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Insane, violent, experimental raw BM - I like it! - 90%

NausikaDalazBlindaz, August 20th, 2007

Going by the hissing and other little noise interferences in the background, I'd say this is a very early recording by the French Canadian duo. Incredibly raw and angry and full of negative energy which O.T. and Neant just can't seem to get rid of fast enough in the music no matter how fast or brutal they go so they expend the surplus in ranting and screaming and throwing tantrums - ahhh, this is some album! After a sorrowful introduction in "Ouverture de l'espirit", the two get straight down to the business of Going Batshit: actual music-making and anything resembling a tune or a riff get last priority though that irritating wobbly guitar line isn't without a primitive charm of sorts. By track 3 "Les opposants bruleront", the guys have calmed down enough to introduce a groovy rock'n'roll rhythm which they proceed to wreck with Listerine-gargling vocals. Quite a lot of raw garage / punk rock and musical experimentation verging on noise and power electronics can be found here. I also get the impression that the musicians were experimenting with their vocals by applying all kinds of treatments such as reverb and various "kids, don't try this at home"-type effects and seeing how the results turned out. The end result is a very interesting recording of its kind: really basic and raw garage / punk BM with an avantgarde approach.

Nearly all the tracks are good: "Les ruines de la modernite" has a slow doomy rhythm and pace with screechy banshee singing that at the end descends into rumbling bass guitar drone feedback grit which sends the whole song into experimental noise territory. This is followed by out-and-out rock'n'roll boogie stuff in "Affront final" which boasts a get-down-n-dance / shake-yer-head rhythm and wonderful strummy guitar runs. Just as good is the earlier "Les opposants bruleront" which is really very funny with those underwater vocals. Self-indulgence to the point of self-parody where the singing is concerned mark "Hierarchie" (lots of pitiful gravel moaning in an otherwise excellent if very minimal flowing piece), "Revanche" (where the voice blends in with the drone bass feedback at the end -marvellous!) and "Pendaison de l'humanite" (high-pitched screaming accompanied by bombastic guitar and drums - it always amazes that no matter how high women scream, men can always do it higher!): all comic and making me laugh fit to burst - probably not what Akitsa had intended!

The throat-shredding shrieks continue on the so-so "Ode au temps passe": at this point, I should say all tracks have a basic structure reliant on one or two riffs repeating over and over so depending on how fast and angry the songs are or how good the melodies and riffs are to start with, the songs can be more or less monotonous / boring. Any variety within the basic template in each song relies on what O.T. and Neant were keen on at the time and how far they were willing to take it to the point of endangering their health and making idiots of themselves, but that's what you call taking risks! And for this kind of BM, there is quite a lot of variety: you've got good, maybe even great rock'n'roll tunes, you've got noise and drone passages, and in the last track there is quiet minimalism with a hidden twist.

"Goetie" and "Sang Nordique" were reissued about the same time in 2007 so if you are only able to get one of these, I suggest it should be "Goetie": you can listen to it as a straight-out primitive BM recording or approach it as something different - it's at once insane and fruitcake, and hateful and violent.