Forced Nostalgia have wandered down an overgrown psychological path where sound unlocks the untold and unseen. For those who find themselves leaning to the darker side of electronics, who enjoy the atmospheres and moods that machinery and synths can create, then you’re in for a treat.
[Listen | Purchase] In the world of electronic music there is no decade that dredges up more nostalgic sighs and reminiscent praise than the 1980’s. The revival of synth pop and minimal wave has been driven by the broody synthesizer enthusiasts of the neo-liberal era. The second Summer of Italo-Disco is born on the shoulders of Rimini ’83. The recent return to House, Acid and all things Chicago is built on the 808 and 303 inspirations of ’86. For its first release, Forced Nostalgia has made the well trodden trip back to the 1980’s; but they have arrived at quite a different destination.
This Belgian imprint has been given life by one of the country’s premier music archivists, Fré De Vos. From his vaults comes a split LP, Cicciolina Holocaust with Albeit Albeit and Sermonizer and Sibelius Spiders. These tracks have never been released on vinyl before, all previously on tape, produced in very small amounts and generally given to friends. Whereas Cicciolina Holocaust released only one tape, Sermonizer has been a prolific artist for some thirty years. As the needle lands you’re are whisked off into the world of Cicciolina Holocaust first. The murk waves consume the listener immediately, as “Zigomar” gets the show on the road. The track, recorded in 1984, has a sub aquatic insular feel to it. The listener in immersed in slides of melody as bubbles of Korg Poly orbit and rise. As a piece of library music or ambient it is amazingly advanced for its time. An industrial tone arrives with “In Tempore Non Suspecto,” but again in a compressed manner. The track morphs into a primal piece, digging up images of lost island tribes alongside disused factory spaces. “Silent Killing” runs out the A-side. This possible movie title works along an interesting the line. The slight beat echoes that of a footstep, with the walker being pursued by distorted and inchoate electronic wraiths. Sermonizer picks up where Cicciolina Holocaust leave off. “Rosalita” leads the listener into a shimmering basilica, with columns of string supporting the weight of the piece. “Mystery” tiptoes along similar lines, shifting in ever more subtle shapes. The swirling movements of “Acid68 to Dica86” meshes strung out violins with electronic feedback and surges to produce a piece that could happily slide into a modern deep space piece. The mindset changes as the relentless looping of “Sibelius Spiders” sinks into the speakers, creating discomfort and unsettling with muffled vocals and piercing notes. The awkwardness felt comes to a head with “Copulator,” sexual samples fed through looming machine sound. Heavy breathing and analogue overtures.
This isn’t a record for the faint hearted. Forced Nostalgia have wandered down an overgrown psychological path where sound unlocks the untold and unseen. For those who find themselves leaning to the darker side of electronics, who enjoy the atmospheres and moods that machinery and synths can create, then you’re in for a treat. This music is almost black in its outlook and tone, producing uneasy emotions in its listener. Sometimes with a hint of soundtrack to it, this is an album of not just menace but one of historic significance. It was on the back of such experimentation that modern day electronics is founded. These were the founding stones of electronica, ambient and modern library music and are still inspiring a new generation of artists. It will be interesting to see what De Vos will extract next from his collection for release.
This release is out now on Forced Nostalgia. [Listen | Purchase]
