Thee Maldoror Kollective - "A Clockwork Highway" - REVIEWS
- Thread starter Emi
- Start date
from DIGITALMETAL
http://www.digitalmetal.com/reviews.asp?cid=6173
rate: simply a Must
I just came.
Italy is well known for mixing perverted ideas together and expressing the results musically. Usually such releases are worthy of filling the garbage bin, but exceptions are known to happen. Thee Maldoror Kollective is one of such occasions with their latest album where things could have gone horribly wrong, but luckily didnt.
You get sauce from Ulver, the meat from a bunch of old school industrial and ambient bands and a bag of oregano from the guys of Aborym. As an added bonus, you might want to buy a bag of Through Silver in Blood-sugar from 7-Eleven-Neurosis . Mix it together and cook appropriately and you might wound up getting a tasty snack of futuristic audiovisuals of mind consuming atmosphere called A Clockwork Highway. Its quite a lot less minimalistic and less humane than Ulvers modern new messiah, Perdition City but equally (although quite differently) thought provoking; cold, bleak and disturbed. Where Perdition City took us into the depths of living room electronics and crowds walking on rainy streets, A Clockwork Highway builds images of clinical Orwellian architecture, where the harmony of the white walls is scarred with blood trails and mystic spray paintings; hints of self-destruction or perhaps of minds own personal rebellion?
Thee Maldoror Kollective is vocal, but doesnt feature a vocalists in the traditional sense. Its not new for bands to use clips from movies and other audio enabled products, but TMK does it in a way where it doesnt feel out of place. While you know theyre from different sources, you somehow automatically put aside the clear hey, thats from that and that-thoughts; an automated self-defence process that allows TMK to show you another possibilities and concepts. There are also original vocal works, mainly in the form of distant screaming and display of agony. The samples knitted to the white skin, paint somewhat of a schizophrenic atmosphere.
Musically, its mainly machines and beats but the mechanical spine is also embodied with low-tune guitars and tribalistic drumming much in the fashion of 1996s Neurosis. Some of the sounds used in the creation of the music bring even more movie connections to mind, like the adapted blips on the albums weakest track, The Hills have Eyes, instantly injected my brain with Blade Runners Voight-Kampf tests and the noise of the imaging machine, used to observe the photographs the memories. While the music on the album is mainly constructed so that it doesnt necessarily have clear shapes and angles, its diverse enough not to become boring as the locations and soundscapes alter between each song. In fact the 57 minutes seemed quite short. Almost too short; the songs could have at places dragged more without it causing any damage to the flow. But perhaps the decision not to take a part and plug a Duracell Bunnys soul into it makes the complete work more intriguing. For a while, on the last track (Babilonia Cafe) TMK breaks from the controlled institutional environment and takes it to an East Indian direction and to more defined transonic stimuli. The rhythm speeds up before finally breaking into a catharsis. In a way the end is in direct connection with the beginning, as it releases the slowly built stressful anticipation of the first track (Dopecity).
Its been a while since I was last greeted with a release that worked as a proxy between me and the depths of my imagination. Of course, some of the albums released this year have been able to touch limited portions of my working brain cells (not a result to undermine) and some of the albums have allowed me to dig into that imaginary unit even more efficiently (Magyar Posses Kings of Time comes to mind) - Thee Maldoror Kollectives A Clockwork Highway simply flooded my mind with all sorts of pictures, thoughts and feelings to the point where I think Ive finally gotten the last most complex piece of the puzzle out to the open to play with.
Simply: A must.
[Apollyon]
Posted 12/20/2004
http://www.digitalmetal.com/reviews.asp?cid=6173
rate: simply a Must
I just came.
Italy is well known for mixing perverted ideas together and expressing the results musically. Usually such releases are worthy of filling the garbage bin, but exceptions are known to happen. Thee Maldoror Kollective is one of such occasions with their latest album where things could have gone horribly wrong, but luckily didnt.
You get sauce from Ulver, the meat from a bunch of old school industrial and ambient bands and a bag of oregano from the guys of Aborym. As an added bonus, you might want to buy a bag of Through Silver in Blood-sugar from 7-Eleven-Neurosis . Mix it together and cook appropriately and you might wound up getting a tasty snack of futuristic audiovisuals of mind consuming atmosphere called A Clockwork Highway. Its quite a lot less minimalistic and less humane than Ulvers modern new messiah, Perdition City but equally (although quite differently) thought provoking; cold, bleak and disturbed. Where Perdition City took us into the depths of living room electronics and crowds walking on rainy streets, A Clockwork Highway builds images of clinical Orwellian architecture, where the harmony of the white walls is scarred with blood trails and mystic spray paintings; hints of self-destruction or perhaps of minds own personal rebellion?
Thee Maldoror Kollective is vocal, but doesnt feature a vocalists in the traditional sense. Its not new for bands to use clips from movies and other audio enabled products, but TMK does it in a way where it doesnt feel out of place. While you know theyre from different sources, you somehow automatically put aside the clear hey, thats from that and that-thoughts; an automated self-defence process that allows TMK to show you another possibilities and concepts. There are also original vocal works, mainly in the form of distant screaming and display of agony. The samples knitted to the white skin, paint somewhat of a schizophrenic atmosphere.
Musically, its mainly machines and beats but the mechanical spine is also embodied with low-tune guitars and tribalistic drumming much in the fashion of 1996s Neurosis. Some of the sounds used in the creation of the music bring even more movie connections to mind, like the adapted blips on the albums weakest track, The Hills have Eyes, instantly injected my brain with Blade Runners Voight-Kampf tests and the noise of the imaging machine, used to observe the photographs the memories. While the music on the album is mainly constructed so that it doesnt necessarily have clear shapes and angles, its diverse enough not to become boring as the locations and soundscapes alter between each song. In fact the 57 minutes seemed quite short. Almost too short; the songs could have at places dragged more without it causing any damage to the flow. But perhaps the decision not to take a part and plug a Duracell Bunnys soul into it makes the complete work more intriguing. For a while, on the last track (Babilonia Cafe) TMK breaks from the controlled institutional environment and takes it to an East Indian direction and to more defined transonic stimuli. The rhythm speeds up before finally breaking into a catharsis. In a way the end is in direct connection with the beginning, as it releases the slowly built stressful anticipation of the first track (Dopecity).
Its been a while since I was last greeted with a release that worked as a proxy between me and the depths of my imagination. Of course, some of the albums released this year have been able to touch limited portions of my working brain cells (not a result to undermine) and some of the albums have allowed me to dig into that imaginary unit even more efficiently (Magyar Posses Kings of Time comes to mind) - Thee Maldoror Kollectives A Clockwork Highway simply flooded my mind with all sorts of pictures, thoughts and feelings to the point where I think Ive finally gotten the last most complex piece of the puzzle out to the open to play with.
Simply: A must.
[Apollyon]
Posted 12/20/2004
from heavy Metal portal
http://www.heavy-metal.it/recensioni/album_templ.php?id=909
rate: 8/10
In continuo mutamento la creatura dei Thee Maldoror Kollective; infatti, proprio come un serpente, hanno bisogno di cambiar pelle per crescere. "A Clockwork Highway" è un ulteriore passo avanti verso cosa ancora non si sa, un ulteriore tassello a quel mosaico dalle tinte fredde e grigie del vecchio (ma solo cronologicamente) "New Era Viral Order".
Il black del passato (presente più che altro nel cantato e in alcune tematiche) oggi è completamente scomparso.... un male? A voi giudicare, l'unica cosa certa è che "A Clockwork Highway" è tanto oscuro quanto affascinante e complesso.
Difficile da digerire, difficile da analizzare, difficile da ascoltare e da ri-ascoltare, così ricco di suoni e di "rumori" che ti si scagliano contro, di sensazioni differenti... di visioni diverse.
Dal noise all'industrial, dall'ebm all'ambient, il tutto visto in una visione psichedelica soffocante e abrasiva, "A Clockwork Highway" farà la felicità di quanti cercano nella musica qualcosa di diverso e di coraggioso; "A Clockwork Highway" è l'estremismo fatto musica, questo è l'unico modo per descriverlo in maniera corretta. Ogni tassello di questo mosaico musicale è perfettamente incastonato, ogni suono è al suo posto; basti ascoltare brani come l'iniziale "Dopecity", dalle ritmiche marziali, e il seguente "Who Dares To Kill The Lion?".
Il lato ebm dei nostri viene fuori con "The Holls Have Eyes", orecchiabile e ballabile all'inverosimile, mentre il lato sperimentale regna nei brani più lunghi e articolati, momento in cui i nostri riescono a dimostrare pienamente le proprie capacità. "An Effecter On Change", con i suoi 14 minuti, riesce ad impressionare per la naturalezza con cui mescola industrial acido e perverso a momenti ambient più caldi. Pazzesca, invece, è la conclusiva "Babilonia Cafè" nel suo tripudio di suoni e umori differenti; un sitar e delle percussioni tribali per poi lasciar spazio ad un synth, chitarre e... atmosfere da brivido!
La danza del diavolo? Suonerebbe proprio così.
"A Clockwork Highway" è una delle migliori uscite del 2004, da avere senza mezzi termini.
http://www.heavy-metal.it/recensioni/album_templ.php?id=909
rate: 8/10
In continuo mutamento la creatura dei Thee Maldoror Kollective; infatti, proprio come un serpente, hanno bisogno di cambiar pelle per crescere. "A Clockwork Highway" è un ulteriore passo avanti verso cosa ancora non si sa, un ulteriore tassello a quel mosaico dalle tinte fredde e grigie del vecchio (ma solo cronologicamente) "New Era Viral Order".
Il black del passato (presente più che altro nel cantato e in alcune tematiche) oggi è completamente scomparso.... un male? A voi giudicare, l'unica cosa certa è che "A Clockwork Highway" è tanto oscuro quanto affascinante e complesso.
Difficile da digerire, difficile da analizzare, difficile da ascoltare e da ri-ascoltare, così ricco di suoni e di "rumori" che ti si scagliano contro, di sensazioni differenti... di visioni diverse.
Dal noise all'industrial, dall'ebm all'ambient, il tutto visto in una visione psichedelica soffocante e abrasiva, "A Clockwork Highway" farà la felicità di quanti cercano nella musica qualcosa di diverso e di coraggioso; "A Clockwork Highway" è l'estremismo fatto musica, questo è l'unico modo per descriverlo in maniera corretta. Ogni tassello di questo mosaico musicale è perfettamente incastonato, ogni suono è al suo posto; basti ascoltare brani come l'iniziale "Dopecity", dalle ritmiche marziali, e il seguente "Who Dares To Kill The Lion?".
Il lato ebm dei nostri viene fuori con "The Holls Have Eyes", orecchiabile e ballabile all'inverosimile, mentre il lato sperimentale regna nei brani più lunghi e articolati, momento in cui i nostri riescono a dimostrare pienamente le proprie capacità. "An Effecter On Change", con i suoi 14 minuti, riesce ad impressionare per la naturalezza con cui mescola industrial acido e perverso a momenti ambient più caldi. Pazzesca, invece, è la conclusiva "Babilonia Cafè" nel suo tripudio di suoni e umori differenti; un sitar e delle percussioni tribali per poi lasciar spazio ad un synth, chitarre e... atmosfere da brivido!
La danza del diavolo? Suonerebbe proprio così.
"A Clockwork Highway" è una delle migliori uscite del 2004, da avere senza mezzi termini.
from NOCTURNAL HALL Portal
http://www.nocturnalhall.com/reviews/T/tmk_highway_e.htm
rate: 8/10
It took more than 2 years until THEE MALDOROR KOLLECTIVE decided to step out of the shadows again. But I think the long wait has paid off!
On their fourth full-length A Clockwork Highway the maniacs (basically Kundahli - vox, groove; Evangheliya - synth, programming, Sitar, vox; Drakon-rhythms, groove, percussions; plus the new one: H:Kashcej - git, noises and Bad Sector - the sound system) not only just continued with what they have started 10 years ago. This time they have sophisticated and polished their sound and reached a new level of dark and oppressive industrial sounds.
Randomly selected sound experiments on the predecessor New Viral Order (2002) are left behind while now focusing on metal-edged pure and bleak industrial sounds. Id like to describe the sound as a blend of very old Neurosis, late Ulver and Aborym and of course relating to some old school industrial merchants such as old Skinny Puppy and Front Line Assembly. The sound is now more minimalist and more monotone, but in no way one-dimensional. Thats the sound creating such a depressing and frightening end time mood. Cold sound collages build up on the fight machines versus low-tuned guitars and tribalistic drumming, while the distant screaming is put more into the background, added with loads of spoken samples, maybe taken from films. In general the music is perfectly fitting to visually displayed horror scenarios put into a possible future where machines play a role. No matter if an already existing movie cross your mind, if David Lynch makes a new one or if you try to set Enki Bilals Nikopol trilogy and Druuna to music. A Clockwork Highway would definitely suit well the atmosphere and is the architect of your own twisted visions.
All songs offer an equal level of quality making it hard to pint out a few. Just the last one Babilonia Cafe breaks out from the cold machinery and surprises with oriental Sitar tunes and live touch but not leaving enough time to get used to it until a heavy industrial storm takes over the sounds again.
THEE MALDOROR KOLLECTIVE have released an impressing album that can be taken as new basis for something new, refreshing and innovative in the scene where metal and industrial gets combined. Well-done!
http://www.nocturnalhall.com/reviews/T/tmk_highway_e.htm
rate: 8/10
It took more than 2 years until THEE MALDOROR KOLLECTIVE decided to step out of the shadows again. But I think the long wait has paid off!
On their fourth full-length A Clockwork Highway the maniacs (basically Kundahli - vox, groove; Evangheliya - synth, programming, Sitar, vox; Drakon-rhythms, groove, percussions; plus the new one: H:Kashcej - git, noises and Bad Sector - the sound system) not only just continued with what they have started 10 years ago. This time they have sophisticated and polished their sound and reached a new level of dark and oppressive industrial sounds.
Randomly selected sound experiments on the predecessor New Viral Order (2002) are left behind while now focusing on metal-edged pure and bleak industrial sounds. Id like to describe the sound as a blend of very old Neurosis, late Ulver and Aborym and of course relating to some old school industrial merchants such as old Skinny Puppy and Front Line Assembly. The sound is now more minimalist and more monotone, but in no way one-dimensional. Thats the sound creating such a depressing and frightening end time mood. Cold sound collages build up on the fight machines versus low-tuned guitars and tribalistic drumming, while the distant screaming is put more into the background, added with loads of spoken samples, maybe taken from films. In general the music is perfectly fitting to visually displayed horror scenarios put into a possible future where machines play a role. No matter if an already existing movie cross your mind, if David Lynch makes a new one or if you try to set Enki Bilals Nikopol trilogy and Druuna to music. A Clockwork Highway would definitely suit well the atmosphere and is the architect of your own twisted visions.
All songs offer an equal level of quality making it hard to pint out a few. Just the last one Babilonia Cafe breaks out from the cold machinery and surprises with oriental Sitar tunes and live touch but not leaving enough time to get used to it until a heavy industrial storm takes over the sounds again.
THEE MALDOROR KOLLECTIVE have released an impressing album that can be taken as new basis for something new, refreshing and innovative in the scene where metal and industrial gets combined. Well-done!
from ZERO TOLERANCE MAGAZINE (printed- UK)
rate: 4,5/6
"... original and well constructed, "a clockwork highway" is well worth checking out..."
rate: 4,5/6
"... original and well constructed, "a clockwork highway" is well worth checking out..."
From: Bright Eyes portal (Germany)
(http://www.bright-eyes.de/baseportal/CDs/kritikendetail&Id==5402)
Visonary Post Metal nennt das italienische Label Code 666 den Stil des lärmenden Vierers (bzw. Fünfers, nimmt man den Mann für das Soundsystem dazu). So weit weg liegt die knappe Stunde, die die 7 Nummern von A Clockwork Highway dauern, gar nicht weg. Die Post hats gebracht. Für das Wörtchen Metal sorgen die riffenden Gitarren und die pumpenden, bisweilen auch Tribal-artigen Drums (Dopecity, The Gospel According An Exit Solution). Visionen sollte man aber selbst entwickeln, wenn man sich den harschen, immer wieder von sphärischen Momenten untermalten Industrial-Sound von THEE MALDOROR KOLLECTIVE einfährt, denn A Clockwork Highway ist wie ein düsterer Soundtrack zu einem beklemmenden Endzeitfilm ohne Happy End. Zuerst wirken die meist überlangen Epen (der Düstergroover An Affecter Of Change dauert mehr als 14 Minuten) schwer zugänglich, zugleich wirken sie faszinierend, wenn man sich auf anstrengende Musik der Marke Godflesh im Tribal-Rausch gehen in den Noise-Tempel der Cold Meat Industry-Acts und lassen sich von einem hysterischen Shouter wütend hinterbrüllen einlassen möchte. Mit dem lässigen Primates ist auch ein relativ (!) schnell zugänglicher Ambient-Feger am Start, der an die Remixes von Hagalaz Runedance auf der Urd-Mini erinnern. Zum Abschluss gibts noch indische Einflüsse und düsteres Gegroove im Stile von Rajna meets dunkle Mindrot im über 10minütigen Babilonia Café zu genießen, bevor man sich überlegt, ob man die Scheibe aus dem Fenster wirft oder fasziniert nochmals lauscht. An machen Tagen ist der Sound der Band kaum zu genießen und an manchen drückt er einfach perfekt die Hoffnungslosigkeit mancher Momente aus. Diese beiden Gefühle sind in die Note eingeflossen.
10 von 13 Augen
Oliver Vollmer
(http://www.bright-eyes.de/baseportal/CDs/kritikendetail&Id==5402)
Visonary Post Metal nennt das italienische Label Code 666 den Stil des lärmenden Vierers (bzw. Fünfers, nimmt man den Mann für das Soundsystem dazu). So weit weg liegt die knappe Stunde, die die 7 Nummern von A Clockwork Highway dauern, gar nicht weg. Die Post hats gebracht. Für das Wörtchen Metal sorgen die riffenden Gitarren und die pumpenden, bisweilen auch Tribal-artigen Drums (Dopecity, The Gospel According An Exit Solution). Visionen sollte man aber selbst entwickeln, wenn man sich den harschen, immer wieder von sphärischen Momenten untermalten Industrial-Sound von THEE MALDOROR KOLLECTIVE einfährt, denn A Clockwork Highway ist wie ein düsterer Soundtrack zu einem beklemmenden Endzeitfilm ohne Happy End. Zuerst wirken die meist überlangen Epen (der Düstergroover An Affecter Of Change dauert mehr als 14 Minuten) schwer zugänglich, zugleich wirken sie faszinierend, wenn man sich auf anstrengende Musik der Marke Godflesh im Tribal-Rausch gehen in den Noise-Tempel der Cold Meat Industry-Acts und lassen sich von einem hysterischen Shouter wütend hinterbrüllen einlassen möchte. Mit dem lässigen Primates ist auch ein relativ (!) schnell zugänglicher Ambient-Feger am Start, der an die Remixes von Hagalaz Runedance auf der Urd-Mini erinnern. Zum Abschluss gibts noch indische Einflüsse und düsteres Gegroove im Stile von Rajna meets dunkle Mindrot im über 10minütigen Babilonia Café zu genießen, bevor man sich überlegt, ob man die Scheibe aus dem Fenster wirft oder fasziniert nochmals lauscht. An machen Tagen ist der Sound der Band kaum zu genießen und an manchen drückt er einfach perfekt die Hoffnungslosigkeit mancher Momente aus. Diese beiden Gefühle sind in die Note eingeflossen.
10 von 13 Augen
Oliver Vollmer
From: The Gothic Worls portal (Germany)
(http://www.the-gothicworld.de/_reviews/2004-12/thee-maldoror-kollective.htm)
Alleine schon für den Mut, eine solch aussergewöhnliche Band wie Thee Maldoror Kollective unter Vertrag zu nehmen, gebührt Code666 wieder einmal Respekt, denn der, wie das Label es umschreibt, Visionary Post Metal, beinhaltet in der Tat visionäre Züge und Ausdrucksformen, die mit den gängigen Vorstellungen, wie Metal zu klingen hat, radikal aufräumen. Stattdessen dominieren Samples, elektronische Klänge und düstere Soundcollagen das Klangbild und nur die fetten, darüber gelegten Gitarren, besitzen eine gewisse Affinität zur Metalszene.
Hier sind Thee Maldoror Kollective dann musikalisch auch nicht mehr so weit von Landsleuten wie Canaan oder Void of Silence entfernt, die musikalisch ebenfalls ein neuzeitliches Fin de Siécle propagieren. Düsterer Höhepunkt des Albums ist das beklemmende und apokalyptische An Affecter Of Change, das mit seiner fast fünfzehnminütigen Spielzeit und den unglaublich eindringlichen Samples in die Abgründe menschlicher Grundfesten führt um diese nachhaltig zu erschüttern.
Wer düstere Musik abseits aller Normen und Konventionen liebt, kommt an A Clockwork Highway nicht vorbei.
Michael Kuhlen (OBLIVEON) für GOTHICWORLD
-No rate but good review-
-The same review is also on "Oblivion portal" (Germany) with 9/10 rate
(http://www.obliveon.menschkunst.info/pn-om/modules.php?op=modload&name=globalreviews&file=index&req=showcontent&id=5744)
(http://www.the-gothicworld.de/_reviews/2004-12/thee-maldoror-kollective.htm)
Alleine schon für den Mut, eine solch aussergewöhnliche Band wie Thee Maldoror Kollective unter Vertrag zu nehmen, gebührt Code666 wieder einmal Respekt, denn der, wie das Label es umschreibt, Visionary Post Metal, beinhaltet in der Tat visionäre Züge und Ausdrucksformen, die mit den gängigen Vorstellungen, wie Metal zu klingen hat, radikal aufräumen. Stattdessen dominieren Samples, elektronische Klänge und düstere Soundcollagen das Klangbild und nur die fetten, darüber gelegten Gitarren, besitzen eine gewisse Affinität zur Metalszene.
Hier sind Thee Maldoror Kollective dann musikalisch auch nicht mehr so weit von Landsleuten wie Canaan oder Void of Silence entfernt, die musikalisch ebenfalls ein neuzeitliches Fin de Siécle propagieren. Düsterer Höhepunkt des Albums ist das beklemmende und apokalyptische An Affecter Of Change, das mit seiner fast fünfzehnminütigen Spielzeit und den unglaublich eindringlichen Samples in die Abgründe menschlicher Grundfesten führt um diese nachhaltig zu erschüttern.
Wer düstere Musik abseits aller Normen und Konventionen liebt, kommt an A Clockwork Highway nicht vorbei.
Michael Kuhlen (OBLIVEON) für GOTHICWORLD
-No rate but good review-
-The same review is also on "Oblivion portal" (Germany) with 9/10 rate
(http://www.obliveon.menschkunst.info/pn-om/modules.php?op=modload&name=globalreviews&file=index&req=showcontent&id=5744)
Russell
__
From: Babylon Magazine portal (Italy)
(http://www.babylonmagazine.net/vis_...ROR KOLLECTIVE&nome_disco=A Clockwork Highway)
Quando fui invitato allo studio report per sentire in anteprima il nuovo disco dei Thee Maldoror Kollective rimasi molto spiazzato dalla proposta musicale del loro nuovo "A Clockwork Highway". Ora che poi ho potuto ascoltarlo con calma, il mio stupore è ancora più alto: se da un lato si deve ammettere che i nostri hanno coraggio a cambiare così tanto da un disco all'altro (e lo hanno sempre fatto), dall'altra parte la loro nuova incarnazione non mi ha convinto al 100%. Mi spiego meglio: il disco è solido, articolato, complesso, e denota una cura per gli arrangiamenti notevole. Qui e là spuntano fuori dei samples malatissimi, dei loop, dei suoni che riescono a dare il tutto un senso di marciume e di "flippatura mentale" davvero notevoli. Quello che non mi ha convinto, invece, è stata la volontà di escludere quasi completamente la batteria "umana": questo, per me, è stato l'unico passo falso fatto dalla band, in quanto a mio avviso una drum machine non suonerà MAI come una batteria umana. A dimostrazione di quel che dico mi viene in aiuto l'ultima traccia "Babilonia Caffe", ossia l'unica song dove Drakon torna a sedersi dietro al drumkit invece di smanettare sulle percussioni elettroniche, e di colpo tutto acquista un altro sapore. Credo che se si fosse optato per questa scelta per tutta la durata del disco saremmo di fronte davvero ad un piccolo capolavoro: così, invece, siamo di fronte solo ad un gran bel disco. A parte questa "questione", che comunque è dettata da preferenze personali, torniamo alla musica. Kundahli e soci, come sempre, hanno intrapreso un viaggio musicale arricchito da simboli ben precisi, portando il discorso musicale ad un livello più alto, dove le idee che da sempre accompagnano la band piemontese hanno un ruolo fondamentale. Ecco quindi che, per apprezzare questo lavoro, bisogna essere in grado di guardarlo nella sua totalità: non basta sedersi ed ascoltare la musica che fuoriesce dalle casse, ma bisogna cercare di seguire i testi e, perchè no, le figure poste all'interno del bookleth. Solo così si potrà capire il lavoro che sta dietro a "A Clockwork Highway": per cui se siete persone dagli ascolti "facili" lasciate perdere e ascoltate altro; se cercate qualcosa di più complesso, invece, penso che abbiate trovato pane per i vostri denti!
Voto: 7,5 (Riccardo Maffiodo)
(http://www.babylonmagazine.net/vis_...ROR KOLLECTIVE&nome_disco=A Clockwork Highway)
Quando fui invitato allo studio report per sentire in anteprima il nuovo disco dei Thee Maldoror Kollective rimasi molto spiazzato dalla proposta musicale del loro nuovo "A Clockwork Highway". Ora che poi ho potuto ascoltarlo con calma, il mio stupore è ancora più alto: se da un lato si deve ammettere che i nostri hanno coraggio a cambiare così tanto da un disco all'altro (e lo hanno sempre fatto), dall'altra parte la loro nuova incarnazione non mi ha convinto al 100%. Mi spiego meglio: il disco è solido, articolato, complesso, e denota una cura per gli arrangiamenti notevole. Qui e là spuntano fuori dei samples malatissimi, dei loop, dei suoni che riescono a dare il tutto un senso di marciume e di "flippatura mentale" davvero notevoli. Quello che non mi ha convinto, invece, è stata la volontà di escludere quasi completamente la batteria "umana": questo, per me, è stato l'unico passo falso fatto dalla band, in quanto a mio avviso una drum machine non suonerà MAI come una batteria umana. A dimostrazione di quel che dico mi viene in aiuto l'ultima traccia "Babilonia Caffe", ossia l'unica song dove Drakon torna a sedersi dietro al drumkit invece di smanettare sulle percussioni elettroniche, e di colpo tutto acquista un altro sapore. Credo che se si fosse optato per questa scelta per tutta la durata del disco saremmo di fronte davvero ad un piccolo capolavoro: così, invece, siamo di fronte solo ad un gran bel disco. A parte questa "questione", che comunque è dettata da preferenze personali, torniamo alla musica. Kundahli e soci, come sempre, hanno intrapreso un viaggio musicale arricchito da simboli ben precisi, portando il discorso musicale ad un livello più alto, dove le idee che da sempre accompagnano la band piemontese hanno un ruolo fondamentale. Ecco quindi che, per apprezzare questo lavoro, bisogna essere in grado di guardarlo nella sua totalità: non basta sedersi ed ascoltare la musica che fuoriesce dalle casse, ma bisogna cercare di seguire i testi e, perchè no, le figure poste all'interno del bookleth. Solo così si potrà capire il lavoro che sta dietro a "A Clockwork Highway": per cui se siete persone dagli ascolti "facili" lasciate perdere e ascoltate altro; se cercate qualcosa di più complesso, invece, penso che abbiate trovato pane per i vostri denti!
Voto: 7,5 (Riccardo Maffiodo)
From Metalnews.de (Germany)
(http://www.metalnews.de/?metalid=5&action=show&cdid=671)
Maldoror und Funeral Fog sind vielleicht bekanntere Namen für diese italienische Band, die heute unter der Bezeichnung Thee Maldoror Kollektive firmiert. Nicht zuletzt an Mayhem erinnerte der ursprüngliche Bandname sowie das erste Demo De Mysteriis Serpentis. Mit A Clockwork Highway liegt nun das vierte Studioalbum dieser Truppe vor, die sich im Laufe der Zeit immer mehr vom Blackmetal entfernt hat. Verpflichtet sind sie mittlerweile beim Label Code666, welches ja für seine avantgardistischen Bands bekannt ist, unter anderem auch The Soundbyte. Nicht zuletzt an dieses Projekt erinnert A Clockwork Highway, auf welchem sich (im Gegensatz zum Vorgänger New Era Viral Order) nicht mehr der geringst Ansatz von Blackmetal findet.
Nein, dieses visionäre Konzeptalbum bewegt sich auf einer fast rein elektronischen Avantgarde-Ebene, ähnlich, nur vielleicht noch etwas gewagter, als es auch bei Ulver der Fall ist. An deren 1st Decade In The Machines-Compilation erinnert das Werk auch vom Sound her, nur daß es sich hierbei nicht um Remixes, sondern konzeptuell ausgearbeitete Songs handelt. Der Titel weckt nicht rein zufällig Reminiszenzen an Stanley Kubrick, nein! Auch das Clockwork Highway stellt eine Art Katharrsis der Psyche bedingt durch die Fusion von Magie und atavistischem Sinneserleben mit postmoderner Cybertechnologie vor. Was bei A Clockwork Orange die Gehirnwäsche mittels Drogen und autodestruktiven Darstellungen von Gewalt bewerkstelligte, leistet hier das fiktionale Erkennen der Natürlichkeit von Kybernetik und Geist, in Verbindung gebracht und verschmolzen durch neue, kosmische Klanguniversen. Soviel zur Philosophie und Thematik des Albums.
Umgesetzt wird das in sieben Tracks. Schleichende Synthesizerparts erzeugen eine kühle, technoide Atmosphäre, in die sich bald Blastbeats und stark verzerrter Gesang einfügen. Hier gibt es keinen stimmungsvollen Ambient oder gar neoklasische Elemente, nein. Elektronische Beat-Sequenzen wechseln sich ab mit konventionellem Drumming und Gesang, beim letzten Stück Babilonia Café hat man gar auf orientalische Arrangements zurückgegriffen. Die Stücke reihen sich nahezu übergangslos aneinander, jedes davon eine andere dramaturgische Facette bietend. Ähnliches kannte man bereits von Fates Warning-Konzeptalben wie A Pleasant Shade Of Gray oder Disconnected. Nur, daß es hier keinen cleanen Gesang gibt, sondern elektronisch verzerrtes sowie sich periodisch wiederholende Sprechparts. Auf Natursounds wurde völlig verzichtet, Technologie und ein leicht steriles Ambiente herrschen vor. Diese elegante Melange lässt einen beim Hören nicht völlig in die Leere entgleiten, sondern paart Harmonie mit Dissonanz und auditiver Unterdrückung. Crystalized Pain From Reconstrucion Out Of Deconstruction! Leichte Kost für Avantgarde-Anfänger
5 (out 7)
(http://www.metalnews.de/?metalid=5&action=show&cdid=671)
Maldoror und Funeral Fog sind vielleicht bekanntere Namen für diese italienische Band, die heute unter der Bezeichnung Thee Maldoror Kollektive firmiert. Nicht zuletzt an Mayhem erinnerte der ursprüngliche Bandname sowie das erste Demo De Mysteriis Serpentis. Mit A Clockwork Highway liegt nun das vierte Studioalbum dieser Truppe vor, die sich im Laufe der Zeit immer mehr vom Blackmetal entfernt hat. Verpflichtet sind sie mittlerweile beim Label Code666, welches ja für seine avantgardistischen Bands bekannt ist, unter anderem auch The Soundbyte. Nicht zuletzt an dieses Projekt erinnert A Clockwork Highway, auf welchem sich (im Gegensatz zum Vorgänger New Era Viral Order) nicht mehr der geringst Ansatz von Blackmetal findet.
Nein, dieses visionäre Konzeptalbum bewegt sich auf einer fast rein elektronischen Avantgarde-Ebene, ähnlich, nur vielleicht noch etwas gewagter, als es auch bei Ulver der Fall ist. An deren 1st Decade In The Machines-Compilation erinnert das Werk auch vom Sound her, nur daß es sich hierbei nicht um Remixes, sondern konzeptuell ausgearbeitete Songs handelt. Der Titel weckt nicht rein zufällig Reminiszenzen an Stanley Kubrick, nein! Auch das Clockwork Highway stellt eine Art Katharrsis der Psyche bedingt durch die Fusion von Magie und atavistischem Sinneserleben mit postmoderner Cybertechnologie vor. Was bei A Clockwork Orange die Gehirnwäsche mittels Drogen und autodestruktiven Darstellungen von Gewalt bewerkstelligte, leistet hier das fiktionale Erkennen der Natürlichkeit von Kybernetik und Geist, in Verbindung gebracht und verschmolzen durch neue, kosmische Klanguniversen. Soviel zur Philosophie und Thematik des Albums.
Umgesetzt wird das in sieben Tracks. Schleichende Synthesizerparts erzeugen eine kühle, technoide Atmosphäre, in die sich bald Blastbeats und stark verzerrter Gesang einfügen. Hier gibt es keinen stimmungsvollen Ambient oder gar neoklasische Elemente, nein. Elektronische Beat-Sequenzen wechseln sich ab mit konventionellem Drumming und Gesang, beim letzten Stück Babilonia Café hat man gar auf orientalische Arrangements zurückgegriffen. Die Stücke reihen sich nahezu übergangslos aneinander, jedes davon eine andere dramaturgische Facette bietend. Ähnliches kannte man bereits von Fates Warning-Konzeptalben wie A Pleasant Shade Of Gray oder Disconnected. Nur, daß es hier keinen cleanen Gesang gibt, sondern elektronisch verzerrtes sowie sich periodisch wiederholende Sprechparts. Auf Natursounds wurde völlig verzichtet, Technologie und ein leicht steriles Ambiente herrschen vor. Diese elegante Melange lässt einen beim Hören nicht völlig in die Leere entgleiten, sondern paart Harmonie mit Dissonanz und auditiver Unterdrückung. Crystalized Pain From Reconstrucion Out Of Deconstruction! Leichte Kost für Avantgarde-Anfänger
5 (out 7)
From: Metal.de - The dark site (Germany)
(http://metal.de/cdreviews.php4?was=review&id=5042)
"A Clockwork Highway" ist eine strange Scheibe, die mich zu Gefühlausbrüchen hinreißt, wie sie unterschiedlicher nicht ausfallen könnten: auf der einen Seite hasse ich sie, weil sie mir zu abgefahren, zu experimentell, zu off-this-world ist und ganz klar fern jenseits meines sonstigen musikalischen Horizonts schwebt. Auf der anderen Seite liebe ich sie, weil sie durch alle möglichen musikalischen Kleinschreberparzellen eine rücksichtslose Schneise schlägt und bei ausreichend Zeit zur Hingabe einen Klangkosmos eröffnet, der mich teilweise noch für Stunden nach dem Hören beschäftigt! Wir tänzeln umeinander herum, immer darauf gespannt, ob wir uns auf dem richtigen Fuß erwischen. Die Musik von THEE MALDOROR KOLLECTIVE als solche zu bezeichnen wäre mir beim ersten Hören jedenfalls auf keinen Fall in den Sinn gekommen, da es sich für meine Begriffe dabei nicht einmal mehr um Industrial (Metal?) handelt. Vielmehr ist "A Clockwork Highway" eine Collage aus bunt blinkenden Dioden und Leuchtstoffröhren, die Szenerie einer pulsierenden Großstadt, die durch unzählige Samples, ineinander verwobene Sounds, synthetische Hintergrundgeräusche, Melodien (!), Dialoge und fragmentarisch eingesetzten Instrumenten lebt. Diese Kulisse scheint wie ein immerwährendes Kontinuum, an dem man für die Zeit von 57 Minuten teilhaben kann. Die Reise durch diesen undurchsichtigen Dschungel mit seinen verschiedenen akustischen Eindrücken scheint einer Art Drehbuch zu folgen. Ein Plot, der den Hörer durch eine Geschichte führt, zu der die einzelnen Tracks die Kapitel bilden. Ein wenig erinnert mich dieses Unterfangen an ULVERs "Perdition City", dem Soundtrack zu einem inneren Film. Mit dem Schaffen der Norweger ist "A Clockwork Highway" jedoch nur unter dem Aspekt des ähnlichen Szenarios zu vergleichen. Darüber hinaus müssten ULVER schon einen sehr schlechten Tag haben, um heute noch so viel subtile Aggression in ihre Musik einfließen zu lassen. THE MALDOROR KOLLECTIVE mischen das Loungeartige von "Perdition City" mit der Aggression, Härte und dem Durcheinander von Noisecore, um aber trotzdem stets mit versteckten Gitarren zu irritieren. Es ist schwer, diese massive Reizüberflutung in Worten darzustellen. Wer sich von dieser Collage ein Bild machen will, sollte sich beeilen, denn "A Clockwork Highway" ist auf 1000 Einheiten limitiert.
Rein rechnerisch müsste die Scheibe eine Wertung von 5 Punkten erhalten. Ich gebe ihr aber acht Punkte, weil sonst der Eindruck entstehen könnte, das Album sie nichts wert. Das Gegenteil ist aber der Fall. Zumindest für denjenigen, der sich die nötige Zeit für das Album nimmt.
Punkte: 8/10
(Thomas / 21.02.2005)
(http://metal.de/cdreviews.php4?was=review&id=5042)
"A Clockwork Highway" ist eine strange Scheibe, die mich zu Gefühlausbrüchen hinreißt, wie sie unterschiedlicher nicht ausfallen könnten: auf der einen Seite hasse ich sie, weil sie mir zu abgefahren, zu experimentell, zu off-this-world ist und ganz klar fern jenseits meines sonstigen musikalischen Horizonts schwebt. Auf der anderen Seite liebe ich sie, weil sie durch alle möglichen musikalischen Kleinschreberparzellen eine rücksichtslose Schneise schlägt und bei ausreichend Zeit zur Hingabe einen Klangkosmos eröffnet, der mich teilweise noch für Stunden nach dem Hören beschäftigt! Wir tänzeln umeinander herum, immer darauf gespannt, ob wir uns auf dem richtigen Fuß erwischen. Die Musik von THEE MALDOROR KOLLECTIVE als solche zu bezeichnen wäre mir beim ersten Hören jedenfalls auf keinen Fall in den Sinn gekommen, da es sich für meine Begriffe dabei nicht einmal mehr um Industrial (Metal?) handelt. Vielmehr ist "A Clockwork Highway" eine Collage aus bunt blinkenden Dioden und Leuchtstoffröhren, die Szenerie einer pulsierenden Großstadt, die durch unzählige Samples, ineinander verwobene Sounds, synthetische Hintergrundgeräusche, Melodien (!), Dialoge und fragmentarisch eingesetzten Instrumenten lebt. Diese Kulisse scheint wie ein immerwährendes Kontinuum, an dem man für die Zeit von 57 Minuten teilhaben kann. Die Reise durch diesen undurchsichtigen Dschungel mit seinen verschiedenen akustischen Eindrücken scheint einer Art Drehbuch zu folgen. Ein Plot, der den Hörer durch eine Geschichte führt, zu der die einzelnen Tracks die Kapitel bilden. Ein wenig erinnert mich dieses Unterfangen an ULVERs "Perdition City", dem Soundtrack zu einem inneren Film. Mit dem Schaffen der Norweger ist "A Clockwork Highway" jedoch nur unter dem Aspekt des ähnlichen Szenarios zu vergleichen. Darüber hinaus müssten ULVER schon einen sehr schlechten Tag haben, um heute noch so viel subtile Aggression in ihre Musik einfließen zu lassen. THE MALDOROR KOLLECTIVE mischen das Loungeartige von "Perdition City" mit der Aggression, Härte und dem Durcheinander von Noisecore, um aber trotzdem stets mit versteckten Gitarren zu irritieren. Es ist schwer, diese massive Reizüberflutung in Worten darzustellen. Wer sich von dieser Collage ein Bild machen will, sollte sich beeilen, denn "A Clockwork Highway" ist auf 1000 Einheiten limitiert.
Rein rechnerisch müsste die Scheibe eine Wertung von 5 Punkten erhalten. Ich gebe ihr aber acht Punkte, weil sonst der Eindruck entstehen könnte, das Album sie nichts wert. Das Gegenteil ist aber der Fall. Zumindest für denjenigen, der sich die nötige Zeit für das Album nimmt.
Punkte: 8/10
(Thomas / 21.02.2005)
NAD
What A Horrible Night To Have A Curse
Royal Carnage
http://www.royalcarnage.com
http://www.ultimatemetal.com/forum/showthread.php?t=187964
So do the kids still hate electronica influenced metal? I don't really pay attention to the underground masses anymore, too many are concerned with ideology behind a band, how true they remain to their original intent, or some other poppycock. Either way, I never hated techno-metal because if you consider how many metal groups use an almost tactical approach to their riffing, using sequencers and other fun technology is a short few logical steps away. So here comes THEE MALDOROR KOLLECTIVE with their fourth offering, equal parts electronic instrumentation and riffery de la asskickery.
A Clockwork Highway finds TMK giving more machine gun riffs, more creepy vibes, more beeps and clicks, and more processed vocals, so fans should not be disappointed. Some of the oomph that made New Era Viral Order so much fun is a bit lacking here, but in its place is a more subdued presentation that could benefit in the long run. Most songs retain the main riff or two without much variation in the foundation elements. Vocals and sound effects change, but tempos, riffs, and drums keep on keepin' on how they started, creating a bit of a hypnotic effect. Ironically, this makes A Clockwork Highway more like a trance album, but the overall electronica feel is less than has been in the past.
This is one of those cases where the band sounds the same, but has made a different record. Whether or not they have made a better one will take some time, but either way this is another solid effort. Recommended.
7/10
http://www.royalcarnage.com
http://www.ultimatemetal.com/forum/showthread.php?t=187964
So do the kids still hate electronica influenced metal? I don't really pay attention to the underground masses anymore, too many are concerned with ideology behind a band, how true they remain to their original intent, or some other poppycock. Either way, I never hated techno-metal because if you consider how many metal groups use an almost tactical approach to their riffing, using sequencers and other fun technology is a short few logical steps away. So here comes THEE MALDOROR KOLLECTIVE with their fourth offering, equal parts electronic instrumentation and riffery de la asskickery.
A Clockwork Highway finds TMK giving more machine gun riffs, more creepy vibes, more beeps and clicks, and more processed vocals, so fans should not be disappointed. Some of the oomph that made New Era Viral Order so much fun is a bit lacking here, but in its place is a more subdued presentation that could benefit in the long run. Most songs retain the main riff or two without much variation in the foundation elements. Vocals and sound effects change, but tempos, riffs, and drums keep on keepin' on how they started, creating a bit of a hypnotic effect. Ironically, this makes A Clockwork Highway more like a trance album, but the overall electronica feel is less than has been in the past.
This is one of those cases where the band sounds the same, but has made a different record. Whether or not they have made a better one will take some time, but either way this is another solid effort. Recommended.
7/10
From Metalworks Magazine #5 (www.metalworksmagazine.com):
Thee Maldoror Kollective
A Clockwork Highway
code666
Envisage being drugged and waking up in an alien room, and it is halfway to the tone created by this piece of work. A Clockwork Highway is a sonic screenplay, which gives all the atmosphere of a darkened cinema witnessing a very bleak future. During the CD there are dialogue sections, which enhance the eeriness and suspense of the listening experience. There are no jokes, no light-hearted moments sharing the human side of the antagonists. Industrial landscapes, aliens and government conspiracies are theories presented to the victim of this unholy experience. Its becoming increasingly rare for a band to present such a unique body of work, and the only points of reference that can be drawn are to the likes of Godflesh and GGFH. Neurosis is among a handful of bands that can envelope a listener as thoroughly as this. Thee Maldoror Kollective are an exceptional band in an ever-increasing sea of mediocrity. A CD for when the senses deserve comprehensive punishment. [url="http://www.code666.net"]www.code666.net[/url]
8/10 Dave McCallum
Thee Maldoror Kollective
A Clockwork Highway
code666
Envisage being drugged and waking up in an alien room, and it is halfway to the tone created by this piece of work. A Clockwork Highway is a sonic screenplay, which gives all the atmosphere of a darkened cinema witnessing a very bleak future. During the CD there are dialogue sections, which enhance the eeriness and suspense of the listening experience. There are no jokes, no light-hearted moments sharing the human side of the antagonists. Industrial landscapes, aliens and government conspiracies are theories presented to the victim of this unholy experience. Its becoming increasingly rare for a band to present such a unique body of work, and the only points of reference that can be drawn are to the likes of Godflesh and GGFH. Neurosis is among a handful of bands that can envelope a listener as thoroughly as this. Thee Maldoror Kollective are an exceptional band in an ever-increasing sea of mediocrity. A CD for when the senses deserve comprehensive punishment. [url="http://www.code666.net"]www.code666.net[/url]
8/10 Dave McCallum
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