This is the second collaborative album from Maurizio Bianchi and Siegmar Fricke following their Muitnelis disc, which I have yet to actually hear. Stroma-Konkret is a pretty heavy slab of minimal industrial though. The disc comes from the Russian industrial/ambient label Monochrome Vision, and like other releases from the label, the disc is packaged with black and white artwork and includes liner notes on the artists and the music contained inside. According to the liner notes, this album is dedicated to the French inventor of musique-concrete, Pierre Schaeffer, but you'd be hard pressed to pinpoint any of the sounds on this album specifically to the obsessive processes of musique-concrete. And like alot of the other collaborative discs that Bianchi has been releasing lately, t's little of the intensely bleak, suffocating drone that marked his 80's output as some of the most malevolent isolationist music ever made. Strome-Konkret seems to be driven more by the heavy, mangled rhythmic industrial noise of German artist Siegmar Fricke, the three lengthy tracks piling heavy percussive loops on top of dreamy dark ambience and grinding low-end synth drones, metal objects being hammered into infinity, the rhythms generally appearing as plodding mechanical pulses or echoing metallic blasts. The first track is the busiest of the three, a half-hour trip through chittering, swarming glitches and blurry passenger-train drone, crushing low-frequency buzz, deafening robotic heartbeats and weird electronic squelches, blasts of incendiary noise sweeping over the constant throb of Fricke's loops. The heavy industrial rhythms are mostly absent on the second track, which has all sorts of chirping electronics and fluttering tones swooping and soaring across a jet-black surface of cosmic drone. Then the third returns with more clanking, grinding machine loops, but this time the throbbing metal pulse is set against another backdrop of swirling blackened ambience; as this piece continues through it's 23+ minutes, the industrial bashing becomes quite heavy at times, and it starts to sound like someone bashing out an incessant beat on a massive oil drum while dreamy Ash Ra keys hover above. Minute buy minute, the etal space-drone loops and looped metallic pounding becomes slower, the rhythm fading in and out, the whole track slowing down to a slurred, syrupy machine dirge. Kind of psychedelic space-industrial piece, and though it's very different from the black isolationist industrial of my favorite Bianchi work, this is pretty cool, a cold rhythmic industrial drone album that Z'ev fans might want to check out.
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