Автор: Argentum | 9 декабря 2011 | Просмотров: 1299Mp3, Lossless
Artist: Loss Album: I Kill Everything Genre: Dark Ambient | Power Noise | Power Electronics Origin: USA Quality info: mp3 320 kbps | FLAC (image + .cue) Size: 133 mb | 390 mb ========================
1. The Turning (07:43) 2. The Waste That Was to be (04:41) 3. Freedom in Ashes (06:29) 4. Wrapped Up (05:55) 5. Happy Ending? (07:34) 6. As Seen on T.V. (04:21) 7. A View from Afar (05:04) 8. A Moment of Reflection (17:24)
Вкратце: звучит как Ice Ages, который взяли в охапку вместе со всем его мраком и отчаянием и пропустили через жестокий дисторшн. Получилось отлично, впечатление не портят даже идиотское название альбома и недообложка, накаляканная грязью на мятом картоне.
'“I Kill Everything” is the second album by Loss following the bands previous three track recording titled “"A Letter That Will Never Be Sent." Loss has followed up their debut release with a full length CD released on Spectre Records. Loss does not have a website or homepage so offering up information on the artist or his history is not possible. Like many upcoming artists in the post industrial music genre the music of Loss must speak for the artist.
Loss offers an engaging listening experience that defies easy categorization. Loss unites waves of lush orchestral electronics with harsh noise and minimal beats in a powerful chorus of unbridled sound. Loss has established a balanced sound that ambles between moments of softer emotive electronic drones and simple electronic orchestration to pounding cascades of noise that threaten to consume the listeners soul in a torrent of aggression. Loss’s musical equation forces a level of expression from electronic music that is infrequently experienced. The fusion of emotionally provocative electronic waves of sound with ruthless noise makes for an incredibly personal listening experience that provokes feelings and thoughts of love that has been lost and abandoned to regret and anger. “I Kill Everything” is a soundtrack for the jilted lover who attempts to erase their deeply imbedded love with the unforgiving feelings of loss, rejection, and abandonment. These emotional impressions play out between the various musical elements of Loss’s music as the various sounds wrestle for dominance and eventually collapse into cohabitation. The music manifests in a contest of emotions were neither side can claim victory but both must coexist uncomfortably in the reality of the inhospitable aftermath of love.
“I Kill Everything” opens with track one titled “The Turning.” “The Turning” begins the treasonous decline of love into hatred. The song begins with looped waves of orchestral electronics that mimic orchestral stringed instrumentation. The electronic waves are warm yet saddened as if reflecting regret for the coming annihilation. After a short introduction fast paced rhythmic structures permeate the saddened composition contributing much needed energy and adding juxtaposition to the string orchestration. The music advances once the rhythmic electronics have established themselves moving forward with an additional layer of more dissonant rhythmic industrial structures that begin the unsympathetic descent into rage. The new dissonant rhythms barely have a chance to become established before monumental crushing industrial rhythms are unleashed across the music along with a heavy dose of scathing noise. At this point in the song there is no retreat. After the sympathetic beginnings of the song have opened your emotions and left you vulnerable Loss descends in a battle fury to deliver all the pain and suffering he has accumulated. Lyrics can be heard buried deep within the music but are completely undecipherable. The orchestral electronics surge monumentally behind multiple layers of industrial beats and rhythms while the unrestrained noise wrenches the listner downward. The balance of these elements is essential and Loss never falters in keeping the music aggressive yet listenable. After the initial assault the music converts to an exploration of isolationist dark ambience accented by random washes of sound and random sounds that drift through the music. Just as the listner begins to relax their defenses Loss launches the second wave with a return to rhythmic structures played over the ambience. The music begins to build once again with multiple layers of percussion being heralded in by the return of the string orchestration and heavy doses of noise. Once again the listner is consumed by the epic music. Loss ends the song on a strong note leaving the listner to pick up the remnants of their feelings.
“Happy Ending?” is the fifth song on “I Kill Everything” and it illustrates Loss’s ability to pull back from the harsher elements of the music as it offers the listner a resting point of sorts within the album. “Happy Ending?” begins with low volume crackling static that recycles and stutters off into infinity. Loss releases dark ambient drones across the static slowly building the song like its predecessors. The music communicates a sense of isolation once again that is interrupted by steady slowed rhythms that tumble across the vacant musical atmosphere. The percussion is joined by electronic orchestration that has been toned down to express a less exhalative ambience. As this lengthy excursion progresses random industrialized sounds are emitted across the established dark atmospheres making for a much more tamed listening experience when compared to previous songs. The music inspires reflections upon that moment you reach when all of your anger and resentment has flooded forth and you are left empty and lacking from the great purge.
Track eight titled “A Moment of Reflection” is the final track on “I Kill Everything.” If “A Moment of Reflection” is truly just that then I would be hesitant to hear Loss deeply contemplate his feelings or thoughts. “A Moment of Reflection” is the longest song on “I Kill Everything” clocking in at over seventeen minutes of powerful music! With a seventeen minute time frame to work within Loss takes his time formulating the finale to this excellent album. The music begins with low frequency static rumblings and searing glassy drones. These unique sounds are paired with thunderous washes of noise that stutter in and out of the song. Dark ambient drones are filtered through the music adding dimension and depth to the composition. This conglomerate of differing sounds revolves and mixes in numerous retreats and resurgences that allow differing elements to come forward and lead the song before retreating back into the depths of the medley. Almost three and a half minutes into the song a trace of humanity infiltrates as a lone voice shouts “Say Something!” The vocals communicate the personal frustration that might manifest in a relationship. The music continues to build with no respite flowing forth like the dark thoughts of a disturbed mind that has been cleaved open by the axe of love. The tone of the music darkens as it progresses like gathering clouds before a storm. The intensity of the music comes to a tangible peak heralding the arrival of stoic electronic rhythmic percussion. Once the initial percussion is established Loss increases the intensity with harsher industrial beats that pound mercilessly upon the listner. Once again the various elements establish a cohesion that is darkly wondrous and inescapable. Mechanical rhythms entwine with soaring electronic symphonics in a quest that leads the listner gently within. After the rhythmic frenzy the music retreats into noise infested ambience marked by audible spoken word lyrics that can actually be understood. The music acts as a platform for the lyrics as it churns in infernal depths. The spoken word continues to the end of the song leaving the music to support the fiery testimony.
After finishing listening to Loss it is hard to find an album that can sufficiently follow this act. “I Kill Everything” is a thoroughly satiating listening experience that suspends the listner between musical forces and emotional reactions. One feels akin to a tight rope walker after the album ends. You realize that you have navigated the dark dimensions of the music successfully while remaining open and vulnerable according to the demands of the ambient and electronic orchestral elements of the music. You may have even experienced the personal contradiction of love and hate, possession and loss, depending on your personal history. Loss has proven himself a formidable force in post industrial music. Given the various elements of the album it is conceivable that Loss could have released a more simplified album that would have garnished respect in either the rhythmic industrial, dark ambient, or noise genres. Instead Loss has combined his talent and mastery of these various musical influences into a singularly powerful vision that offers listners an epic listening experience. Music listeners of all of the above mentioned genres are encouraged to discover and explore the music of Loss.'