot (Man with the Meat Machine) simply allows a bigger array of scenes to be crafted and incorporated for a much more involved experience. Indeed, the album is even more of a soundtrack than A Clockwork Highway ever was, even if some of the songs (or parts of 'em) feel more traditional compared to the cold ambient nature of the previous one. However, I do not think this album is as philosophical in nature as Clockwork; this one seems more over the edge, more erratic and definitely much more compelling; simply because the listener will be denied of the comfort of knowing what'll happen next. Just like a good thriller should. I cannot recommend the album to everyone as it'll need the listeners undivided attention and participation. With changes from classic chase scenes, to techno thriller soundscapes, to spy movie antics and back to lounge music, it's pretty obvious this won't be classified as easy listening. And that, I would think, will be the deciding factor to most. I doubt anyone will use words like "OK" and "pretty good" with this one, as the crowd will no doubt divide into two opposing camps. Superficial? Is the album trying to be artsy "just because"? Is it the best thing since sliced bread and getting a blowjob from two different chicks at the same time? Who the fuck knows but I'm sure those willing to take the plunge and give it a shot are indeed granted with a thought provoking record that will, in the best case scenario, speak to them for a long time after the album has ceased spinning; no matter what group the listener will eventually fall into.
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Old January 23rd, 2007, 02:34 AM   #4 (permalink)
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http://metal.de/cdreviews.php4?was=review&id=7358

THEE MALDOROR KOLLECTIVE - Pilot (Man With The Meat Machine)Avantgarde
Label/Kontakt: Aural Music
9 Songs (52:24)
Webseite: www.myspace.com/jailhousedog

Das letzte THEE MALDOROR KOLLECTIVE-Album "A Clockwork Highway" war seinerzeit streckenweise ein ganz schön unzugängliches Teil für mich. Wie ein vertonter Spaziergang etwa durch das nächtliche Tokio wirkte das in tausend Schichten blinkende, leuchtende, flackernde Soundgewebe, das bis heute noch Geheimnisse und unentdeckte Details in sich birgt. Eine oberflächliche Ähnlichkeit zu ULVERs "Perdition City", der "music to an interior film" war durchaus zu erkennen. Mit "Pilot (Man With The Meat Machine)" nehmen sich die Italiener nun offiziell den Absurditäten der Flimmerkiste an.

"Pilot" ist eine Collage - wie schon sein Vorgänger. Aber dennoch ganz anders. "Pilot" ist auf den ersten Eindruck hin sehr zugänglich. Es gibt erkennbare Melodien (u.a. "Stand By Me"), richtige Songstrukturen, teilweise gar Gesang (!), aber vor allem: keinen roten Faden. "Pilot" gleicht einem Nonstop-Zapping durchs nächtliche Fernsehprogramm: die Tracks (von "Songs" mag man noch immer nicht sprechen) sind eine Aneinanderreihung von Gegensätzlichem, Gleichem, Harmonierendem und absolut Widersinnigem. In seiner wilden Abfolge von leisen und lauten, grellen und sanften Fetzen, wirkt die Scheibe wie "Natural Born Killers" ohne Bild.

Gutgelaunte, loungige Barmusik hüllt einen in dichten, blauen Dunst, in die urplötzlich ein tobendes Mathcore-Kommando stürzt, um alles kurz und klein zu hacken. Technoide, düster-depressive Endzeit-Melancholie zerfetzt die eben noch beschwingte Golden-Oldie-Stimmung und vollführt im Kamikazesturzflug eine Wendung zu verstörendem Dark Ambient. Industrial Metal mit fies verzerrten Gitarren fußt neben einer JOHNNY CASH-Ballade, als sei es das normalste der Welt. Die Kontraste, die THEE MALDOROR KOLLECTIVE schaffen und im nächsten Moment wieder zerstören, könnten kaum krasser sein. Eine Beschreibung klingt zwar sehr hölzern, wird dem Ganzen dank der deutlicher konturierten Einzelteile aber doch gerechter, als der Versuch, den Vorgänger in passende Worte zu kleiden. Vergleiche zu dem stellen vielleicht noch "Zombie Children" oder "Pilot 3" an. Das aber auch nur eingeschränkt. "Pilot" ist insgesamt weitaus zugänglicher.

Genie und Wahnsinn liegen wirklich nahe beieinander. "Pilot" wirkt im Vergleich zu "A Clockwork Highway" viel weniger subtil. Das liegt zum einen an den viel greifbareren Strukturen, wie z.B. den erkennbaren Melodien, den teilweise unbehelligt aufspielenden, stilfremden Passagen und den enormen Kontrasten, die sie in ihrer Abfolge erzeugen. T/M/K operieren hier mit dem Holzhammer. Sie kultivieren einen präsentierfähigen Dachschaden, die auch dem debilsten Zuhörer als solcher aufgehen soll. Fingerspitzengefühl fehlt "Pilot" weitestgehend, aber was will man das auch von einem "Man With The Meat Machine" erwarten? THEE MALDOROR KOLLECTIVE haben es wieder geschafft, mich ratlos zurückzulassen. Auch wenn mich dieses Gefühl irgendwo grinsen lässt, kreide ich ihnen ihre neue, direkte, plumpe Art doch ein gutes Stück an. "Pilot (Man With The Meat Machine)" ist genauso unmöglich zu bewerten wie die letzte Scheibe und bleibt diesmal konsequent ohne Wertung. *Zap*

Punkte: keine Wertung
(Thomas / 26.01.2007)
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Old January 23rd, 2007, 07:54 AM   #5 (permalink)
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Finally

Here I am Emi...just in time to read some reviews...

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Old January 23rd, 2007, 08:55 AM   #6 (permalink)
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Here I am Emi...just in time to read some reviews...

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ciao JD! welcome in the code666 Community
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Old January 23rd, 2007, 09:26 AM   #7 (permalink)
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Here I am Emi...just in time to read some reviews...

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Hi JD!! welcome here, I love your music (since ars magika), you rule!
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Old January 23rd, 2007, 12:23 PM   #8 (permalink)
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Ths for your support, for all the nice words I red walking this forum in these months...hope you'll like the new Pilot. Something strange, of course...

Best

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Old January 23rd, 2007, 12:26 PM   #9 (permalink)
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La sorpresa è stata grande. Anche per il sottoscritto, che conosce in maniera sufficientemente approfondita la band e la parte creativa della stessa ed è al corrente di quali pensieri musicali transitino attraverso la materia grigia di coloro i quali danno la vita a TMK. Sapevo che il procedimento evolutivo non era terminato (e non lo sarà mai,) e sapevo di mutazioni genetiche in corso, però non avrei mai ipotizzato che ciò avrebbe portato, non tanto e non solo, a uno stravolgimento, quanto al concepimento di un’opera, che proprio laddove non concede punti di riferimento rassicuranti, riesce a configurarsi come un’unità coesa, coerente e costruttiva. Una fucina di idee che possono spiazzare, non chi guarda al passato di TMK (i passatisti non sono contemplati da queste parti), ma chi guarda al suono come a un’arte da cui attingere a piene mani e con cui modellare pensieri tradotti in note e in vibrazioni captate dall’apparato uditivo. TMK (per l’occasione Textbook of Modern Karate) hanno pensato bene che i tempi fossero maturi per permettere all’estro di esternare pienamente se stesso. ‘P(i)lot (Man With The Meat Machine)’, fondamentalmente, è una soundtrack per un noir ambientato in uno scenario futuristico, tra una civiltà digitalizzata, che però conserva l’emotività e il misticismo degli esseri viventi che hanno popolato la Terra nel corso dei secoli. Tra saloon frequentati da cadaveri, road movie movimentati, foreste acide, edifici in rovina, tribalismo sintetico, poliziotti corrotti, strutture di silicio, colpi di scena e big band dimenticate, si materializza una forma di esperanto sonoro di una ricchezza inaudita. E là in mezzo, tra le macerie, nella notte in cui Mr. Clenchman morì, troverete Z’ev intento a fissare una fotografia di Suzi Lorraine.



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Old January 23rd, 2007, 02:58 PM   #10 (permalink)
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Ths for your support, for all the nice words I red walking this forum in these months...hope you'll like the new Pilot. Something strange, of course...

Best

JD
I'll be reviewing it for MetalReview.com. I'll be nice. Welcome to the forums, by the way.
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Old January 25th, 2007, 05:08 AM   #11 (permalink)
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Der TMK's Pilot hat im Grunde weder was mit Metal noch mit Rock zu tun, denn hier verwursteln die vier Italiener mehr elektronische Klänge, die eher einen Film Soundtrack darstellen, als ein Musikalbum. Trotz anfänglichem Nasenrümpfen habe ich mir das Teil reingezogen und muss gestehen, auch wenn es überhaupt nicht meine Welt ist, sind da doch einige Stücke dabei, die verdammt viel Atmosphäre versprühen. Und auch in dem ersten meloncholischen Stück "Exile" sind im Mittelpart sogar ein paar rockige Riffs mit an Bord. Oder man nehme "Zobie Children" eine Nummer, die man in einem Zombie Streifen richtig gut nutzen könnte. "Pilot 1", "Pilot 2" und "Pilot 3" bauen sich in einer extravaganten Weise auf, dass man meint, in einer psychischen Umgebung zu sein, und man kurz vor dem Abdrehen ist. Dazu ein leicht melancholischen Frauen Sprachgesang untermalt diesen Psycho Effekt. Der CD Rom Track "A Gasoline Hero" geht dagegen richtig in die düstere Richtung mit extremen Elektro Einflüssen. Wie gesagt, das Album ist gar nicht meine Welt, aber reizt doch an der ein oder anderen Stelle.
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Old January 25th, 2007, 05:10 AM   #12 (permalink)
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translated in english:
The TMK's pilot has in the reason neither which with Metal nor with skirt to do, because here verwursteln the four Italians more electronic sounds, which represent rather a film sound TRACK, than a music album. Despite initial nose trunks I clean-pulled myself and must the part confess, even if it is not at all my world, participate some pieces there nevertheless, which condemns much atmosphere sprays. And also in the first meloncholischen piece “exiles” are in the central part even a few rockige of reef also on board. Or one takes “Zobie Children” a number, which one could use in a Zombie strip correctly well. “Pilot 1”, “pilot 2” and “pilot 3” develop themselves in a extravaganten way that one means to be in a psychological environment and one before the turning off is short. In addition this Psycho effect under-paints easily melancholischen Mrs. Sprachgesang. That CD Rome TRACK “A Gasoline Hero” goes against it correctly into the dark direction with extreme electrical influences. As said, the album is not at all my world, but provokes nevertheless to or other place.
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Old January 26th, 2007, 02:51 AM   #13 (permalink)
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http://www.powermetal.de/cdreview/review-9009.html

Die italienische Plattenfirma Aural Music ist wohl eines der besten Label für innovative und progressive Musik zwischen den beiden Polen Metal und Industrial. Das Angebot des Unternehmens umfasst ja solche Bands wie MANES oder ABORYM, NEGURA BUNGET oder NORDVARGR - alles Projekte mit hohem künstlerischem Anspruch. Dies zu betonen ist wichtig, wenn ein Werk wie "Pilot (Man With The Meat Machine)" von THEE MALDOROR KOLLECTIVE korrekt eingeordnet werden soll. Denn was die italienischen Musiker auf ihrer aktuellen Scheibe fabrizieren, ist schlichtweg nicht deutbar. Ein typischer Ausschnitt um diesen Zwiespalt zu erklären: Erst ein nervöses Bass-Solo, dann plötzlich ein Telefonklingeln, dann wieder sphärische Klänge: Zu hören in dieser Reihenfolge bei 'Microphones & Flies', einem der neun Songs des 50 Minuten dauernden Werks.

Diese verstörende Art von Musik setzt sich auch in den anderen Songs fort. Wild, beinahe willkürlich, werden verschiedenste Stile aneinander gereiht. Wohl nicht umsonst bezeichnet das Label dieses Projekt als "Cinematic Avantgarde Music". Doch geht diese Rechnung nicht auf. Hier werden Grenzen überschritten, die selbst gutmeinende Progressiv-Fans nicht verstehen dürften. Denn zu wenig organisch sind die Übergänge zwischen den einzelnen Passagen gestaltet. So bleiben coole Musikminuten wie bei 'Zombie Childen', eine verdammt langsam und schick groovende Mischung aus Elektro und Gitarre, einfach für sich stehen, statt sich in den Gesamtrahmen des Albums einzupassen. Denn die folgenden Stücke - Songs sind es nicht - verharren noch stärker auf dem Niveau eines Filmsoundtracks, der zwar kurze Spannungsbögen aufzubauen vermag, diese aber nie zu ihrem Ende führt. Als stimmliche Begleitung dieser Töne fungiert ab und an eine elektronisch leicht verfremdete Frauenstimme, die aus dem Hintergrund spricht. Und bei 'The Night Mr. Clenchman Died' ist plötzlich eine Männerstimme zu hören, die sehr an Nick Cave erinnert - und richtig gut klingt... Ebenso fast als brilliant zu bezeichnen ist der letzte Track des Albums: 'A Gasoline Hero' überzeugt in seinen zwei Minuten durch groovende Hintergrundgitarren und eisige Industrialatmosphäre bei gleichzeitig hochmelodiösen Keyboards im Vordergrund. Wow!

Doch trotz solch einzelner Glanzpunkte: "Pilot (Man With The Meat Machine)" von THEE MALDOROR KOLLECTIVE ist eher ungenießbar, weil die Durststrecken zwischen den Geniestreichen zu anstrengend sind. Später kommt zum Beispiel wie aus dem Nichts ein Jazz-Saxophon ins Spiel. Und bei 'Pilot 1' singt plötzlich zu völlig konfus gestalteten Klavierklängen eine extrem hohe Frauenstimme, wieder mit leichter Elektroverzerrung. Hier wird einfach ein Gemischtwarenladen der Marke "Progressiv" betrieben, der durch Linienlosigkeit versucht zu glänzen - und dabei vergisst, die potentiellen Hörer mizunehmen. Was schreibt das Label so schön? Das Album sei "genre busting extravaganza", es würde eine "modern noir odyssey into an imaginary screenplay" verpacken... Naja. Fakt ist, dass auch viele schöne Worte in solch einem Fall nichts taugen. Hier haben sich die beteiligten Künstler trotz einiger schicker Einfälle übernommen und alle guten Ideen nebeneinander gepackt, so dass jeder einzelne supreme Einfall im Endeffekt untergeht. Es bleibt undurchschaubares Chaos in der Art, als würde ein Pilot mit einer Fleischmaschine - "Pilot (Man With The Meat Machine)" - versuchen, die Theorie der Akustik neu zu definieren.

Anspieltipps: Microphones & Flies, A Gasoline Hero

henri kramer
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Old January 26th, 2007, 06:22 PM   #14 (permalink)
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I really enjoy the new album, as I've enjoyed each album since/including New Era Viral Order, but it seems TMK really really likes their Bungle and Estradasphere this time around, which is not a complaint!!!

Btw, where can we find the albums before NEVO?
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Old January 27th, 2007, 04:48 AM   #15 (permalink)
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I really enjoy the new album, as I've enjoyed each album since/including New Era Viral Order, but it seems TMK really really likes their Bungle and Estradasphere this time around, which is not a complaint!!!

Btw, where can we find the albums before NEVO?
Hi there, the first two albums (ars magika & in saturn mystique) are sold and out of print... maybe someday they will re release! I hope so.
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Old January 27th, 2007, 11:51 AM   #16 (permalink)
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We're planning to release a revised edition of both albums...but it's a work in progress only for now...tune in, maybe it'll be a nice project

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Old January 27th, 2007, 11:55 AM   #17 (permalink)
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We're planning to release a revised edition of both albums...but it's a work in progress only for now...tune in, maybe it'll be a nice project

JD/TMK
yeah!! remixed, remastered or anything else...? "in saturn mystique" is already perfect, maybe ars magika needs some work IMHO
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Old January 29th, 2007, 03:18 AM   #18 (permalink)
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http://www.metallus.it/recensione.asp?id=5862&p=0

I TMK, acronimo di Thee Maldoror Kollective, sono un quartetto torinese che giunge alla sesta pubblicazione, ‘Pilot (Man With The Meat Machine)’, proponendo un genere parecchio futuristico e avant-gardistico, commistione fra elettronica industriale, noise, soundtrack e genere comico e stravagante. Le tracce sono medio-lunghe e di certo non si può parlare dell’ordinaria forma-canzone, poiché ciascun episodio è spezzato costantemente in parti comiche o riff sperimentali che si intrecciano in uno stile indefinibile e troppo variegato. Dalla musica prettamente cinematografica dell’avvio di ‘Welcome To The Golden Dove Society’ si passa ad aperture jazz, ma tutto l’album viene collegato attraverso la martellante elettronica che emerge in ogni capitolo e che è ideata con estrema abilità da quartetto italiano.
Ci sono da sottolineare la complessità e le difficoltà che ogni ascoltatore dovrà affrontare per entrare all’interno dell’opera dei TMK, ma il risultato è unico ed irripetibile nella scena noise-industriale nazionale.
Questo continuo crossover di diversi generi si traduce in un viaggio affascinante in cui i TMK conducono l’ascoltatore in un’esperienza musicale folle ed estrema. Lo spirito di base è rock’n roll, ma le rivisitazioni fatte sul tessuto strutturale di partenza vanno, come concetto, oltre il metal estremo.
Sarebbe quindi ingenuo lasciarsi ingannare dalla innocente copertina o dagli inserti buffi che emergono a tratti in diverse tracce, poiché l’album scava in meandri ben più oscuri e fuori dal comune. Pertanto se ne consiglia l’ascolto solo ad un pubblico abituato a certe sonorità, che potrà apprezzare l’efficace lavoro elettronico svolto da questi pionieri della scena sperimentale italiana.



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Old February 2nd, 2007, 02:43 AM   #19 (permalink)
JD/TMK
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Thee Maldoror Kollective - Pilot (Man With The Meat Machine)
Code 666


archiveer onder different metal

Thee Maldoror Kollective - Pilot (Man With The Meat Machine)Evil Dr. Smith: Thee Maldoror Kollective is zoals de bandnaam al doet vermoeden geen alledaags groepje. Enkele jaren geleden mocht je ze n.a.v. 'New Era Viral Order' nog betitelen als progressieve black metal fans met een voorliefde voor dark ambient, de onheilspellend en naargeestige opvolger 'A Clockwork Highway' liet al horen dat ze liever in de bioscoop zitten dan in een metalkroeg. Op dit nieuwe album hebben ze definitief die metalkroeg verlaten, hun metalcollectie verkocht voor een gigantische DVD-collectie, hun haren geknipt en hun leren broeken ingeruild voor een net, zwart pak. Dit betekent evenwel niet dat de band er softer op geworden is. Wellicht wel qua decibellenterreur, zeer zeker niet qua muzikale toegankelijkheid. Want wat maakt de band er op dit album een potje van!

Ik denk ook dat Jac. Goderie of iemand van de Cult Videotheek beter dit album kan bespreken dan een muziekrecensent zoals ondergetekende, want de muziek klinkt alsof je zit te zappen langs twintig filmkanalen met allemaal arthouse, horror en vage B-films. Vooral het eerste deel van het album klinkt als een ontplofte fragmentatiebom op het Amsterdam Fantastic Film Festival en kost behoorlijk veel tijd om te doorgronden, te meer daar de nummers steevast beginnen met een chaotische carrousel van geluid-, muziek- en filmstukjes en maar langzaam de muzikale richting prijsgeven. Zo heeft openingsstuk 'Exile' wel wat weg van een Morricone's spaghettiwesternballad, uitgevoerd door Vangelis en Pink Floyd. Is opvolger 'Microphones & Flies' meer frivole swing met een freakshowtwist, dat halverwege overschakelt naar een martelkamerscene met veel handboeien, spikes en ander ijzerwerk. Terwijl 'Zombie Children' start met een ¸bercoole groove dat een beetje een hypnotiserend Kyuss/35007-sfeertje bezit (noem het een intergalactische woestijnriff in de zevende dimensie), geïnterrumpeerd door opzettelijk vals klinkende sleazerockzang met zwaar Italiaans accent, waarbij de laatste minuut plotseling volledig gewijd is aan de melodie van Ben E. King's 'Stand By Me', met op de achtergrond de zoveelste filmsample.

Het tweede gedeelte van de cd klinkt iets toegankelijker en is minder recalcitrant doorgeslagen in cinematografische schizofrenie. Zo is het elf minuten durende 'The Night Mr. Clenchman Dies' een sfeervol hoogtepunt, dat lijkt op Joy Division die een Swans nummer in een post-hardcorejasje a la Cult Of Luna duwt. Inderdaad: het enige nummer waar nadrukkelijk (metal)gitaren op de voorgrond treden, en waar datzelfde ¸bercoole riffje uit 'Zombie Children' ook weer terugkeert. Prachtig! Het eerste deel van het navolgende drieluik 'Pilot' lijkt vanwege de jazzy piano, de vrouwelijke vocalen en de indringende, bewierookte sfeer alsof de Dresden Dolls op de triphop-toer gaan, het tweede deel lijkt op een blaxploitation film geregisseerd door Rob Zombie en het laatste deel hebben ze gejat van een of ander Warp Records cd'tje. Het album sluit af met het korte 'A Gasoline Hero' dat ook met een industrieel getinte videoclip (van ene Allessandro Pacciani) op de cd staat: een intrigerend clipje dat lijkt op een kruising tussen Tool, de film Pi en de mannentorso's van Leni Riefenstahl's Triumph Des Willens, en geregisseerd door H.R. Giger. Vocalen zijn niet rijkelijk aanwezig op dit album, en als ze er zijn, dan is het iedere keer iets of iemand anders.

Ze noemen zichzelf een experimentele comedy jamband, een "robots orchestra playing the blues". Welnu, als ze van blues een film noir soundtrack maken, van robots het kunstenaars collectief Cabaret Voltaire (dus niet de band) en van orchestra een jazzrockensemble dat van Manes, Ulver en Cinematic Orchestra houdt, dan begrijp ik de vergelijking volkomen. Door het fragmentarische, eclectische karakter is de cd meer fascinerend en intrigerend dan groots en indrukwekkend. Toch staan er een aantal zeer fraaie stukken muziek op. Maar ja, met zo'n bandnaam, zo'n albumhoes (mooie meid, lelijk verpakt) opererend vanuit Italië op een klein Italiaans avantgarde-metal label zal deze band gedoemd zijn tot popcorngeknabbel in de marge. Hopelijk merkt filmfreak Mike Patton met zijn label Ipecac deze band op om ze wat extra in de picture te brengen.

Evil Dr. Smith diagnostiseert: 80/100 (toelichting)

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Old February 2nd, 2007, 02:44 AM   #20 (permalink)
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This one was from www.lordsofmetal.nl
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Old February 2nd, 2007, 03:45 AM   #21 (permalink)
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Quote:
Originally Posted by JD/TMK View Post
This one was from www.lordsofmetal.nl
translated in english here :


Thee Maldoror Kollective - Pilot (Man With The Meat Machine)
Code 666
file under different metal

Evil Dr. Smith: Just like the name suggests, Thee Malodoror Kollective isn't your ordinary baker's dozen band. What started out as progressive semi-black metal industrial band on 'New Era Viral Order', evolves with 'A Clockwork Highway' quite quickly into a band that prefers to hang out in the movies instead of a Hard Rock CafÈ. On this new album they have definitely left the pub, sold their metal cd collection for a huge pile of DVD movies, cut their hair and trade their denim 'n' leather for decent suits. But mind you, don't think this band has become a bunch of soft pussies. Maybe the decibel terror decreased, but certainly not its musical accessibility. Man, these guys do some crazy things on this album!

I do think it's better to review this album by movie critics, instead of music journalists. This album sounds like you're zapping through at least twenty movie channels with art house, horror and vague B-movies. Especially the first half of the album sounds like an exploded fragmentation bomb at a Horror Film Festival. It cost a lot of time and spins to understand the music, also because the songs started as a chaotic carrousel of sound, music and movie samples and take several minutes to unveil the musical direction. Opening song 'Exile' sounds something like a Morricone's spaghetti western ballad, played by Vangelis and Pink Floyd. The next song 'Microphones & Flies' is more frivolous swing with a freakshow twist, which halfway is changed into a scene from a torture chamber with lots of handcuffs, spikes and other iron tools. 'Zombie Children' starts with an ultra cool groove that has got a bit of a Kyuss/35007 atmosphere (call it an intergalactic desert riff in the seventh dimension, if you like), interrupted by a purposely-false singing sleazerock dude with a fat Italian accent, and whereby the last minute of the song is totally dedicated to the melody of Ben E. King's 'Stan By Me', accompanied by yet another vague movie sample.

The second part of the album is a little more accessible and less obsessively drowned in a cinematographic framework. Like the eleven minutes of 'The Night Mr. Clenchman Dies', which sounds like Joy Division doing a Swans song in a post-hardcore style like Cult Of Luna (and including a reprise of that cool riff from 'Zombie Children'). The results are enigmatically thrilling… and the only song where the (metal) guitar is a dominant part of the song. The first part of the following triptych 'Pilot' contains jazzy piano, female vocals and a penetrating, incensed atmosphere that makes it like the Dresden Dolls doing a Portishead cover. The second part sounds like a blaxploitation movie directed by Rob Zombie and the last part is straight stolen from a Warp Records album. The album closes with the short 'A Gasoline Hero', a song that also contains a videoclip that's on the enhanced section of this album. An industrial sort of video (made by Allessandro Pacciani) that looks like a combination between Tool, the movie Pi and the male torsos from Leni Riefenstahl's 'Triumph Des Willens', directed by H.R. Giger. Vocals aren't the main instrument on this album, but if you hear them, it's always done by someone, or something else.

They call themselves an experimental comedy jam band, a "robots orchestra playing the blues". Well, if you change the blues part into a soundtrack for film noir, robots into the art collective Cabaret Voltaire (not the band) and orchestra into a jazzrock ensemble with a preference for Manes, Ulver and Cinematic Orchestra, then I agree with their definition. Due to the fragmented, eclectic character the album is more fascinating and intriguing than big and impressive. But it does contain some exhilarating passages. Oh well, with such a band name, such album sleeve (url=http://www.imdb.com/name/nm1217063/]nice babe[/url], horrible design) and operating from Italy on an obscure Italian avantgard-metal label, this band is still doomed to an insignificant footnote in the music annals. Therefore I hope movie freak Mike Patton and his label Ipecac will notice this band, giving the band a chance for a bigger audience.


Evil Dr. Smith diagnoses: 80/100 (details)
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Old February 2nd, 2007, 06:32 PM   #22 (permalink)
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Hi everyone,
H:K aka Riccardo, guitar player from TMK here. Found this thing on a romanian website (looks like a blog but i can't understand a word of it...). Eros Ramazzotti and Rhapsody are mentioned too, sounds cool! Any Negura Bunget aficionado who can translate it?

hee Maldoror Kollective e o trupa destul de obscura dintr-o tara mai putin obscura, Italia. Desi muzical e cunoscuta intre metalisti pentru trupe de power-metal copilaresc si repetitiv precum Rhapsody, sau pentru Eros Ramazzoti in cazul altora, tara lui Umberto Eco se poate lauda cu o multime de trupe de avangarda, precum Monumentum, Canaan, Void of Silence si Thee Maldoror Kollective.

TMK a pornit la drum ca o trupa de black metal, pentru ca incepand cu 2002 sa se transforme intr-o adevarata nebunie, un cocktail delicios de metal si industrial odata cu lansarea albumului New Era Viral Order. A Clockwork Highway, doi ani mai tarziu, e mai plin de zombies si referiri la filme horror decat blogul lui manelesux. Un masacru auditiv pentru cei tari de urechi. In 2007 apare Pilot - The Man With The Meat Machine, cu tanti de mai sus pe coperta. Tanti care e ceva renumita actrita de filme horror cica; ar putea fi si de filme porno la cum arata, dar asta conteaza mai putin.

Pilot suna excelent, merge si pentru cardiaci spre deosebire de albumul precedent. Asta pentru ca e mult mai atmosferic, oarecum mai moale as putea spune. E mai “retro”, are (cred ca pentru prima data in istoria trupei) voce cantata (clean vocals). E a dracu’ de eterogen si mie cel putin imi place asta. Pilot reprezinta un nou pas inainte pentru trupa si desi nu e neaparat mai accesibil decat ce au scos in trecut, e foarte posibil sa placa si celor care nu gusta industrail sau metal.
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Old February 3rd, 2007, 12:12 PM   #23 (permalink)
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http://www.metalreview.com/3301/Thee...-Machine).aspx

5.5/4/4.5

By Jason Jordan

Thee Maldoror Kollective seemingly embrace the satirical phrases that class clowns often scrawl into a friend’s yearbook: “Always change. Never stay the same.” The black metal has been long gone – only a few vestiges remain – and the industrial/noise elements that helmed A Clockwork Highway have made room in the cockpit for an Estradasphere-like companion, though the two rarely intermingle. So Pilot (Man with the Meat Machine) is very different from its predecessors, which, if you’re acquainted with Thee Maldoror Kollective in the least, should not come as a surprise.

Much of Pilot is striking simply because the ostensible influences are quite varied, making the smooth saxophone-led “Exile” a song that will catch most off guard until the darker, instrumental portion begins at 4:55. Utilizing soundclips and blending styles akin to Estradasphere, “Microphones & Flies” has a jazzy feel and may loosely remind some of fellow Italians Ephel Duath. That is, until the electronics take over at 15 after 4 and lend much-needed drive to what first comes across as a directionless tune. The beginning of “Zombie Children” is perfectly suited for inclusion in a Tarantino film, but jettisons the vibe by including bizarre, indecipherable vocals during certain points. Eventually “Zombie Children” gets even weirder when it transitions into “Stand by Me” with soundclips. Others, such as “Welcome to the Golden Dove Society,” “The Night Mr. Clenchman Died,” “Pilot 1,” and “Pilot 2” erase all sense of expectation and predictability as we’re treated to yet more genre-mixing, cinematic moments. “Pilot 3,” however, ushers in the revenge of the synth, and the lead-out “A Gasoline Hero” is more closely related to pre-Pilot material than anything else on the record.

My initial reaction to P (MwtMM) was one of bafflement – how could TMK change this much when prior efforts completely neglected to hint that a shift like this was going to take place? It’s not so perplexing, though, when viewing their discography as a whole, and/or the band’s propensity for change. Like many albums that call Code666 their label, Pilot is both unusual and gratifying. Nevertheless, I envision this being merely a passing curiosity for the average metalhead while others who enjoy quirkiness a la – once again – Estradasphere should definitely give this a shot. It’s just unfortunate that the replay value isn’t as high as the cast of Half Baked is right now.

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Old February 6th, 2007, 01:38 AM   #24 (permalink)
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Thx Jason...much appreciated!

Best

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Old February 6th, 2007, 01:43 AM   #25 (permalink)
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From www.zwaremetalen.com

Thee Maldoror Kollective - Pilot (man with the meat machine)
Code666, 2007

Het lijkt wel steeds meer een kunst te worden om je muziek in een zo vaag mogelijk hokje te plaatsen. Nog even zo doorzetten en er zijn meer muziekstijlen dan bands te vinden. Zo kan het Italiaanse collectief Thee Maldoror Kollective er ook wat van. Hun nieuwste werk met de titel Pilot (man with the meat machine) wordt aangeprezen met de banier Cinematic Avantgarde Music. Met geen idee wat ik ervan moest verwachten vond het schijfje wel snel zijn weg naar de speler, want wat je er ook van mag denken, interessant klinkt het zeker.
Thee Maldoror Kollective

Met de vorige vier plaatwerkjes wist Thee Maldoror Kollective meer de zwartgallige metalliefhebbers te bekoren. Op Pilot (man with the meat machine) is daar weinig van terug te horen, de band tapt de muzikale invloeden ditmaal uit een wel heel ander vaatje. Misschien kan ik beter vaatjes zeggen, want de cd ontaard in een bizarre mix van allerlei muziekgenres. Bij de eerste luisterbeurt wordt al heel snel duidelijk dat je hier als luisteraar even goed voor moet gaan zitten, want hoewel het nog rustig begint met een mooie saxofoonintro krijg je bij het tweede nummer een stortvloed van samples en muziekstijlen voor je kiezen. Er wordt (bij vlagen nogal chaotisch) flink van de hak op de tak gesprongen met onder andere country, jazz en de onvermijdelijke metalinvloeden, die ontaarden in een geheel wat me bij vlagen zelfs doet denken aan The Prodigy of hoe Venetian Snares klinkt op hun album Rossz Csillag Allat Szuletett.

Na Pilot (man with the meat machine) aan heel wat luisterbeurten te hebben onderworpen zou ik nu nog geen fatsoenlijke omschrijving kunnen geven wat er nou precies onder Cinematic Avantgarde Music verstaan moet worden. Duidelijk is dat het cinematische vooral zit in de sfeer en allerlei korte geluidssampletjes uit films. Wat ik verder wel kan vertellen is dat dit een heerlijk schijfje is voor mensen de breed zijn qua muzieksmaak, last hebben van metaalmoeheid, of gewoon houden van veel afwisseling in de muziek. Zoals ik al zei is het metalgehalte erg laag, veel verder dan wat Tool-achtige riffjes in de nummers A Gasoline Hero en The Night mr. Clenchman Died komt het niet. Maar hoewel het erg op de achtergrond gedrukt wordt zijn de invloeden er dus nog wel in te horen.

Een bizarre cd dus die als flinke taaie kost mag worden beschouwd. Je moet er dus even goed voor gaan zitten om het op je in te laten werken. Maar zodra dat het geval is heb je aan Pilot een cd die een erg gave afwisseling is als je even wat 'anders' voor je kiezen wilt. Tenslotte wil ik nog even een eervolle vermelding toevoegen aan deze review over de aankleding van de cd. Niet alleen doet de voorkant van de hoes de hormonen door mijn lichaam gieren, de rest van het cd-boekje ziet er op een andere manier ook erg goed uit. Op iedere pagina staat een ander pop-art werkje afgebeeld wat door de muziek geïnspireerd is. Concluderend kan ik dan ook niets anders zeggen dan goed werk, mooie score.
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