The Re-Construction Of The Kangen-Livegig With Massive Noise Drones And Weird Sounds
...To Share Some Light And Darkness

The popularity of experimental DIY music, including circuit bending, shows no sign of tailing off. Never a day passes…or so it seems…when another release flip flaps onto the AP doormat. After being listened to the recording then goes on a magical long journey…courtesy of the British postal system…until it arrives at the home of the reviewer deemed lucky enough to receive such treasure. 9 times out of 10 that falls onto my already frazzled head to deal with. Gee thanks a bunch. You do spoil me Jo with this manna from Heaven. I then listen to the recording. Then listen to it again. Have a drink. Or eight. Get pissed. Then listen to it once more. The alcohol dulling the senses enough to form some sort of coherent wordplay in my head. Staggering upstairs…after a quick trip to the toilet to remove the alcohol and the contents of my stomach…I play the recording for the last time and proceed to write the review at my computer. Which is where we are at this moment in time.

The scene is thus set. Procedures must now be followed. A quick word about the artist comes first. Olle Oljud is the name by which Olle Aberg records under. Oljud translates as 'unsound' or 'noise' into English. An artist from Sweden he has been releasing music since around the year 2000 though this is the first recording submitted to AP for review. The recording features two long tracks, 26 and 24 minutes respectively, of improvised electro-acoustic sound sculptures which encapsulates the whole distortion / drone / avant-garde / noise genres all within each individual track. Using a variety of home made instruments and modifying other conventional ones the music presents a challenge to the ears as it hammers away without remorse or consequential thought to the damage being brought forward.

Slogging through tar would be easier than trying to fathom out what this music represents. On the one hand it gives extreme electronics a severe run for its money in the pain inducing stakes whilst on the other there’s an undeniable sense of ‘take it or leave it’ belligerence which is to be secretly admired. Howling like a constipated banshee in a force 10 gale the music leaves a trail of brain numbing destruction in its wake. Only when it finally stops does peace and a feeling of normality return. The silences in the aftermath a blessed relief. If ever there was a conversation stopper then this is it.

Where this recording differs from Aberg’s previous work I can’t say…truth be told I’m too scared to ask…but if a raucous din gives you a warm glow then this will not disappoint. How often you would willingly play this is another matter all together. Four times was my limit and I have the constitution, and the build, of an ox. Where the limits are to your pain threshold only you will know but be warned that this release is a heavy going and patience destroying testament to one mans freedom of artistic expression.

One of the most challenging pieces of music I’ve ever had to review and that’s no understatement.

ANM