Distro
new in stock from Filth & Violence.
Bizarre Uproar
"Vihameditaatio".
Lastest full-length of Finnish hate extremist and anti-social l'enfant terrible Bizarre Uproar. Four tracks of decaying filth, hate and bizarre sexual humiliation.
Bizarre Uproar was initiated in 1993, and has since then released over 30 albums in addition to numerous collaborations, splits, eps and singles. Deathkey, Silent Abuse, Goatmoon, Ride for Revenge, Macronympha and Grunt are some acts that have collaborated with Bizarre Uproar in the past. These references should in their own stature give witness to the level of professionality Bizarre Uproar - aka BU - operates on. The thematic foundation of BU is purely psychosexual, and rests within a fanatic fetish culture at the explicitly perverse edge of human sexual spectrum. The visuals and lyrical content (verbatim and substratum) make no attempt to disguise Bizarre Uproar's predatory affections and blatantly hail anti-social attitudes and desires; while sadistically spitting into the face of majority PC social acceptance. During the last years BU has toured extensively in Europe. Both as a solo outfit and as a duo with the assistant of session musicians Silent Abuse and SS-Pekka. The sheer brutality and power of these live actions have at times resulted in blown out sound systems, laborious collective tinnitus and crushed reality perceptions/semi-nervous breakdowns for unprepared audience members. I personally, have observed all three occurrences in one single evening.
"Vihameditaatio" was released on CD by Filth & Violence and LP by Urashima, spring 2014. The material on the album is a continual exploration of the audial cellars manifested on prior full-length "Perverse bizarre humiliation", and 7" split "Appetite for destruction" with Goatmoon. The instrumentation on "Vihameditaatio" is relative minimal and consists of: Low-end rumbling loops, ground trembling bass riffs, heavily decayed thundering drum section, chains, contact mic`ed sheet metal, feedback, delay/reverb effect pedals, and fierce ample vocals with close to no effects - or no effects at all. The recordings and sound production are dynamic and raw with full audio spectrum. "Vihameditaatio" is the results of a lengthy developing period in the BU cargo container, stretching over several months. The material was shaped and perfected via a series of rehearsals, 4-track demo recordings and pro-longed listening sessions; before promptly being committed to tape during two short recording sessions, each lasting three till four hours. The first recording session representing 'LP Face A' followed a very structured and strict composed schematic, and was executed as a live-in-studio session. The approach to Face B had a contrasting method, as it relied only on a sketched compositional frame and was executed as ritualistic free-form improvisation, all done in one take with less and less effects - and towards the end - pretty much nailed down unplugged. The album also includes a conceptual silent track that honoures the cause. After the recording phase was completed, minor mixing adjustments were executed and volume levels checked. Make note: No heavy post-production. The Album was solemnly recorded by Bizarre Uproar. No personnel was practically involved during the course of the recording period - apart from Ms. BU aka Silent Abuse giving a critical eye on tracks and project progression.
Bizarre Uproar's choice of less and overtly violent instrumentation is a conscious one. After a substantial discography of high volume recorded filth that terrorize the listening space, "Vihameditaatio" is a critical side step from this strata and a continuing new chapter in Bizarre Uproar's career. The compositions and ideological concepts have matured and are distilled to pure essence. Furthermore, we can see a band expanding its artistic expression and compositional structures well beyond the idea of 'anti music' - to now include inspirations leaning towards: Doom, metal, hard core and religious music. Check tracks Verilippu and side B's title track Vihameditaatio for reference. Here Terveet Kädet's riffs and chaotic fervor gigs seem buried in the disintegrating low rumble... as well as... the slow - echoing - mean - calculated stride found in G.I.S.M.'s pitched intermesso sequences on VHS': "Subj and egos, Chopped" & "+ R, Regicide reverberation". The most significant severance from prior material is Bizarre Uproar's wish to slow down the tempo in own compositions, and focus on creating unique audial spaces with ambience - a decision much in contrast to a prior discography that is mainly filthy violent power electronics/harsh noise. The emphasis on less instrumentation have presented an opportunity to focus on other compositional qualities such as structure and acoustics, but also allowed time to investigate various recording techniques that would capture and utilize the BU bunker's characteristic sound qualities. With this in mind, one can to a certain extent note up the BU cargo container plus recording gear as an extended added vocabulary to already mentioned instrumentation. The new work approach seem also to have proven useful in articulating a more precise image of the Bizarre Uproar live experience onto album format. This in itself is a difficult translation to pull off - both production wise and artistically. And... if we add a lived concert experience that is audial and physical to the equation, the task begins to toll, as BU live is: An extremely dynamic and brutal seance, with an own sense of space and physical presence. If you are an industrial dyslectic or metalhead turned noise invalid what I just said translates to this: The level of physicality in sound at a Sunn O))) + 120 decibel concert hailing eras White 2, Black One and Dømkirke - is in blood with BU's might and power. A cheap and scorned comparison within extreme industrial culture yes - if it doesn't corset you drink my steamy piss - it is a valid reference aimed towards - you - the lone fanatic that still haven't checked out this act.
The sound production on "Vihameditaatio" is dense with monumental decay and minimal attack. In other words... there's plenty of dark abyss beneath your feet... and quite a distance to pitch into before crushing ground at the bottom of the mine shaft. Slight overload on a few selected pieces in the instrumentation or recording gear used. I suspect this is a desired quality that could have been achieved by a loud PA / amp section, recorded via room plus line-in signals at maximum volume in a fairly small environment. The bunker serving as a recording space color the sound quality and adds additional signature resonance to the compositions. One can at times sense how the sound waves cascade and build momentum till and of the metal walls. The attributes of production and interplay between instrumentation are one of breath and space. This strategy generates the sufficiently perfect space for the room acoustics to negotiate with the compositions, and thus adding additional depth and dynamic to the mix. The latest annexed BU rig: Drums, bass - in addition to his well known vocal and feedback abilities remain in the forefront of the tracks in full audio spectrum. Low-end rumbling loops and other ingredients shift and snake at low height within the audial space, scraping like waves over rocks at the continual semi-clear cascading forefront mix. And like natural obfuscate deep time processes the prioritized is patiently worn down before being transponded into a oblivion of coarse mid-to-low end textures. The cycle continues.
The compositions evolve slow in an assertive and ritualistic meditative fashion, each, taking its good calm time to add compositional layers and build towards hateful volcanic ejaculations. All tracks exude a mesmer and vile mordant substance. The aesthetic consistency of the recordings are of ghostly materiality with the tactility of a damp underground excavation. At times one have the sense that the work have modifiable physical characteristics as a stinging medusa jellyfish - yet at the same time ... with a viscosity that is too elusive to grasp as ectoplasm - but way too acidic to even consider approaching. Furthermore, the tracks have a circular evolving structure. This is a trait often experienced in religious music as well as folk songs from the Middle east to Scandinavia. One or more repetitive patterns are here articulated, then revisited and investigated via continual novel vantage points. The performer often process and reinterpret the musical and thematic content into new subtle variations and in this manner propels track progression. We are here talking about an inmost and detailed study of musical material and its historic roots, but also of a practice that has spiritual connotations... So... what kind of depraved fetishistic fanaticism is Bizarre Uproar worshipping? Consider this issue while reading on... Within the frame described there is a knife's edge balance between tranquil transcendence and eruptive brutality. The material is constantly evolving and holding ground, and never devolve to compositional structures with cheap campy cliches or overdone noise catharsis endings. The performer seem to be 100% committed to the material and recording situation, and hails for total immersion in flesh, composition, sound and artistic matter. Judging from the artistic investment and performance documented on this vinyl slab, the recording period must have been a physical endurance test. One can easily imagine the sweat dripping from chains unto the army boots. This is especially noticeable on the longer tracks Verilippu and Vihameditaatio, where the vocal performances drain the last reservoir from gut and vocal chords. The vocals moves within the audial space "Vihameditaatio" explores. At times pausing in a concrete position, or venturing into the mix as an added distinct layer of semi-instrumentation, then repositioning towards the foreground where it expands and breaks against the outer boundaries of the sonic sphere. The vocal trademark is as usual: Massive, harsh and guttural with attitude; but now also very much in comparison to BU in live format. When comparing the vocal delivery on "Vihameditaatio" to the semi-bridged outputs of "Perverse bizarre humiliation" and "Appetite for destruction", a subtle artistic progression in singing is located: The realization of vocals on the current album are more guttural and have an added venom texture that is raspy and coarse in quality. This textures envelope the main trunk of the voice and create an added vocal layer which resembles the technique of dual voice singing. Sparse use of effects on vocals. Where used, it functions as an supplementary element that corresponds to and with the acoustic ambiance. The album also displays a delicate and slightly lyrical side of Bizarre Uproar. This is especially evident in the level of pronunciation on Verilippu's feedback sequences - most likely executed at low or medium volume - thus creating: soft but piercing overtone feedback veils that move like the aurora borealis: Forceful, merciless and beautiful.
Urashima edition is pressed on 140 gram black vinyl with black centered labels and black inner sleeve. The LP is housed in a black gravestone like cardboard stock jacket with silver silkscreened logo and album title in front and Urashima logo on the back. Included in the stock jacket is an A5 release sheet with album information printed on 160 gram ivory paper. Mastered and perfectly cut at Elettroformati.
Rubber. Cum. Blood. Lust. Sexualized rituals. "Vihameditaatio" is hate meditation with an iron hard cock. Can you hear the masses hailing? " V E R I L L I P P U N O U S E E !!! K Y Y N O U S E E !!!! "
Track list:
Side A
Verilippu
Side B
Vihameditaatio
Hiljainen hetki
Untitled
12"vinyl
Edition of 199.
Released by Urashima, May 30th 2014.
Price: 17,50 € + shipping.
