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Thee Maldoror Kollective - "A Clockwork Highway" - REVIEWS

Discussion in 'code666' started by Emi, Nov 15, 2004.

  1. Emi

    Emi underdog

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    post here all the reviews (mags, webzines, etc...)
     
  2. niko_obskure

    niko_obskure New Metal Member

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    review by Uriel for www.obskure.com

    Thee Maldoror Kollective - A Clockwork Highway : 82%

    Read it online at :
    http://www.obskure.com/fr/kro_model.php3?n_kro=2628[/

    >> Style >> avant-garde alternative metal

    Vous arrive-t-il de vous arrêter brusquement dans la rue, sur une impression, sur une scène, assailli par l’insistant pressentiment que vous avez déjà vu ça quelque part, sans pouvoir situer avec exactitude en quelle occasion ? Après une cure de cet album, vous aurez désormais la certitude d’avoir déjà « écouté » ça quelque part, et vous aurez l’avantage de savoir exactement d’où vient le malaise. Ca ne l’en rendra pas moins perturbant, simplement plus… jouissif ?

    Contexte. Thee Maldoror Kollective, sont sortis en 2002 de la coquille Maldoror, d’un black déjà tout sauf conventionnel – Limbonic Art en parangon, Velvet Acid Christ à l’horizon (album phare « In Saturn Mystique », 2000). Avec « New Era Viral Order », le groupe électrocutait ses racines black pour de bon dans une fièvre épileptico-industrielle sur les talons de Red Harvest. Malgré une prestation très encourageante dans cette direction, voilà nos Italiens qui décident de lever le pied et de revenir à quelque chose de plus organique en surface, grosses guitares à l’appui. En surface. Ayant annoncé son intention de rejoindre le wagon en pleine ébullition du post-hardcore à la Neurosis, le groupe était légitimement attendu au tournant par ceux qui redoutaient que prévale une manœuvre opportuniste. 60 minutes plus tard, on est rassuré sur ce point. Mais ce n’est que le début des questions.

    Et surtout de la question : y a-t-il un groupe dans le studio ? Y a-t-il une âme perchée tout en haut de la distance vertigineuse qui semble séparer les panoramas dépeints de l’œil qui les observe ? Gavée de samples tous plus patibualires les uns que les autres, la musique que l’on affronte ici n’évoque en effet rien autant qu’un perpétuel soundtrack de fin du monde qui déploie ses visions inquiétantes en auto-pilote. Pour seul reminder de la présence humaine, de rares chapelets de cris désincarnés qui pourraient tout aussi bien appartenir aux gorges incendiées des pauvres bougres qui se meurent, là-bas, tout à l’arrière-plan, asphyxiés par la fournaise des guitares en arrachements fusionnels, le vrombissement accablant des basses et le terrorisme de sonorités synthétiques vomies d’une usine de cauchemar où la main d’œuvre ne doit pas faire de vieux os… Post-hardcore ? Peut-être. Mais seulement par définition pure et dure, certainement pas par affiliation avec les groupes adulés (et à juste titre) qui font les beaux jours du mouvement à l’heure actuelle.

    « A Clockwork Highway », c’est un diaporama bloqué sur la fonction zapping, dont le déferlement allégorique et subliminal, greffé sur des cadences tantôt patientes, tantôt mitraillées (parfois les deux en même temps), perfore le cortex et se répand dans les fluides corporels avec l’efficacité inexorable d’un poison violent. On en arrive sur certains titres à un seuil de répletion où la densité sonique semble se désagréger et les fragments se fondre en un long travelling silentieux devant un champ d’images chocs. Pour quelques instants, on oublie de rentrer la tête. C’est là que l’adrénaline nous engloutit, comme une dernière branche de lierre fait définitivement disparaître ces remparts derrière lesquels sommeillent des certitudes de mélomane que l’on pensait immuables. C’est là que le virus TMK contamine… ou guérit.

    Lavage de cerveau par orgie audiovisuelle ? « Clockwork » : ce mot remue-t-il un souvenir, échappé d’un cauchemar analogue devenu culte ? Ah oui, tiens…

    Visionnaire, intensément hypnotique et beau comme un centre-ville sous les bombes, « A Clockwork Highway » transfigure la violence rhétorique du metal moderne en lui donnant une vraie dimension transmédiale par le traîtement cinématographique du sample et la science de l’electro-subversion – deux choses que le groupe n’a pas inventées, mais qu’ils sont les premiers à mettre en application de cette manière. Comme tous les précurseurs, Thee Maldoror Kollective s’exposent à être boudés par la masse et rapidement défiés par les flaireurs de bon filon. Surpassés peut-être. Seulement… pour le moment, on ne voit pas très bien par qui, si ce n’est par eux-mêmes…
     
  3. Emi

    Emi underdog

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    from D-LINE Magazine

    rate: 8,5/10

    by: Lars Neckler
     
  4. Bard F

    Bard F Member

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    From HARM magazine

    (www.harm.us/reviews/showreview.cfm?albID=3337&visitor=0)

    Although I knew I would be reviewing this CD this morning, when I listened the radio earlier today, Pink Floyd’s “Welcome to the Machine” was playing as some sort of historical background to “A Clockwork Highway”. But Thee Maldoror Kollective is not a Pink Floyd clone. They don’t even try to imitate anybody not even themselves! When I got my hands on their previous release “New Era Viral Order” I was stunned by the futuristic avant-gardist musical approach. Two years later and with a completely new line up, except for the drummer, The Kollective has hardly anything in common with the past besides pursuing its musical mission without being influenced by trend or even limited by boundaries and strict limitations. The whole experience is closely related to a surrealistic décor on which evolves a strange world that is almost impossible to described or understand for no lyrics are enclosed. We can only perceive hints of the story or concept by the artwork, song titles and of course the music. The avant-garde edge is still there but this time around, the futuristic side has been transformed into an industrial environment with an apocalyptic mood somewhat reminiscent to Void of Silence . Directed by keyboards, industrial samplings, tribal percussions, heavy guitars, electronic sounds, vocal samplings and effects, those musical painters are portraying some sick and intense scenery commanding attention and reflection from the listener. Aside from the numerous vocal samplings, spoken words, harsh black and screams are appearing throughout this nightmare.

    Stand out tracks: “The Hills Have Eyes”, “The Gospel According an Exit Solution” and “An Affecter of Change”. This last long number(14:32) has a sick interview with a priest saying things like : “Spike the dead! Demons are still loose in this world… “Babilonia” is a bit different with the sitar as an intro, then followed by a futuristic feel like on their previous work ending with a distant sounding piano and drum.

    Better grab “A Clockwork Highway” ‘cause you’re not going to hear this type of music nowhere else !

    8.9 / 10
     
  5. Emi

    Emi underdog

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    from DK666 webzine


    http://www.dk666.altervista.org/TheeMaldororKollective_clockwork.htm

    Ancora grosse novità per i TMK, dai quali mi aspetto sempre molto, sopratutto dopo quel capolavoro di "New Era Viral Order". Il nuovo album della "macchina" Maldoror è ancora una volta impressionante e sorprendente! "A Clockwork Highway" è la rarefazione del predecessore, un'evoluzione sempre più massicciamente contaminata dall'elettronica, che in questo caso volge verso gli sperimentalismi della Ant-Zen, etichetta leader in campo industrial-noize. Scordatevi il "black" industriale del passato, oggi i TMK assumono una forma più "eterea"...grande il lavoro di noising/sampling/synth che va a ricreare asetticamente le visioni postapocalittiche cui "Clockwork" trasuda. Le chitarre stavolta sono messe in secondo piano, proprio a testimoniare ormai un completo o quasi distacco dalle più comuni forme di heavy metal estremo, i tempi sono ossessivi, lenti, catartici ad esclusione di "The Hills Have Eyes", in cui i nostri geniacci si cimentano nella power-elektro noize di Pneumatic Detach e simili, fino a toccare punte "ambientali" malate alla MZ-412 (con cui in passato hanno già lavorato). Insomma, se dobbiamo proprio fare qualche nome, direi i Neurosis inaciditi dall'elettronica spinta. Non male. Anzi geniale. Non so cosa diverranno i TMK in futuro, e forse, è proprio questo il bello...per ora, mi basta custodire questo lavoro come sacra reliquia, come il precedente e vi consiglio di fare la stessa cosa...sappiate osare, liberate la mente dai pregiudizi e dagli schemi, attivate i sensi...who dares to kill the lion?
     
  6. Bard F

    Bard F Member

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    From Chronicles of Chaos

    (www.chroniclesofchaos.com/Articles.aspx?id=2-3645)

    by: Pedro Azevedo (4 out of 10)

    The rather repetitive, tepid opening track does not bode well for _A Clockwork Highway_, and unfortunately the album turns out to be unable to shake those problems. There's a bit of a Red Harvest kind of industrial metal to Thee Maldoror Kollective's sound, coupled with a myriad of electronic and ambient elements. The results vary considerably between tracks, and even within each song; think a more electronic, less blackened and rather bland variation of Dodheimsgard on their brilliant _666 International_. If you like electronica and tribal rhythms, then you may well enjoy this more than I did; however don't rely on the mostly simplistic riffs to save the day. A lot of speech samples are also used, but a cohesive whole is not achieved. This isn't to say there aren't some good passages; but they end up buried and lost in a nearly hour-long album where most of the time there isn't much to keep you interested. After some line-up changes, it seems to me Thee Maldoror Kollective are presently working with a variety of ideas, but still need time to consolidate them much further.
     
  7. Emi

    Emi underdog

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    wow, this Pedro Azevedo seems to be a bit out of place with our releases... hehehe...
     
  8. Emi

    Emi underdog

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    from METAL REVIEW

    http://www.metalreview.com/viewreview.aspx?ID=1286

    rate: 4,5/6

    Electro noisesmiths Thee Maldoror Kollective continue to redefine their sound on their latest effort, A Clockwork Highway. The band’s previous album, 2002’s New Era Viral Order was a masterful, genre splitting effort that melded man and machine into a cold and bizarre persona, with songs blending ambient, industrial, and black metal into a cohesive and engaging landscape. Unfortunately, A Clockwork Highway doesn’t continue in that direction. That doesn't mean it's not worthwhile though, rather it is a solid album from this ever changing band, who’ve not only changed their approach, but also the majority of their members.

    A Clockwork Highway finds the band abandoning the black metal aspect of their sound, and downplaying much of the heavy industrial approach of their last album. Instead, TMK weave an ambient, entrancing spell of synths, dialogue samples, and tribal drumming. The result is a cohesive and enjoyable album, albeit less engaging and unusual than their last one. I really like the cold and bleak tone of this album, and the band does a good job blending electronic percussion with human tribal patterns. The vocals are nearly always digitized and chaotic sounding, although by far most of the human voices on the album are looped dialogue samples. It feels like the half man, half machine beast of the last album now has pure electricity running through its veins, as much of the humanistic visceral quality of the band’s sound has been replaced with electronica. Code 666 claims this album is more along the lines of bands like Isis and Neurosis, but honestly, as far as “cults” go, some of this material has more in common with My Life With the Thrill Kill Kult than Cult of Luna. In particular, “The Hills Have Eyes” is a clubbish track that is reminiscent of MLwtTKK and early Revolting Cocks.

    The best way to enjoy A Clockwork Highway is cranked up through a set of headphones. Otherwise the ambience of the music sometimes causes me to be lulled into a lack of attention. Not only do the headphones and/or volume keep the listener more engaged, but also makes more apparent the frequent subtle audio nuances of the dark futuristic trip. The album is like a soundtrack to a lucid and disturbing dream that is soothing at times and chaotic at others. Standout tracks include the heaviest songs on the album, such as the closer, “Babilonia.” The song has a middle eastern flair and sampled female vocals, as well as crunching heavy riffing and drums. “Who Dares to Kill the Lion” also includes more prominent guitar and industrial hammering.

    While it may not have the personality of New Era Viral Order, A Clockwork Highway is a very good effort and worth exploring. The dark journey through a cold and mechanical landscape will please fans of experimental ambient music.
     
  9. Bard F

    Bard F Member

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    From: Lords of Metal webzine (NL)

    (www.lordsofmetal.nl/showreview.php?id=4824&lang=en)

    It was two years ago that this Italian formation surprised me with their 'New Era Viral Order', lugubrious symbiosis of electronic dark wave and black metal. This new album contains even more electronic bizarreness and leaves the (black) metal behind, except for the intense hypochondria and the occasional shrill and shrieking guitar passages which are mixed deep underneath the layers of eerie keys. The band is taking plenty of time for creating a hallucinating, suffocating atmosphere that grabs you in an auditive judo hold. Claustrophobic soundscapes like 'Babilonia Café' and 'An Affecter Of Change' take no less than resp. ten and fifteen minutes of haunted spoken movie quotes, hysterical deformed vocals, industrial samples of Laibach-ish proportions, pitch dark ambient passages that make the records of Cold Meat Industry and VidnaObmana may sound like the soundtrack of Sesame Street and insane gothic madness that causes heart attacks among the complete Western population of all bats. All this create a continuous flow of pulsating, repetitive sounds that will drive you mad of annoying boredom, or it will drive you to ecstatic borderline-craziness. It's no surprise that the album title (coincidentally?) is a mixture of Kubrick's 'A Clockwork Orange' and David Lynches 'Lost Highway'. TMK's credit is not only their communal opinionated strangeness, their ultimately scary. This is the soundtrack of fear. This is one of the most disturbing, terrifying pieces of shit I've heard in my life. Nightynight Freddy, Henry and Hannibal: meet your worst nightmare!

    Evil Dr. Smith diagnoses: 85/100
     
  10. Bard F

    Bard F Member

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    From: Maelstrom zine (USA)

    (http://www.maelstrom.nu/ezine/revie..._rs=8&osCsid=9d3bfa016152aa35659087c39690d512)

    review by: Roberto Martinelli

    The last impression Thee Maldoror Kollective made was one of being the band to turn to if Aborym was nowhere to be found. This metal/electronica/industrial hybrid’s first record was not bad at all, and the follow up was welcomed around here at Maelstrom HQ.

    The unfortunate result is a very mediocre record overall. What memories of a black metal presence have been erased for an album that largely plods along lethargically. Utterly dispassionate or campy spoken word clips (taken from what must be assumed are obscure movies) are used in abundance. These clips are often repeated, in a couple cases ad nauseam, and used as rhythmic elements.

    The music is quite simple, and not especially bad at all, but rather unremarkable. The various guitar and electronic tones are often good, except for a few that would fit in on an aging video game starring the Smurfs. The last track, "Babilonia Café," is the album’s best (and also longest), featuring more interesting rhythms, angles and music; and not coincidentally having no spoken clips. A shame that Thee Maldoror Kollective didn’t get their acts more together before this point in the album.

    A Clockwork Highway seems to be a concept album, which once again is mired in some very murky plot whose presence and focus thereof stands more in the way of the album’s quality than it does aid it. Look, you listen to albums in the hopes of getting good music. If you want a good story, read a book. This album would have been a decent, if average, listen had Thee Maldoror Kollective written songs for the sake of making music, and not tried to hold together some shaky story. Relying heavily on clips that the band probably had no hand in creating, while making music that isn’t brimming with ideas or passion seems problematic.

    Our recommendation? If you haven’t already, get Manes’ Vilosophe. The few industrial or spoken word elements on that record blow the entire body of similar elements on A Clockwork Highway right out of the water, and you’ll have an immensely original and enjoyable album to boot. (4/10)
     
  11. Bard F

    Bard F Member

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    Uhmmm... this new TMK release seems to be the classic "LOVE IT or HATE IT" album.
    I guess you are happy about that Emi, isn't?
     
  12. Emi

    Emi underdog

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    well, sincerly speaking i would be more happy to see that everybody loves our albums, it's like a pain in the heart when someone did not like what we do... but at the same time I know that what we do is not producing music for everybody... it's a cath 22 situation...
     
  13. Christopher

    Christopher blunt fanfare trauma

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  14. Tetsuo unit

    Tetsuo unit Mouthpeice of Perdition

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    i find that the album works much better if you stop paying strict attention to it, then it kind of draws you in and surrounds you its kind of like changing your pyhsical perspective when veiwing somthing and finding a new depth there, i dont know maybe im just mad!
     
  15. Christopher

    Christopher blunt fanfare trauma

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    I don't know you, and I've never met you, but.....yes, you are mad.

    I had not thought to look at that record as if it were so ambient....maybe i'll try that one day. Anyway, whenever I purchase a record, I must pay strict attention to it first before I can warp its perspective, which usually takes a seperate catalyst anyway. Maybe drugs would help with that sooner?
    One record I just bought that I may not be able to do anything with was the Dark Blood Rising album from Diabolicum. I'd heard lots og good stuff about it in the past, and here I finally had enough interest to pursue it, in lieu of my on/off again fascination with extreme metal. Man, so many apsects of that record just disappoint me, with giant slice of the pie being the really poor production. Man, and I thought that worked with the raw and brutal black metal too. Here it fails, as do most of the musical ideas engineered on the record as well. I don't know why I brought this up, I guess I was also wondering how their new stuff was coming along. Anyway, to conclude this subject shift, some time ago I compared that record to the Aborym's WNHI, mostly because of the fast electronically programmed drums and nihilisitc dark atmosphere. Emi disagreed with me, and now I agree with him, and my past comment. They are very dissimilair, and Aborym still blow them out of the water and into the stratosphere. Enough of this rant, I speak to much.


    o_O
     
  16. Emi

    Emi underdog

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    from EUTK portal

    http://www.eutk.net/rece.asp?id=2902

    rate: 9/10 (!!)

    Questa recensione sarà molto lunga, quindi prendetevela comoda.
    I Thee Maldoror Kollective (già semplicemente Maldoror) prendono il nome dall’opera “Les Chants De Maldoror” del conte di Lautréamont alias Isidore Ducasse, opera poetica tra le più blasfeme della seconda metà dell’ottocento. Il protagonista di questi canti è proprio Maldoror il quale, infelice dell’umana esistenza e nemico giurato di Dio (Quale Dio? Il concetto e l’essenza stessa del Theos.) che descrive come un essere antropofago, dichiara guerra all’umanità stessa e afferma di essere l’essere più crudele mai creato. Epiche sono le descrizioni immaginifiche della sua lotta, una volta trasformatosi in polipo, col Creatore o quella con l’arcangelo Granciporro, fino ad arrivare alla vittoria finale. Ciò che muove Maldoror è l’odio, l’odio gli da una sensazione di potenza immane che sovente lo trasfigura e lo conduce a vette sempre più elevate di crudeltà, in un cammino senza sosta.
    Vi ho fatto questa premessa perché il percorso artistico della band piemontese è molto simile a quella dell’eroe da cui prendono il nome. Partiti con il mellifluo black metal degli esordi, i Maldoror hanno nel corso degli anni, e disco dopo disco, aumentato il loro potenziale malevolo, riuscendo, cosa impensabile per gli adoratori del black metal, a rendere la loro proposta sempre più cattiva, più maligna, pur allontanandosi dai clichè del black stesso, ovvero della malignità in musica per definizione. Il loro cammino è stato a tratti esaltante ed il germe del cambiamento era stato gettato con quel capolavoro di “New Era Viral Order” laddove se è vero che il black metal era presente più a livello concettuale che materiale, è pur vero che quel disco aveva una lucida cattiveria, una freddezza spietata, un odio algido, era qualcosa di veramente destabilizzante.
    Oggi i Thee Maldoror Kollective di “A Clockwork Highway” hanno definitivamente perso le influenze black metal eppure sono dannatamente black metal, incarnando l’essenza stessa della cattiveria, la quale ha assunto una forma minacciosa come mai prima. Hanno fatto propria l’essenza stessa del “fare ciò che vuoi sarà la tua unica legge” di crowleyana memoria e hanno deciso di usare tutte le armi a loro disposizione per farci del male, non male fisico, male cerebrale, di sconvolgere e sconfessare le nostre certezze, di farci sentire desolati in una dimensione di vuoto esistenziale, di dare l’ultimo colpo alle nostre laide convinzioni. L’hanno potuto fare con quella reale Cultura, l’indefesso Individualismo, la forte Personalità di cui sono portatori.
    In questa dimensione nella quale la vera Esperienza è scavare dentro se stessi per trovare le chiavi della Conoscenza, la band dilata in confini del post-metal di “New Era Viral Order” fino a che di metal non ce n’è manco l’ombra e si naufraga in un mare di vibrazioni oscure, fatte di assalti harsh noise, industrial glaciale, sofismi cibernetici che nascondono la carne e il sangue del disperato Kundhali e delle sue vetrioliche vocals, direttamente tratte da qualche incubo à la Steve Von Till, ed è facile pensare ad un figlio degenere ed apocalittico dei Tribes Of Neurot.
    “A Clockwork Orange” è veleno inoculato lentamente, una flebo di dolore cerebrale, un demone che striscia sotto la pelle, che arriva al cervello ed esplode in tutto il suo fragoroso odio, con tribalismi ipnotici e terrificanti, synths alieni che implodono generando miasmi di fredda luce nera, beats silicei che pulsano ora lentamente ora più velocemente, ingrossando il cuore meccanico e cigolante di questo opus, mantra tantrico e rappresentazione iconografica dell’amplesso uomo/macchina, in cui la macchina sembra essere più umana e meno razionale dell’uomo stesso.
    Questo disco esula da qualsiasi canone di valutazione oggettiva e mostra la sua reale dimensione solo in una visione oggettiva ed oggettivizzante dello stesso. Forse non siamo ancora pronti per questo disco, personalmente questi sono i dischi che amo di più, quei dischi da subire, non necessariamente da comprendere, quei dischi capaci di appiattire il tuo encefalogramma e portarti in altre dimensioni, verso altre conoscenze, magari verso il nulla, sicuramente lontano dalla realtà. Maldoror è tornato per dare ancora una volta l’assalto al Dio antropofago.
    Il giudizio qui sotto è inutile conseguenza, ma necessario orpello “pro forma”.
     
  17. Langoustator

    Langoustator Member

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    From lords of winter (5/10)

    Sortis de l'enveloppe de black metal expérimental Maldoror, Thee Maldoror Kollective continuent, par leur nom, de faire référence au héros solitaire de Lautréamont, explorant ainsi que ce dernier les domaines auxquels la morale refuserait l'accès à tout être de constitution décente. Maldoror s'enfonce dans les méandres du Mal afin d'en extraire - via sa capacité de discernement subséquente - une philosophie de la vie élevant l'Homme au firmament; les Italiens définissent de même leur propre ligne de conduite, et continuent de se redéfinir afin de s'inscrire dans la mouvance du processus créatif, et d'élever leur art dans d'autres sphères. Si la qualité se montre, de mon humble point de vue, d'une qualité nettement inférieure au chef d'oeuvre d'Isidore Ducasse (quoique la comparaison soit probablement par trop audacieuse...), "A Clockwork Highway" ne manque pas d'originalité, et se propose de mêler les influences pachydermiques proprement enivrantes issues du hardcore apocalyptique à la Neurosis, Isis ou Cult of Luna, à l'essence electro/indus nettement imprimée dans le coeur des transalpins, évoquant en partie les travaux des norvégiens de Red Harvest.

    Les sensations étranges se tendent dès lors la main à l'écoute de la présente pièce, les tonalités criardes venant instiller le malaise tandis que les touches electro mâtinant l'ensemble, entourent d'une aura salvatrice les mélodies s'y échevelant. Les claviers institués en ambiance se plaisent d'ailleurs à en encadrer le développement, mais manquent à mon sens de profondeur pour se révéler d'une efficacité notable dans leur entreprise. Car voilà bien ce que je reproche à Thee Maldoror Kollective : sa propension à s'engoncer dans un simplisme patenté confinant à la déraison. La construction des compositions ne manque certes pas d'intérêt, laissant l'auditeur naviguer sur une palette de sonorités des plus diverses, saisissant de fait son attention dès les premières écoutes. Mais ce breuvage est - croyez-m'en - bien court en bouche, et bien vite, ce que je perçois comme d'affreuses fautes de goûts vient prendre le pas sur les atours flamboyants que la formation put laisser entrevoir sur l'exaltant "Who Dares to Kill the Lion ?" ou le plus délicat "Babilonia Café". En effet, l'usage de tonalités électroniques aussi désuètes qu'horripilantes sur un "The Hills Have Eyes" muni d'une foison d'insipides beats synthétiques ainsi que d'harmonies anodines, de même que la substance - d'une vacuité sans nom - du long, très long (près de 15 minutes, un tantinet animées par quelques fines doubles croches ainsi que des ambiances m'évoquant les français de Monolithe) "An Affection of Change", s'articulant autour de dialogues issus de "La Nuit des Morts-Vivants" comme pour mieux se contenter du minimum acceptable en termes de composition, résonnent en moi comme autant d'illustrations du manque de clairvoyance des italiens (ou, au choix, leur disposition à véhiculer des clichés quelque peu surannés).

    La présente réalisation n'est en définitive pas exempte du défaut, aspirant certes à l'élévation par une perpétuelle volonté d'aller de l'avant sans jamais chercher à prendre en référence des notions musicales préexistantes, mais s'embourbant dans une ineffable inclination à l'ingénuité. Une note en demi-teinte, à l'image d'un album dont la qualité en dents de scie des morceaux laisse un goût d'inachevé.


    (Reapie - 12/12/2004)
     
  18. Emi

    Emi underdog

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    from HMP Portal

    http://www.hmp.it/modules.php?name=Reviews&rop=showcontent&id=3703

    rate: 77/100

    Difficile, terribilmente difficile ed angosciante dalla prima all'ultima nota. Probabilmente solo i Thee Maldoror Kollective potranno comprendere pienamente la loro proposta, questo perché "A Clockwork Highway" è ben lungi dall'essere la prosecuzione dell'ottimo "New Era Viral", album che riusciva a convincere grazie ad un'esplosiva miscela di black metal (termine da prendere estremamente con le pinze) ed elettronica. Quello che oggi la band italiana ci propone è un universo freddo e compatto, una compattezza ottenuta dall'unione di tantissime contaminazioni che nell'insieme generano un unico disarmante suono. Una parola che potrebbe ben descrivere questa uscita è "inumano", nel senso che non si percepisce quasi nulla di umano nel suono della band (eccezion fatta per una consistente presenza di rabbia rappresentata dalle vocals di Kundahli), niente che possa minimamente risentire di calore e di anima. Tutta questa freddezza e meccanicità dei suoni si traduce in una glaciale unione tra un certo stile di industrial, che può portare alla mente le produzioni della Cold Meat, con elettronica e (sparute) contaminazioni noise, le quali si innestano su una struttura che a livello ritmicho e chitarristico risente pesantemente dell'influenza di un certo post-core di scuola Neurosis/Isis. Tutto questo viene esemplificato alla perfezione nelle sette composizioni di cui vive l'album, composizioni spesso molto ispirate come l'agghiacciante "The Gospel According An Exit Solution" o come l'assurda "The Hills Have Eyes", capolavoro di terrore, asetticità e meccanicità. Il problema principale di un album del genere, che comunque si assesta su ottimi livelli qualitativi, risiede in una sola parola: "eccesso". Purtroppo a volte si avverte una certa prolissità, che commista ad un'esasperata ricerca di soluzioni tra loro differenti, riduce in episodi come "An Affector Change" e "Primates" l'intensità dell'album facendolo risultare leggermente troppo pretenzioso. Detto questo, pur essendo caratterizzato da un'atmsofera davvero unica e pur contenendo un Capolavoro come "Babilonia Cafè", " A Clockwork Highway" rimane un album molto riuscito, ma privo di alcuni elementi che gli avrebbero potuto far compiere il salto di qualità. Ed è un vero peccato, considerando che le potenzialità per sfornare un mezzo capolavoro sono tutte presenti nelle trame di questo lavoro.

    Un ottimo album che per una troppa esasperata ricerca sonora, finisce per non fare il salto di qualità
     
  19. Langoustator

    Langoustator Member

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    From vs-webzine
    Musique post-apocalyptique, à l’ossature instrumentale électronique et répétitive, influencée autant par Ministry (ces guitares saturées à la rythmique presque métronomique le prouvent !), Front Line Assembly, Skinny Puppy que Haujobb, voilà ce que propose le combo italien depuis leur renaissance sous la forme actuelle... Officiant auparavant sous le nom de Maldoror, le groupe évoluait dans un style fortement teinté d’un Black-Metal industriel et malsain lorgnant plus du côté de Limbonic Art (en bien plus synthétique et mécanique) que de Craddle Of Filth. Les choses ont effectivement changé depuis... Ayant empruntés l’aspect lancinant des Swans, de Neurosis et d’Isis (comme ce chant particulièrement malsain et l’architecture musicale récurrente), ces mélomanes produisent une atmosphère écrasante et insidieusement nuisible à notre équilibre mental.
    La force des sept compositions (qui auraient pu n’en constituer qu’une seule et unique, tant il est difficile de stopper au milieu de l’album...) déstructurées et sans repères pour l’auditeur provient du caractère profondément antagoniste des nappes et couches superposées et surimposées, auxquelles viennent s’ajouter de manière continue des samples bruitistes, glauques et paradoxalement planants (les instruments acoustiques sont le plus souvent en retrait laissant le champ libre aux éléments électroniques). Le résultat de cet assemblage fait que les impressions ressenties peuvent fortement varier d’une mesure à l’autre et surtout d’un individu à un autre... Hors de tout contrôle, certains peuvent passer successivement d’une angoisse démesurée et étouffante à un plaisir infini, presque jouissif... tandis que d’autres resteront insensibles... Certains oscillerons d’un état latent à un stade d’énervement quasi-frénétique, alors que d’autres resteront de marbre devant tant de simplicité... Toute description reste vaine, car il n’existe qu’un seul moyen de vous faire une idée précise - et surtout personnelle - sur ce que propose Thee Maldoror Kollective : vous approprier ces textures savamment générées avec inspiration et audace...

    Rédigé par : DeadStar | 16/20
     
  20. Emi

    Emi underdog

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    from ZERO MAGAZINE

    http://www.zeromagazine.it/Recensioni/Thee-Maldoror-Kollective_A-Clockwork-Highway.htm

    rate: 8,5/10

    Devo dire che la mia attesa per questo nuovo album era diventata spasmodica negli ultimi tempi.
    Dopo aver sfornato due lavori (Ars Magika e In Saturn Mystique) dediti a sonorità riconducibili ad un black metal sinfonico di stampo anglo-norvegese (Cradle of Filth, Dimmu Borgir), la band piemontese ha deciso di stupirci estrapolando dalla propria fantasia creativa, un lavoro articolato e affascinante che mirava decisamente in alto.
    Sto parlando dell’oscuro New Era Viral Order, un disco stupefacente per la sua commistione plumbea di toni elettronici fustigati da ritmiche black e gelide vocals.
    A Clockwork highway rappresenta la naturale evoluzione di questo maligno sound.
    Fin dall’inizio il contesto metallico nato dalla frizione di elementi metal ed elettronica acquista connotati apocalittici, che si rispecchiano in un futuro grigio e asettico, dove le più moderne tecnologie fanno da sfondo a rituali esoterici, dove la violenza viene manipolata fino ad assumere forme inaspettate, quasi suadenti.
    Ma parlare di metal nei confronti dei TMK risulta abbastanza riduttivo e fuorviante.
    Le chitarre servono ad indurire un suono prettamente sintetico.
    Le macchine prendono il controllo e l’uomo non è che un’interfaccia con la realtà cruda in cui il metallo freddo ha il sopravvento.
    Solo grida lancinanti tagliano il velo cibernetico che si stratifica in cicliche concrezioni di ritmiche pulsanti (Dopecity).
    L’industrial frastornante di Who dares to kill the lion? è scandito da infiltrazioni di calma apparente, un percussivo isolazionismo che tende ad un climax allucinato e trascendente.
    Dalla terza traccia l’elettronica comincia ad avere un sopravvento progressivo, disumanizzando in ipnotici beat dance l’algida The hills have eyes.
    Una metamorfosi continua dove il concetto di mutazione è elevato a legge fondamentale di sopravvivenza e perfezionamento.
    Negli ultimi tre brani (An affecter of change, Primates, Babilonia cafè), le possibili connotazioni electro o metal si dilatano nell’arco di un alto minutaggio, plasmando dense suite di dark ambient cosmico, teso ad esplorare l’oscurità personale, l’abisso universale dentro ognuno di noi (a tratti sembra quasi di ascoltare Vangelis in Blade Runner…).
    Quando si giunge alla fine del viaggio, qualcosa inevitabilmente è cambiato.
    Che lo vogliate o meno.
    Notevoli.
     

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