Gothtronic did another review, don't no why
---------
because they love your album
CONTROL HUMAN DELETE - "Terminal World Perspective" - REVIEWS
- Thread starter Emi
- Start date
http://www.lordsofmetal.nl/showreview.php?id=9527
Control Human Delete - Terminal World Perspective
Code 666
archiveer onder Black metal
Roel de Haan: Control Human Delete is een jonge Nederlandse band die, het zogenoemde, post-black metal speelt. Zoals de meeste bands die hieraan voldoen is men beïnvloedt door Thorns, Dødheimsgard en Satyricon (Rebel Extravaganza tijdperk). Om kort te gaan: ze bezitten de zogenaamde Moonfog-sound. Maar Control Human Delete brengt de stijl naar andere vlakten van existentie door de toevoeging van een keur aan invloeden aan hun furieuze black metal.
Meest in het oog springend zijn de uitgebreide flirts met ambient muziek en techno instrumentaties uitgesproken door geprogrammeerde drums. De laatstgenoemde is op bepaalde momenten ridicuul snel maar op één of andere manier is dit passend. Maar 'Terminal World Perspective' is op zijn duisterst en interessantst gedurende de langzamere (metal) passages. Vaak spelen industrial tonen en gesamplede geluidseffecten een rol in het creëren van een postapocalyptische sfeer die bij tijd en wijle uitstekend is. Met de imposante lengte van 71 minuten is dit een uitgebreide plakkaat interessante black metal, maar alleen voor de open-minded fan.
Score: 80/100 (toelichting)
Control Human Delete - Terminal World Perspective
Code 666
archiveer onder Black metal
Roel de Haan: Control Human Delete is een jonge Nederlandse band die, het zogenoemde, post-black metal speelt. Zoals de meeste bands die hieraan voldoen is men beïnvloedt door Thorns, Dødheimsgard en Satyricon (Rebel Extravaganza tijdperk). Om kort te gaan: ze bezitten de zogenaamde Moonfog-sound. Maar Control Human Delete brengt de stijl naar andere vlakten van existentie door de toevoeging van een keur aan invloeden aan hun furieuze black metal.
Meest in het oog springend zijn de uitgebreide flirts met ambient muziek en techno instrumentaties uitgesproken door geprogrammeerde drums. De laatstgenoemde is op bepaalde momenten ridicuul snel maar op één of andere manier is dit passend. Maar 'Terminal World Perspective' is op zijn duisterst en interessantst gedurende de langzamere (metal) passages. Vaak spelen industrial tonen en gesamplede geluidseffecten een rol in het creëren van een postapocalyptische sfeer die bij tijd en wijle uitstekend is. Met de imposante lengte van 71 minuten is dit een uitgebreide plakkaat interessante black metal, maar alleen voor de open-minded fan.
Score: 80/100 (toelichting)
same in english:
Control Human Delete - Terminal World Perspective
Code 666
file under Black metal
Roel de Haan: Control Human Delete is a young Dutch band that plays so-called post-black metal. As with most bands fitting that bill they have been influenced by Thorns, Dødheimsgard and Satyricon ('Rebel Extravaganza' era). In short, they have that so-called Moonfog sound. Still, Control Human Delete take this style to an altogether different plane of existence by adding a variety of different elements to their furious black metal.
Most notable are the extensive flirtations with ambient music and techno instrumentations which come to the fore by the use of programmed drums. The latter are at times ridiculously fast but somehow this seems fitting. However, 'Terminal World Perspective' is at its most brooding and interesting in the slower (metal) parts. Often industrial sounds and sampled soundeffect play a role in creating a post-apocalyptic atmosphere which at times is really outstanding. With its impressive length of 71 minutes this is an extensive slab of interesting black metal, strictly for the open-minded.
Rating: 80/100 (details)
Control Human Delete - Terminal World Perspective
Code 666
file under Black metal
Roel de Haan: Control Human Delete is a young Dutch band that plays so-called post-black metal. As with most bands fitting that bill they have been influenced by Thorns, Dødheimsgard and Satyricon ('Rebel Extravaganza' era). In short, they have that so-called Moonfog sound. Still, Control Human Delete take this style to an altogether different plane of existence by adding a variety of different elements to their furious black metal.
Most notable are the extensive flirtations with ambient music and techno instrumentations which come to the fore by the use of programmed drums. The latter are at times ridiculously fast but somehow this seems fitting. However, 'Terminal World Perspective' is at its most brooding and interesting in the slower (metal) parts. Often industrial sounds and sampled soundeffect play a role in creating a post-apocalyptic atmosphere which at times is really outstanding. With its impressive length of 71 minutes this is an extensive slab of interesting black metal, strictly for the open-minded.
Rating: 80/100 (details)
sopor
Bruiestru
oh man.. i love this album.. one of the greatest albums in the field
also, the album concept is really something
also, the album concept is really something
Error Spectre
TWP
http://fyu.deathmetal.be/index.php?option=com_content&task=view&id=669&Itemid=26
Sometimes a record can come at me in the wrong way when hearing it for the first time. This was certainly so while listening to the newly crafted piece from Control Human Delete (CHD, as the logo reads), Terminal World Perspective. It started out as another record with an industrial like intro and the zillionth one to use that one famous quote from the movie Lord Of Illusions to open up for the first blast. The interludes just seemed there to calm the whole down. I was wrong. This album contains enough layers to reveal itself more and more each time you hear it. Protocol Of Systematic Belief starts of blasting but turns out as a set of sonic waves crushing on a beach: sometimes held back and quiet, with the strange machine noises and the like, other times with full force, with the digital drum trying to fry your woofers. The tone is set. Generally I could describe the sound a modern black metal with industrial influences. As far as fast metal goes, this quartet from the Netherlands seeks out the limits at some points, so that a say normal pace - think late Satyricon seems almost like a resting point, before giving in to totally different vibes, created with psychedelic machine and synth sounds carried on intriguing drum patterns. At some points its all a bit too much as the blasts almost become a blur, but that doesnt ruin the general experience. The layers are in every aspect, be it the drums, the guitar parts, the key sounds or even the vocals. It took me some time to get a good picture of the whole thing. For the vocals, a general commanding scream soars through the album. For me this is like Limbonic Art gone mechanical. On Spectrum Of Divine Nature for instance, strangely disturbing rhythms and eerie repeated melodies on the keys form a solid base for thundering drums (often accompanied by heavy machine like pounding) and thick layered guitars. At some points, like on Transpherium and closing track, Absolution, CHD take the dark ambient all the way for while. Certainly not everyones cup of tea, but if you can enjoy this kind of electronic soundscape, it adds more to the tension of the record, although plus eleven minutes per piece is more than enduring. CHDs second - and first signed - output since their formation in 2001 is not something you put on while you read your newspaper. This requires full attention to make the listener experience the extreme sonic ride it is. Im curious what more is to be expected from these guys.
79/100
Sometimes a record can come at me in the wrong way when hearing it for the first time. This was certainly so while listening to the newly crafted piece from Control Human Delete (CHD, as the logo reads), Terminal World Perspective. It started out as another record with an industrial like intro and the zillionth one to use that one famous quote from the movie Lord Of Illusions to open up for the first blast. The interludes just seemed there to calm the whole down. I was wrong. This album contains enough layers to reveal itself more and more each time you hear it. Protocol Of Systematic Belief starts of blasting but turns out as a set of sonic waves crushing on a beach: sometimes held back and quiet, with the strange machine noises and the like, other times with full force, with the digital drum trying to fry your woofers. The tone is set. Generally I could describe the sound a modern black metal with industrial influences. As far as fast metal goes, this quartet from the Netherlands seeks out the limits at some points, so that a say normal pace - think late Satyricon seems almost like a resting point, before giving in to totally different vibes, created with psychedelic machine and synth sounds carried on intriguing drum patterns. At some points its all a bit too much as the blasts almost become a blur, but that doesnt ruin the general experience. The layers are in every aspect, be it the drums, the guitar parts, the key sounds or even the vocals. It took me some time to get a good picture of the whole thing. For the vocals, a general commanding scream soars through the album. For me this is like Limbonic Art gone mechanical. On Spectrum Of Divine Nature for instance, strangely disturbing rhythms and eerie repeated melodies on the keys form a solid base for thundering drums (often accompanied by heavy machine like pounding) and thick layered guitars. At some points, like on Transpherium and closing track, Absolution, CHD take the dark ambient all the way for while. Certainly not everyones cup of tea, but if you can enjoy this kind of electronic soundscape, it adds more to the tension of the record, although plus eleven minutes per piece is more than enduring. CHDs second - and first signed - output since their formation in 2001 is not something you put on while you read your newspaper. This requires full attention to make the listener experience the extreme sonic ride it is. Im curious what more is to be expected from these guys.
79/100
Error Spectre
TWP
Error Spectre
TWP
Error Spectre
TWP
http://www.audiodrome.it/modules.php?op=modload&name=News&file=article&sid=1742
RATE: 4/5
I Control Human Delete sono una piccola scoperta.
Pare che già il loro primo album, un'autoproduzione dal titolo Error Spectre, abbia cominciato a farne girare il nome nell'underground del loro paese, l'Olanda. Ora la code666, non a caso, pubblica Terminal World Perspective. Vediamo perché. Suonano black metal, ma hanno fabbricato un mondo musicale autonomo, al quale si salda un immaginario che sembra trovarsi a metà strada tra science fiction ed “eterno ritorno”. I riff sono invero piuttosto ortodossi (violenza a velocità siderale, gelo tagliente) e lo stesso si potrebbe affermare per le parti di batteria, non fosse che qui viene utilizzata la drum machine, come facevano i Limbonic Art. La stessa drum machine è uno degli elementi, insieme ad alcuni inserti elettronici e allo sporadico utilizzo della voce filtrata al posto di uno screaming davvero convincente, che potrebbero indurre a parlare di industrial black metal, individuando non a torto le influenze di gruppi come Thorns, DHG o i Satyricon di Rebel Extravaganza. Forse - più banalmente - i Control Human Delete hanno solo trovato il loro suono di synth: minimale, rarefatto, alieno. Se in alcuni momenti - viste anche le ambientazioni spaziali - certe parti di piano richiamano lo stile di Sverd degli Arcturus, in altri siamo di fronte a qualcosa che sembra preso dall'elettronica europea classica e ripensato da una testa black metal. Questo mix particolare, coerente e coeso, si sviluppa nel corso di tutto Terminal World Perspective, con un'interruzione a metà album, dove si sceglie solo l'atmosfera e si rinuncia all'aggressione. Quest'ultima sembra proprio una delle strade percorribili in futuro, magari giungendo all'ambient tout court.
Incredibile come si annuisca soddisfatti dall'inizio alla fine del disco, mentre si realizza che è possibile risultare personali pur cominciando a lavorare su di un canovaccio ben conosciuto. Consigliato a tutti quelli che seguono metal estremo, specie se vogliono vivere uno degli incubi più noti agli appassionati di fantascienza: vagare per sempre nello spazio. Ed essere vivi per accorgersene.
A cura di: Fabrizio Garau [fabrizio.garau@audiodrome.it]
Gruppo: Control Human Delete [www.controlhumandelete.com]
Titolo: Terminal World Perspective
Label: code666 [www.code666.net]
Anno: 2007
RATE: 4/5
I Control Human Delete sono una piccola scoperta.
Pare che già il loro primo album, un'autoproduzione dal titolo Error Spectre, abbia cominciato a farne girare il nome nell'underground del loro paese, l'Olanda. Ora la code666, non a caso, pubblica Terminal World Perspective. Vediamo perché. Suonano black metal, ma hanno fabbricato un mondo musicale autonomo, al quale si salda un immaginario che sembra trovarsi a metà strada tra science fiction ed “eterno ritorno”. I riff sono invero piuttosto ortodossi (violenza a velocità siderale, gelo tagliente) e lo stesso si potrebbe affermare per le parti di batteria, non fosse che qui viene utilizzata la drum machine, come facevano i Limbonic Art. La stessa drum machine è uno degli elementi, insieme ad alcuni inserti elettronici e allo sporadico utilizzo della voce filtrata al posto di uno screaming davvero convincente, che potrebbero indurre a parlare di industrial black metal, individuando non a torto le influenze di gruppi come Thorns, DHG o i Satyricon di Rebel Extravaganza. Forse - più banalmente - i Control Human Delete hanno solo trovato il loro suono di synth: minimale, rarefatto, alieno. Se in alcuni momenti - viste anche le ambientazioni spaziali - certe parti di piano richiamano lo stile di Sverd degli Arcturus, in altri siamo di fronte a qualcosa che sembra preso dall'elettronica europea classica e ripensato da una testa black metal. Questo mix particolare, coerente e coeso, si sviluppa nel corso di tutto Terminal World Perspective, con un'interruzione a metà album, dove si sceglie solo l'atmosfera e si rinuncia all'aggressione. Quest'ultima sembra proprio una delle strade percorribili in futuro, magari giungendo all'ambient tout court.
Incredibile come si annuisca soddisfatti dall'inizio alla fine del disco, mentre si realizza che è possibile risultare personali pur cominciando a lavorare su di un canovaccio ben conosciuto. Consigliato a tutti quelli che seguono metal estremo, specie se vogliono vivere uno degli incubi più noti agli appassionati di fantascienza: vagare per sempre nello spazio. Ed essere vivi per accorgersene.
A cura di: Fabrizio Garau [fabrizio.garau@audiodrome.it]
Gruppo: Control Human Delete [www.controlhumandelete.com]
Titolo: Terminal World Perspective
Label: code666 [www.code666.net]
Anno: 2007
Error Spectre
TWP
http://www.kronic.it/artGet.aspx?aID=2&sID=14987
Control Human Delete
Terminal World Perspective
di Giancarlo Maero
Verso un futuro – fortunatamente – ignoto
Cronaca dell’apocalisse in alta risoluzione. Il maelstrom sonoro dei CHD, quartetto olandese al debutto ufficiale, racconta la storia dell’evoluzione umana in un mondo opprimente e angosciante nelle sue leggi fisiche e ultraterrene. E sceglie mezzi e modalità senz’altro adatti, con una base black metal feroce e tuttavia nitidissima, ovvero quella dei Satyricon “Mark II”, evidente fonte di ispirazione nel riffing (“Protocol of Systematic Belief” insieme alla megalomania imperiosa di gente altrettanto lucida (e folle) come i DHG o anche Aborym. E qui l’anello di congiunzione è dato non solo dalla freddezza delle chitarre, ma anche dall’apporto della drum machine e di un’elettronica molto curata, disturbante, ossessiva ed estraniante.
I CHD hanno imparato molto bene la lezione del nuovo black, nei suoi mezzi e soprattutto nei suoi fini, e le loro composizioni risultano sempre molto dense, compendio intollerante di malignità e alienazione; il loro unico difetto sta nell’ancora eccessiva aderenza ai modelli – il contemporaneo ritorno dei DHG, il cui “666 International” deve essere facilmente rintracciabile negli scaffali degli olandesi, li obbliga necessariamente ad occupare un gradino più in basso – che li fa scivolare in qualche ripetizione e caduta di tono. E con una matrice sonora così ossessionante e brutale, si sente ancor più la necessità di personalizzare e variegare un sound altrimenti pesante da digerire in blocco (nonchè già a rischio di invecchiamento). Ma fanno ben sperare certe qualità intrinseche che già si vedono nel prodotto, dalla compattezza alla cura di dettagli e atmosfere, che raggiunge la massima espressione nelle ambientazioni elettroniche – “Transpherium”, basata su un austero organo a cui l’effetto di rallentamento/accelerazione di riproduzione dà un tocco genuinamente macabro, è un ottimo esempio di ambient nero, nella sua spartana efficacia. Osare di più è la parola d’ordine: solo chi rischia ogni cosa vince tutto.
Control Human Delete
Terminal World Perspective
di Giancarlo Maero
Verso un futuro – fortunatamente – ignoto
Cronaca dell’apocalisse in alta risoluzione. Il maelstrom sonoro dei CHD, quartetto olandese al debutto ufficiale, racconta la storia dell’evoluzione umana in un mondo opprimente e angosciante nelle sue leggi fisiche e ultraterrene. E sceglie mezzi e modalità senz’altro adatti, con una base black metal feroce e tuttavia nitidissima, ovvero quella dei Satyricon “Mark II”, evidente fonte di ispirazione nel riffing (“Protocol of Systematic Belief”
insieme alla megalomania imperiosa di gente altrettanto lucida (e folle) come i DHG o anche Aborym. E qui l’anello di congiunzione è dato non solo dalla freddezza delle chitarre, ma anche dall’apporto della drum machine e di un’elettronica molto curata, disturbante, ossessiva ed estraniante. I CHD hanno imparato molto bene la lezione del nuovo black, nei suoi mezzi e soprattutto nei suoi fini, e le loro composizioni risultano sempre molto dense, compendio intollerante di malignità e alienazione; il loro unico difetto sta nell’ancora eccessiva aderenza ai modelli – il contemporaneo ritorno dei DHG, il cui “666 International” deve essere facilmente rintracciabile negli scaffali degli olandesi, li obbliga necessariamente ad occupare un gradino più in basso – che li fa scivolare in qualche ripetizione e caduta di tono. E con una matrice sonora così ossessionante e brutale, si sente ancor più la necessità di personalizzare e variegare un sound altrimenti pesante da digerire in blocco (nonchè già a rischio di invecchiamento). Ma fanno ben sperare certe qualità intrinseche che già si vedono nel prodotto, dalla compattezza alla cura di dettagli e atmosfere, che raggiunge la massima espressione nelle ambientazioni elettroniche – “Transpherium”, basata su un austero organo a cui l’effetto di rallentamento/accelerazione di riproduzione dà un tocco genuinamente macabro, è un ottimo esempio di ambient nero, nella sua spartana efficacia. Osare di più è la parola d’ordine: solo chi rischia ogni cosa vince tutto.
http://www.harm.us/main/
2001 saw the formation in Holland of a young band by the name of Control Human Delete. Strange name who released a strange demo in 2003 called Error Spectre. The words/music was out and caught the attention of Italian kult underground label Code666. Terminal World Perspective is CHD debut and this opus is a collection of music those Dutch boys could be very proud of. Lasting over 70 minutes, one those nine tracks, the listener is brought into a cinematic, progressive & futuristic black metal journey. Blending together harsh, slightly screamed vocals, distorted & crushing guitars, spaced out / ambient keyboards, rumbling bass, samplings, industrial tones and drum machines in a very surrealistic décor. Even if the drum machines sound mechanical in the faster / extreme parts, they are not too distracting from the modern soundscapes. Calmer moments with nice musical interludes are offered too. I really enjoyed the more ambient long lasting instrumental pleasures called Transpherium and closing track (Absolution). Both of them come in a right place to overweight the more extreme songs and moods. Even in the faster and more kicking pieces, nice calmer parts are present like in those great compositions: Sin Tide Manufacturing (another long lasting pleasure) and The Creation of Equivalence Principle.
Terminal World Perspective is definitely an album I recommend and I'm looking forward to the evolution of those Dutchmen.
8.6 / 10
2001 saw the formation in Holland of a young band by the name of Control Human Delete. Strange name who released a strange demo in 2003 called Error Spectre. The words/music was out and caught the attention of Italian kult underground label Code666. Terminal World Perspective is CHD debut and this opus is a collection of music those Dutch boys could be very proud of. Lasting over 70 minutes, one those nine tracks, the listener is brought into a cinematic, progressive & futuristic black metal journey. Blending together harsh, slightly screamed vocals, distorted & crushing guitars, spaced out / ambient keyboards, rumbling bass, samplings, industrial tones and drum machines in a very surrealistic décor. Even if the drum machines sound mechanical in the faster / extreme parts, they are not too distracting from the modern soundscapes. Calmer moments with nice musical interludes are offered too. I really enjoyed the more ambient long lasting instrumental pleasures called Transpherium and closing track (Absolution). Both of them come in a right place to overweight the more extreme songs and moods. Even in the faster and more kicking pieces, nice calmer parts are present like in those great compositions: Sin Tide Manufacturing (another long lasting pleasure) and The Creation of Equivalence Principle.
Terminal World Perspective is definitely an album I recommend and I'm looking forward to the evolution of those Dutchmen.
8.6 / 10
Error Spectre
TWP
http://www.imperiumi.net/alb_2.php?id=6116
Kuten jo nimestä voi päätellä, Control Human Delete edustaa metalligenren modernimpaa, nörtimpää ja futuristisempaa - tai toisin sanoen - ajan hengen mukaista linjausta. Tarkemmin sijoiteltuna levy muljahtaa äärimetallin lokeroon, tässä tapauksessa sinne mustemmalle puolelle.
Yhdeksästä raidasta koostuva Terminal World Perspective on pituudeltaan eeppinen, mutta ulosanniltaan hajanainen kokonaisuus ambientmaisia kosketinhuminoita, industrial-henkisiä kone-elementtejä sekä tietysti kliinissoundista black metalia. Jonkinlaisen kuvan paketista saanee yhdistäen mielessään toisiinsa sellaiset tekijät kuin DHG, Aborym ja Thorns, ja sen jälkeen suodattaen nämä norjalaisen filtterin läpi - kotimaastaan Hollannista huolimatta.
Muutamista mukiinmenevistä ideoistaan huolimatta TWP on käytettyjä ideoita pursuava, tuotantoarvoiltaan korkeintaan tyydyttävä ja alagenreensä nähden vähän turhankin tavanomainen lärpäke. Toki koneelliset ideat nousevat rumpukonenakutuksen ja syntikoiden, sekä epäsovinnaisten sovitusten ja modernien kitarariffien voimalla esille, mutta lopputulos voisi olla kiljoona kertaa paremmin toteutettua. Industrial black metalia alright, mutta missä ne kaikki todelliset jänniteet kyborgeista synteettisiin huumeisiin ja nykypäivän maailman tuhoon?
Konemetallilevyksi TWP on sortunut harmittavan halpoihin ratkaisuihin. Paska rumpukone kuulostaa yhä paskalta rumpukoneelta, vaikka sen sovittaisi indu-vetoiseen metalliin, eikä levyltä muutenkaan löydy rohkeita ratkaisuja, sikäli kun futuristisuuden kuvittelee olevan teoksen kantavia ajatuksia. Kitarat soivat turhan kliinisesti, mutteivat kuitenkaan särmästi ja voimakkaasti. Laulupuolen rääkynä on kelvollista tukkulaatua, joka ei petä tahi yllätä.
Control Human Deletessa on potentiaalia ja lupausta, mutta jos tätä pitäisi verrata idean hengen mukaisesti tietokonepeliin, olisi kyseessä jälleen kerran yksi vanhaa kaavaa toistava, hädin tuskin uusilla grafiikoilla ulostettu first-person shooter. Toisin sanoen, pinnan lakkauksesta ja kiillosta huolimatta liian turvallista peruskamaa vailla todellista repivyyttä ja dystopiaa. Yritystä tässä kuitenkin on ja siitä pisteet kotiin.
(6½
Kuten jo nimestä voi päätellä, Control Human Delete edustaa metalligenren modernimpaa, nörtimpää ja futuristisempaa - tai toisin sanoen - ajan hengen mukaista linjausta. Tarkemmin sijoiteltuna levy muljahtaa äärimetallin lokeroon, tässä tapauksessa sinne mustemmalle puolelle.
Yhdeksästä raidasta koostuva Terminal World Perspective on pituudeltaan eeppinen, mutta ulosanniltaan hajanainen kokonaisuus ambientmaisia kosketinhuminoita, industrial-henkisiä kone-elementtejä sekä tietysti kliinissoundista black metalia. Jonkinlaisen kuvan paketista saanee yhdistäen mielessään toisiinsa sellaiset tekijät kuin DHG, Aborym ja Thorns, ja sen jälkeen suodattaen nämä norjalaisen filtterin läpi - kotimaastaan Hollannista huolimatta.
Muutamista mukiinmenevistä ideoistaan huolimatta TWP on käytettyjä ideoita pursuava, tuotantoarvoiltaan korkeintaan tyydyttävä ja alagenreensä nähden vähän turhankin tavanomainen lärpäke. Toki koneelliset ideat nousevat rumpukonenakutuksen ja syntikoiden, sekä epäsovinnaisten sovitusten ja modernien kitarariffien voimalla esille, mutta lopputulos voisi olla kiljoona kertaa paremmin toteutettua. Industrial black metalia alright, mutta missä ne kaikki todelliset jänniteet kyborgeista synteettisiin huumeisiin ja nykypäivän maailman tuhoon?
Konemetallilevyksi TWP on sortunut harmittavan halpoihin ratkaisuihin. Paska rumpukone kuulostaa yhä paskalta rumpukoneelta, vaikka sen sovittaisi indu-vetoiseen metalliin, eikä levyltä muutenkaan löydy rohkeita ratkaisuja, sikäli kun futuristisuuden kuvittelee olevan teoksen kantavia ajatuksia. Kitarat soivat turhan kliinisesti, mutteivat kuitenkaan särmästi ja voimakkaasti. Laulupuolen rääkynä on kelvollista tukkulaatua, joka ei petä tahi yllätä.
Control Human Deletessa on potentiaalia ja lupausta, mutta jos tätä pitäisi verrata idean hengen mukaisesti tietokonepeliin, olisi kyseessä jälleen kerran yksi vanhaa kaavaa toistava, hädin tuskin uusilla grafiikoilla ulostettu first-person shooter. Toisin sanoen, pinnan lakkauksesta ja kiillosta huolimatta liian turvallista peruskamaa vailla todellista repivyyttä ja dystopiaa. Yritystä tässä kuitenkin on ja siitä pisteet kotiin.
(6½
Error Spectre
TWP
http://www.obskure.com/fr/kro_model.php?n_kro=4870
Control Human Delete c’est avant tout, et au-delà de la "science-violence" qui se dégage de sa modernité, un réel don pour la création d’atmosphères. Cette dernière, au travers des agencements de guitares extrêmement pointus faisant le menu de 2007, explose littéralement après la parution du tout premier "Error Spectre".
Obsédant de bout en bout, ce nouvel essai de Black Metal technologique fait l’effet d’une déflagration contrôlée, canalisée, et ce notamment au terme des programmations rythmiques. Rigides, froides, elles constituent le socle cybernétique sur lequel se porteront d’impressionnants assauts de guitares. Plastique, et muscles.
D’envergure futuriste, le son revêt une aura apocalyptique et se décline au fil d’une production d’acabit supérieur. Complexes et tortueuses, les compositions projettent une focalisation sur l’agressivité attendue du référentiel "BM", certes ; mais elles maintiennent tout du long l’apparition d’aplats synthétiques. Econome en couches et assez basique, la formulation de ces derniers vise un couplage des plus naturels avec les éléments organiques, opérant une impressionnante fusion et parvenant à une greffe somme toute naturelle. L’optique Electro offre ainsi une vraie respiration à ce son terrifiant et évocateur, dont les guitares cisèlent un modelé lourd et acerbe (proche parfois du Heavy le plus sombre), naviguant entre un Metal moderne medium et de soudaines augmentations de pression lyrique. Celles-ci évoquent le décorum BM mais le projettent vers une ambition futuriste, pour un résultat des plus froids.
Paradoxalement, la torture intellectuelle qu’évoquent les voix déclamées (celles de l’obstiné Void) et ces structures musicales alambiquées renvoie davantage l’impression d’une modernité froide et contrôlée qu’autre chose, laissant pour partie de côté la schizophrénie jaillissant des travaux de certains autres tenants du Post-Black Metal. Ici, tout semble contrôlé de près, et ce qui terrifie reste bel et bien reste cette forme aiguë de contrôle. Il ne s’agit pas de s’autoriser la folie. Au contraire, il faut organiser une fusion irrépressible et d’allure victorieuse entre les tenants extrêmes du Metal et la maîtrise des machines, via l’introduction des textures et à travers elles d’ambitions dark ambient furtives (l’introductif "Eclipse" ou la césure spatiale de "Spectrum of divine Nature"). Au final, c’est un ensemble à la fois typé et composite, froid et absolument passionnant qui jaillit sur tout ce "Terminal World Perspective" et qui donne au Black Metal un avenir accroché aux possibilités de l’informatique et des synthétiseurs.
Les hommes se lient aux machines, pour toujours.
L’avenir de leurs guitares est dans le processeur, et le purisme en prend un peu plus pour son grade.
80
--- translation by Babelfish, for the non-french readers among us
Control Human Delete it is above all, and beyond the "science-violence" which emerges from its modernity, a real gift for the creation of atmospheres. The latter, through extremely pointed fittings of guitars making the menu of 2007, explodes literally after the publication of the very first "Error Spectrum". Obsessing from beginning to end, this new test of technological Black Metal makes the effect of a deflagration controlled, channeled, and this in particular at the end of the rhythmic programmings. Rigid, cold, they constitute the cybernetic base on which will go impressive attacks of guitars. Plastic, and muscles. Of futuristic scale, the sound revêt one will have apocalyptic and is declined with the wire of a production of higher quality. Complexes and tortuous, the compositions project a focusing on the awaited aggressiveness of reference frame "BM", certainly; but they maintain all length the appearance of synthetic flat tints. Treasurer in layers and rather basic, the formulation of the latter aims at a coupling of most natural with the organic elements, operating an impressive fusion and arriving to an altogether natural Clerc's Office. Electro optics thus offers a true breathing to this evocative sound terrifying and, whose guitars engrave one modelled heavy and sour (near sometimes to darkest Heavy), sailing between modern Metal medium and sudden increases in lyric pressure. Those evoke decorum BM but project it towards a futuristic ambition, for a result of most cold. Paradoxically, intellectual torture that evoke the déclamées voices (those of been obstinated Void) and these alambiquées musical structures more returns the impression of a cold and controlled modernity that another thing, leaving to some extent on side the schizophrenia spouting out of work of some others holding of Post-Black Metal. Here, all seems controlled closely, and what terrifies remainder indeed remains this acute form of control. It is not a question to be authorized the madness. On the contrary, it is necessary to organize an irrepressible fusion and of victorious pace between holding extreme of Metal and the control of the machines, via the introduction of textures and through them of ambitions dark ambient furtive (the introductory one "Eclipses" or the space caesura of "Spectrum of divine Nature"). With final, it is an at the same time typified and composite, cold and absolutely enthralling unit which spouts out on all this "Terminal World Perspective" and which gives to Black Metal a future fixed on the possibilities of data processing and synthetizers. The men bind to the machines, for always. The future of their guitars is in the processor, and purism takes some a little more for its rank.
80
Control Human Delete c’est avant tout, et au-delà de la "science-violence" qui se dégage de sa modernité, un réel don pour la création d’atmosphères. Cette dernière, au travers des agencements de guitares extrêmement pointus faisant le menu de 2007, explose littéralement après la parution du tout premier "Error Spectre".
Obsédant de bout en bout, ce nouvel essai de Black Metal technologique fait l’effet d’une déflagration contrôlée, canalisée, et ce notamment au terme des programmations rythmiques. Rigides, froides, elles constituent le socle cybernétique sur lequel se porteront d’impressionnants assauts de guitares. Plastique, et muscles.
D’envergure futuriste, le son revêt une aura apocalyptique et se décline au fil d’une production d’acabit supérieur. Complexes et tortueuses, les compositions projettent une focalisation sur l’agressivité attendue du référentiel "BM", certes ; mais elles maintiennent tout du long l’apparition d’aplats synthétiques. Econome en couches et assez basique, la formulation de ces derniers vise un couplage des plus naturels avec les éléments organiques, opérant une impressionnante fusion et parvenant à une greffe somme toute naturelle. L’optique Electro offre ainsi une vraie respiration à ce son terrifiant et évocateur, dont les guitares cisèlent un modelé lourd et acerbe (proche parfois du Heavy le plus sombre), naviguant entre un Metal moderne medium et de soudaines augmentations de pression lyrique. Celles-ci évoquent le décorum BM mais le projettent vers une ambition futuriste, pour un résultat des plus froids.
Paradoxalement, la torture intellectuelle qu’évoquent les voix déclamées (celles de l’obstiné Void) et ces structures musicales alambiquées renvoie davantage l’impression d’une modernité froide et contrôlée qu’autre chose, laissant pour partie de côté la schizophrénie jaillissant des travaux de certains autres tenants du Post-Black Metal. Ici, tout semble contrôlé de près, et ce qui terrifie reste bel et bien reste cette forme aiguë de contrôle. Il ne s’agit pas de s’autoriser la folie. Au contraire, il faut organiser une fusion irrépressible et d’allure victorieuse entre les tenants extrêmes du Metal et la maîtrise des machines, via l’introduction des textures et à travers elles d’ambitions dark ambient furtives (l’introductif "Eclipse" ou la césure spatiale de "Spectrum of divine Nature"). Au final, c’est un ensemble à la fois typé et composite, froid et absolument passionnant qui jaillit sur tout ce "Terminal World Perspective" et qui donne au Black Metal un avenir accroché aux possibilités de l’informatique et des synthétiseurs.
Les hommes se lient aux machines, pour toujours.
L’avenir de leurs guitares est dans le processeur, et le purisme en prend un peu plus pour son grade.
80
--- translation by Babelfish, for the non-french readers among us
Control Human Delete it is above all, and beyond the "science-violence" which emerges from its modernity, a real gift for the creation of atmospheres. The latter, through extremely pointed fittings of guitars making the menu of 2007, explodes literally after the publication of the very first "Error Spectrum". Obsessing from beginning to end, this new test of technological Black Metal makes the effect of a deflagration controlled, channeled, and this in particular at the end of the rhythmic programmings. Rigid, cold, they constitute the cybernetic base on which will go impressive attacks of guitars. Plastic, and muscles. Of futuristic scale, the sound revêt one will have apocalyptic and is declined with the wire of a production of higher quality. Complexes and tortuous, the compositions project a focusing on the awaited aggressiveness of reference frame "BM", certainly; but they maintain all length the appearance of synthetic flat tints. Treasurer in layers and rather basic, the formulation of the latter aims at a coupling of most natural with the organic elements, operating an impressive fusion and arriving to an altogether natural Clerc's Office. Electro optics thus offers a true breathing to this evocative sound terrifying and, whose guitars engrave one modelled heavy and sour (near sometimes to darkest Heavy), sailing between modern Metal medium and sudden increases in lyric pressure. Those evoke decorum BM but project it towards a futuristic ambition, for a result of most cold. Paradoxically, intellectual torture that evoke the déclamées voices (those of been obstinated Void) and these alambiquées musical structures more returns the impression of a cold and controlled modernity that another thing, leaving to some extent on side the schizophrenia spouting out of work of some others holding of Post-Black Metal. Here, all seems controlled closely, and what terrifies remainder indeed remains this acute form of control. It is not a question to be authorized the madness. On the contrary, it is necessary to organize an irrepressible fusion and of victorious pace between holding extreme of Metal and the control of the machines, via the introduction of textures and through them of ambitions dark ambient furtive (the introductory one "Eclipses" or the space caesura of "Spectrum of divine Nature"). With final, it is an at the same time typified and composite, cold and absolutely enthralling unit which spouts out on all this "Terminal World Perspective" and which gives to Black Metal a future fixed on the possibilities of data processing and synthetizers. The men bind to the machines, for always. The future of their guitars is in the processor, and purism takes some a little more for its rank.
80
