Tonal Y Nagual's Blog
"Chain DLK" Review
Maybe in order to suggest the idea of continuity between their past releases and this new work, TyN wittingly introduce their journey throughout La Sierra Mecanica with an ideal outro for their last album and The Hidden Oasis potentially summarize the style of the same-titled record, including the conceptual starting point for their further explorations, impressed on listener's mind through the 'racist' fake statement according to which 'Whiteman got no riddim', title of the second track in which these guys begin contaminating their sound with electro-pop poisons and a pulsating blues vein. The following Another, the most relevant crossbread between their usual bizarre folk and Interpol, is worthy of praise as it definitively debunk any possibility to say La Sierra Mecanica could act as the typical album to throw away the past. Their bastardized sense of humor resurfaces in Honey, an eccentric debris of lyrics standing as the silliest and strategic declaration in order to survive in the mechanical Sierra, cranky dance beating and a disorientating melancholic touch, and the following Mister Cranky Tree, whose harsh computerized beats, violent scratchy sound, wispy guitars and cheeky cut melody perfectly fits to the portrait of 'the monster in the universe' the lyrics refer to.
Lux Cypher and Grave are maybe the most touching episodes of the whole record, being the first based on guessed lyrics playing on the contrast between the apparent lightness of a feather and its catching request to release its burden (whimsical!!!) and travelling on a musical locomotive, snorting mechanical rhythms close to electro-house experiments by Joakim ' concentrate on details, including the stifled mocking laughter in the beginning of the track - , and the second a sort of self-portait by Genevieve Pasquier, whose gothic groaning has been wonderfully translated into a velvety music language, totally muddled by the disdainful Get Out OF Our Way, by Tonal Y Nagual! The Loneliest Place commutes the folk song into a structure which reminds to me that kid of circular rhythms superbly explored by Allerseelen, while the disembodied glam rock of Dirty Maiden could evoke the most irreverent side of Nina Hagen. Machines go angrier and angrier on Tribes Of The Night, a violent jolt of industrial punk ' I personally like the way TyN modulates the voice when shouting 'It's oveeeeeer!'-, and after the scornful and messy parenthesis of Der Bergkonig ' how terrificly mechanical that flying bumble bee appears here! -, the process of assimilation to biomechanical forms seems completed on the stomping Cog In The Machine, a morbid technoid/EBMish mutant close to the most furious and provocative language by Thrussell's Black Lung and Front Line Assembly as well. The album closes with the intriguing and illuminating reading of The Real Outro about the crisis human being's experiencing nowadayas, even if it closes with two nice winks to frenziest dancers, the wild 'telektronicpronky' remix of Proud To Be by Die Perlen ' old codgers will rejuvenate after listening! ' and the grazed version of Cog In The Machine by Zero Degree, wisely re-entitled Kaputt Maschine!!! Will TyN a new way of composing or a sort of alien language in the industrial scene? In my modest opinion, they presented all credentials by delivering this album!!! Have a listen!
Review by: Vito Camarretta [ ghandharva {at} libero {dot} it ]
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Source: http://www.chaindlk.com/reviews/?id=5785
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