These producers have no boundaries or limits, and are drawing from the world they know where it is possible to marry piano, harsh percussive sounds and layers of noise to generate something special, something otherworldly.
A strong and carefully developed piece of sound art
Dragon & Jettenbach is a new project for me to get to know. I am familiar with Peter Adjobia from some of his past work like the epic remix on the Asche “Distorted DJ” double CD release. I have also had the pleasure to see Peter DJ live, and he has some serious skills, and put together an amazing set of electronica and noise influenced stuff that night. It was a support slot when Somatic Responses came to Dublin some years ago. Despite knowing many London folks from the once were Goth and industrial scenes I am yet unfamiliar with Paul Jetten. I got this release way earlier in the year but 2022 has been difficult and I am only finding the time to write these thoughts now. Perhaps take it as a sign of good faith that this release some months later still sounds fresh and interesting.
I opted to purchase this in the physical USB stick format which was very nicely presented with the engraved custom stick, with the Dragon & Jettenbach logo, also included was digital print artwork by “Cayce” on really nice high quality matte paper, all housed in an anti-static bag. I do buy digital releases, but I do love having something physical. I always feel that the artwork sets the tone for what we might expected to find when we listen, and of course what we are not expecting.
Tales from the Algorithm is a strong and carefully developed piece of sound art. The opening track delivers strong, rich and slicing sounds that get us interested in what is to come. Some rhythmic elements allow us to understand this is not one of those pure drone albums, which I also enjoy, but this is not that. Don’t be misled, the rhythms so far are more like punctuation, and we are not on a dance floor mode or anything of that nature. This is more wall of sound stuff, which should be played loud, and with thoughtfulness, but not too much consideration for the neighbors. I guess that maybe why it is called “Reverse Entropy,” opting to rather travel backwards in time, and not deal with the future consequences of what the now might bring.
“Serenity of the Meatgrinder” sounds like it might be something Venetian Snares might throw at you, with a million and one sliced beats, smithereens of sound, but no in fact this is something far more emotive, and evocative of some heart felt mysterious wrong doings that have left one slightly baffled and needing some release. Electronica meets industrial sounds designed to stir electronica and industrial people. Rhythms come in and skip around the speakers (or headphones) to deliver the catharsis that is just sometimes required. This is healing music for people who like loud and intense musical experiences. But it is not “power electronics” just to be clear.
“Straylight” leads us onward into the world of Dragon & Jettenbach and greeted with what is becoming their trademark style of drone like synth layers; sounds hum in the air like electricity during and after an intense electrical storm. Percussive elements from the outset put us into an apprehensive state. Could this have been what Swans might have turned into had M Gira had to only use electronics and no longer have a full band to rely on to swell his sound stage into his brand of cacophony.
A vast and broad depth of music knowledge ::
It is apparent to any seasoned music listener that these producers have no boundaries or limits, and are drawing from the world they know where it is possible to marry piano, harsh percussive sounds and layers of noise to generate something special, something otherworldly, whilst also compelling to be drawn into. There’s a vast and broad depth of music knowledge behind people who make music like this. This is not from dabblers, more perfectionists who need to know when to let is out into the world. Let it run free, allow it take hold of people and draw them back to their web to be equally scared and empowered. “The Construct Council” is a different beast, with arpeggiated bass to mid-level tones that could be from some modular equipment. It makes the curious part of me wonder how these artists approach sound as form for composition. Like many more experimentalists, sound and noise are just as important as melody can be for other artists. These are the tools that set more experimental composers apart.
“Summoning Shai-Hulud” aka the sandworm of Arrakis in Dune. We are back with the harsher sounds. I’m reminded of seeing some “sound artists” live performances, where on the right sound system your whole body gets impacted by waves of audio, walls of sounds, layers of permeating audio, that pass through you like x-rays for the soul. Hearing this again after a few weeks since last hearing it, I immediately thought that I want to hear this live in some small experimental German noise festival, whether in a deep dark bunker, or a mammoth hall like the Turbinenhalle main hall in Oberhausen, where the whole room vibrates when artists like Lustmord do their thing. This music has power. This music has volume. This music has presence. The worm has not just turned, but it is coming right for us, and the sound of it is intensifying, real and vibration-al.
“Needlecast Into Innenin” maybe a reference to Altered Carbon, but at this time the faint hearted have left the room. The intensity is almost ritualistic in nature. A point of note is whilst this release has many noisier sounds; it is worth listening to this on big speakers, with a good sub bass response, as there are plenty of deeper frequencies.
“Wormwood” has unexpected guitar and/or bass guitar sounds adding a new string to the bow here, and elements that feel plucked from the early New Order album Movement and placed into a new context. Pass the absinthe!! We are definitely on some kind of a “trip.”
“Dirangesept” gives us a more rhythmic workout, with ringing tones being torn and perforated by cacophonous beats with lots of delay. For an album based around the more noise type soundscape there is plenty of variety to give listeners more to choose from. This album is quite dark. It will take you to places you might not choose to go to at first but with some perseverance comes the rewards. Like a psychotropic experience, it is meant to be endured and from deeper within comes the rewards.
“Penfield Mood Organ” takes us to our final destination on this sonic experience journey. Is this a dream for Androids to dream of electric sheep? References across this release remind us of classic fiction, cyber punk novels, and themes that are beyond that of the surface world. Dragon & Jettenbach are quite something special.
This is music for fans of industrial, noise, challenging electronica, and ritualistic sonic carnage. Not for the faint of heart. I highly recommend it and even though this review comes sometime after the release, there is still the opportunity to get the physical memory stick release!
Tales from the Algorithm is available on Bandcamp.
