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Robert Piotrowicz, "Rurokura and the Final Warn"
The electronic improviser's first solo release (after collaborations with the likes of Kevin Drumm and Zbigniew Karkowski) is a succinct yet powerful burst of harsh analog noise that is reminiscent of the old titans of Japanese noise, yet still allows for some rhythmic elements that are consistent with the current scene.
The dividing line between "noise" and "power electronics" was always questionable back when I was balls deep in the scenes in the late 1990s. Usually the latter had vocals and some semblance of rhythm, while the former was even more dissonant. More recently the barrier seems to have been broken down even more, and this disc, from a Polish artist I had never initially heard of, clearly falls into both camps. Consisting of four tracks, we get both the pounding rhythms and tortured analog synths of the power electronics kids, while the noise crowd is represented in sheer volume and brutality.
Leading off with "The Initial Speech," there's more of a modern day noise mixed with power electronics vibe. A pounding monotone rhythm gets progressively more and more distorted as time wears on until it is eventually a massive wall of noise with a barely audible thump buried in the mix before it slowly disintegrates. "4th Floor Meeting with Detailed Instructions" drops the overt rhythm but makes do with some notable loops amongst the noise. To use the crutch of artist comparisons, it doesn't quite meet Pain Jerk style spastic rhythm loops that dorky indie kids could find a way to dance to, it's more akin to the cut and paste brutality of Government Alpha.
Extending the use of comparisons, "Last Broadcast of Public Speakers" is based on prominent mid to high range tones sustained throughout the mix of noise and distortion, so not far removed from some of the earlier Incapacitants works. The final 11 minute track encompasses the album as a whole: more of a compositional feeling building from a slow beginning to bassy loops and fragments of distortion. As a whole it’s more drone oriented, with what may be processed vocals sounding like the screams of demons.
As a whole, it's not an easy listen: it is violent, dissonant, and brutal. Unlike folks like Wolf Eyes, there aren't any concessions to conventional rhythm or song structure. But that's what most good noise is like so people who can easily discern Merzbow from Masonna will most likely enjoy the hell out of this.
Finally, the packaging is amazing The CD is in a pop up folder (which seems to be the standard packaging for the emd.pl label), but in this case it’s a pliable soft plastic, red and clear, and resembling the CD poking out of an open wound once opened. It's both subtle and very cool.
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