Description

KOLLAPS - 'Until The Day I Die'

CSR309CD (24 June 2022)
CD in 6-panel digipak
Barcode: 0641871745869

"Until The Day I Die" is the third album from Australian post-industrial outfit KOLLAPS.

"Until The Day I Die" is a merciless and visceral assault on the senses and continues the trajectory of the band's idiosyncratic approach in their creation of sound. The album showcases an uncompromising force of harsh post-industrial music narrated by overarching themes of condemnation and redemption; of violence, romanticism, sexuality, and addiction. Much of the creation and lyrical conceptualisation of the record has been stylised and presented using William S. Burroughs' cut-up method.

A wide variety of metals and raw materials were used in the creation of the album including metal grates, a rusted hoist, cement cylinders, field recordings, hammering of various decrepit objects, broken amplifiers, an exposed reverb tank, various synthesizers, and the infamous metal coil; a crudely self-constructed artifice that has become iconic in its use across KOLLAPS' triptych of releases and lengthy touring history in Europe, Australia, and New Zealand.

"Until The Day I Die" has had a tectonic shift in production methods compared to its predecessors and was entirely written, recorded, and mixed internally the self-constructed ILoveHeroin Studios built above a sculpture museum in Lugano, Switzerland. All instrumentation was handled by Wade Black except for bass guitar by Andrea Collaro recorded at Hangar 121 in Lenate Pozzollo, Italy on all tracks except "D-IX" and "I Believe In The Closed Fist," handled by Black, and additional sound design and percussion by Giorgio Salmoiraghi.

The album was mastered by James Plotkin and completed with cover artwork by Nullvoid (Thomas Ekelund | Trepaneringsritualen).

CD in 6-panel digipak.

Track listing:

1. Relapse Theatre (3:13)
2. D-IX (3:06)
3. I Believe In The Closed Fist (8:02)
4. Hate Is Forever (4:35)
5. The Hand Of Death (5:55)
6. Until The Day I Die (3:08)
7. Iron Sight Halo (5:35)

Reviews:

"Damn unpretty... the steel-wool textures of static, feedback and machine scree act as a sort of abrasive womb, encouraging each of these creations to gestate and rebel... Kollaps are there to fondle your most self-destructive thoughts" (Decibel Magazine)

"Listening to this new album from KOLLAPS makes me feel like I've stepped into a dystopian future. One where we've finally destroyed every bit of life and replaced it with our fucked-up, broken, mechanical replacement" (Cvlt Nation)

"Genauso konstruktiv wie destruktiv kombinieren [Kollaps] Soundsamples, Geräusche, Synthies und Sprachfetzen zu einem unvergleichbaren Klangteppich, Charakteristisch sind die immer wieder abrupt endendedn Sequenzen, die die Stücke unterschwellig zerfetzen und doch zusammenhalten. Ein besonderes Erlebnis für jeden Post-Industrial-Enthusiasten, der Freude an dem gewissen Etwas hat" (Orkus)

"Nicht nur musikalisch, sondern auch vom Standing her wandelt man auf den Spuren der ganz großen des Genres. Keine Clubhits, keine Noises vom Laptop, kein nerventötenden Exkurse in Techno, und Drum 'n' Bass, sondern wirklich Industrial, so wie er vor vier Jahrzehnten einmal erfunden wurde: Künstlerisch mit viel technischen Know-How eschaffene Geräusche, die Ausdruck sind von puren Emotionen und einer klaren Anti-Haltung zu vielem, zu allem. Sehr kaputt, sehr düster. Mit guten Vocals, die wie bei "I Believe In The Closed Fist", zusammen mit der beklemmenden Twin-Peaks-Atmosphäre des Tracks Hören dieser extremen Musik ein Genuss sein kann” (Sonic Seducer)"

"'Until The Day I Die' is my first encounter with this group with studio recordings... It is not a festival of feedback. Not that I expected this to be. There are quite a few of that, obviously, sitting next to banging on objects, screaming, but also a satire (I should think) of neo-folk in the title track. Complete with guitar and sad vocals, but drenched in reverb, leaning towards feedback. Some orchestral samples, mangled field recordings, and the military bang on the drums. Top-heavy music and filled with furious aggression. Not the dulcet tones of summer, but the sounds of a society collapsing in misery. I love it" (Vital Weekly)

"Until... prosegue nel solco industrial già ben tracciato in precedenza, facendo ruotare sia gli strumenti che i materiali impiegati e/o percossi (grate di metallo, montacarichi arrugginiti, cilindri di cemento...) attorno ad una vocalità dura, severa, urlata, rabbiosa e furibonda... Le cadenze si fanno dure e minacciose... una tensione drammatica dai tratti sofferti, lacerante, vorticosa... L'apice di purezza industrial... Conciso e compatto, "Until..." consolida la posizione di prestigio di un progetto capace, agguerrito e ben indirizzato anche in termini di produzione (il mastering del veterano James Plotkin è la classica ciliegina sulla torta), senza dubbio fra i più convincenti, completi e di ampio potenziale usciti dal calderone industrial degli ultimi anni” (Darkroom)

"An album of dread and atonement. Of passion and compulsion. Of opiate affliction and energy. Until The Day I Die harkens back to a time when the outsiders were condemned to pave their own way through grit and determination. Not to feel for a trail left by others, then cry when lost... this is the strongest work of Kollaps to date" (Discipline Mag)

"Australia’s Kollaps have held true to uncompromising industrial… it’s pure first-wave industrial (with a good splash of venomous power electronics) which Kollaps brings to bear. Until The Day I Die continues that legacy of brutality… Kollaps almost entirely eschew sequenced programming, especially on this record… [the] soundscapes have all of the evocative qualities you’d want from a band who double down so stridently on homemade industrial noise… Until The Day I Die holds true to its own steely and tightly packed mantra. It’s short enough to never experience diminishing returns, and while listeners searching for something clubbable will have long since been scared off, those with a yen for industrial extremity will get a proper uncut dose from Kollaps" (I Die You Die)

"Esta grandiosa obra expanden las fronteras conceptuales del postindustrial, adentrándose en estructuras instrumentales y sonoras deslumbrantemente innovadoras que te envuelven y sobrecogen... Vuelven a hacer otra contundente demostración de virtuosismo en la definición instrumental y de brillante talento a la hora de crear estas atmósferas nihilistas y deshumanizadas donde el arte musical de Kollaps es espectacular... una obra artística extraordinaria con sumo detalle, porque el despliegue instrumental y sonoro es impresionante (cilindros de cemento, rejillas de metal, grabaciones de campo, bobinas, diferentes objetos creados por Kollaps, amplificadores degradados…)... Tercer álbum de Kollaps para engrandecer conceptualmente a la escena postindustrial más innovadora en la actualidad” (Lux Atenea)

"One hopes even the most negligent industrial plant in North Korea does not sound as unforgiving as this on the overtime shift. Maybe the first inspectors on the scene at the Fukushima nuclear plant in 2011 experienced something like the audio nightmare Kollaps create here" (Scream Blast Repeat)

"Una combinación perfecta para todo amante del post-industrial bien entendido... los temas que andamian el disco muestran una estética mucho más abierta y acometedora, centrada en estructuras rítmicas que ocasionalmente se emparentar con influjos punks y metal, pero sin perder en ningún momento la orientación industrial por la que este combo es conocido... Cabe destacar la genial combinación de ruidos blancos que se encargan de vestir de desgarros un sonido aplastante que evoca de alguna forma a los primeros Swans... un disco que destella por su equilibrio y excelente producción. La banda ha sabido demostrarnos su maestría compositiva y su don creativo" (No Melody)

"Kollaps present a work of dystopian decadence. To that end, grates and hoists are employed alongside musique concrete-inspired field recordings. Every edge, sharp as ever, and Kollaps are now outdoing themselves with a DIY ethic behind the new album’s production" (PopMatters)

"A juggernaut of post-industrial sounds... A perfect cacophony of sounds, textures, tones, war-like beautiful, machine-like - all wrapped up in the one with some really spooky, creepy, spoken words, and very old school industrial style vocals.... What the hell can't you do with synthesizers, cement cylinders, odd field recordings, broken amplifiers, reverb tanks, metal coils, and the brilliant genius of a madman and his vocals" (The Doorway To)

"Until The Day I Die is a bit like a barb wire ballet, hurtful, painful, but beautiful and graceful at the same time. Vocals fading away in a sea of brutal, violent sounds and the fine, precise line that leads it, harmony and brutality, noise and your own message, personal poetry sent out in the form of lyrics, a truly deadly combination... It’s noise, industrial in its most pure form." (Auxiliary Magazine)

"Un trío con una propuesta absolutamente corrosiva y visceral, claramente consolidada en esta obra. Además de los instrumentos de percusión, los sintetizadores, el bajo, la guitarra y las voces (histriónicas y procesadas con múltiples efectos), muchos de los sonidos que utilizan provienen de la grabación de cómo vibran diversos objetos tales como rejillas, bobinas o tanques de metal, aparejos oxidados, cilindros de cemento y otros materiales, incluso golpeados a martillazos... al decisión creativa implica, no solamente un criterio estético, sino también ético, pues incorpora a la composición un uso literal de los productos que genera la sociedad posmoderna en contra de sí misma" (Track To Hell)

""Wade Black voglia saggiare quanto vicino al punto di non ritorno riesca ad andare, con quelli che sembrano evidenti suoni di scarto e tensione... Kollaps crea fastidio, una sorta di sottrazione di romanticismo alla musica bruta, che la rende paradossalmente molto fascinosa. Il disegno sartoriale è quello industriale... erotismo di un corpo sonoro che perdendo brandelli lascia scoperte le parti migliori di sé. È un disco che può far male, così come farebbe male dell’aceto e della corrente elettrica su una ferita aperta, oppure come una performance di un un dentista senza anestesia... Macchine in abbandono, frese, corpi malati e bianchicci, stati di agitazione. Percussioni, scosse, urla. L’incessante suono della corrente elettrica ad uscire da fili recisi... fine di un’opera che non potrebbe essere più onesta: il disfacimento del corpo e della psiche, prima della morte. Poi, soltanto vetri rotti, boati, trapani e corrente a sbalzi... Una catarsi? Il disfacimento? La morte? Non saprei raccontarvelo ma so che da questo solchi esce una brutale onestà, che li lascia disarmati, affranti e spogli" (Sodapop)