Released
1998
Label
Ant-Zen
Reviewed by
Michael Lund
Contact
Visit
Last Edit/Update
04 June, 1998
Various Artists
(Ant-Zen)
ANT-HOLOGY
the 5th anniversary compilation
Track Listing
Disc One
1. Moata Omen -- Ash Nazg
2. Imminent Starvation -- Tentack (Live)
3. Noisex -- The Day After
4. Ars Moriendi -- Endlich!
5. P·A·L -- I Set My Dog On Fire
6. Hypnoskull -- Rhytmusmaschine (m.rmx)
7. Stigma -- Structures Of Chaos
8. Morgenstern -- Salvation
9. Synapscape -- Travel
10. Sigillum S -- Heavy Wheather Flickers
11. DKF -- Ethnatic
12. Asp -- Hymn
13. Sonar -- Dislocation (Live)
14. Vromb -- Au Dessus Du Sol
Disc Two
1. Pineal Gland Zirbeldruese -- Intro
2. Stromlinie -- U-Bahn-Fahrt
3. T.G.V.T. -- Final Insult
4. Stone Glass Steel -- Circle Of Sound
5. Synapscape -- Helix (Asche Remix)
6. Das Schreckenskabinett -- The Black Lodge
7. Nightmare Lodge -- Awakening
8. Mondblut -- Man's Infinite Soul
9. Ah Cama Sotz -- The Howl Of The Werewolf
10. Contagious Orgasm -- In My Heart
11. Telepherique -- Memories
12. Aube -- Across The Water (Remix)
13. Hybryds -- I Walk Alone
14. Salt -- Laphroaigh
The pioneering, German, electro-experimental label Ant-Zen has released a
fantastic double-CD compilation to commemorate its fifth anniversary. Including tracks by
the majority of the artists, whose work has appeared on the label, the set richly
represents both Ant-Zen's past and present. Approximately half of the
selections derive from deleted and hard to find releases, while the other half are
original compositions for this Ant-Hology, including a handful of remixes and live
recordings.
Generally, Ant-Zen's
products are issued in strictly limited editions, and packaged in unique -- often very
elaborate -- conceptual artwork. However, Ant-Hology has been made available in two
versions -- a limited box set including postcards, t-shirt, stickers and a pin, and a
standard jewel case edition. The graphical layout of the booklet and inlay cards (of the
standard edition) consists of bluish-green monochromatic close-up photographs of
barbed-wire, thorny branches and what looks like some kind of electro-magnetic tracings.
Super-imposed on these designs are human anatomical drawings in gold; and black borders
with Japanese characters and Ant-Zen's logo run along the top of the
artwork.
As with everything else concerning
this release, the sequencing of the individual tracks has been carefully chosen to give
the compilation a strong sense of unity and flow. Thus, the first disc of the set is
composed of music from the more forceful, noisy, and power-percussion oriented end of the Ant-Zen
spectrum. Tracks by the label's mainstays stand side by side with more obscure
constellations, as well as some of the recent additions to the label's fold. The result is
a 73 minute tour-de-force of dynamic and innovative synthetic noise-experimental music
that rekindles the flame of the "electro-industrial" scene.
For anyone familiar with European
"power-electronics," the names Noisex, P·A·L,
Imminent Starvation and Synapscape need little
introduction. Each band has released a number of records through Ant-Zen
in the past, and all deliver original material on Ant-Hology. Imminent
Starvation leads the way with a live recording entitled "Tentack,"
consisting of layered, highly accelerated, pumping percussion loops, interlaced with
extensive media samples revolving around the existence of UFOs. The mounting structure of
sequenced beats has the strobelike quality of a "techno" dance track, even if
the strong presence of interference and metallic after effects would really only make it
appropriate for a rave inside a boiler room. "I Set My Dog On Fire" by P·A·L
likewise features cascades of driving beats, although these have a more militant cadence,
and ring out as if performed by shattering steel pistons. The piece is swept along by
scorching waves of synthetic atmospheres that stream along beneath the saturated surface
of intense rhythms and noise. Of a somewhat slower, but denser, quality are the looped
analogue electronics that serve as the foundation for Noisex's "The
Day After." Raoul R. delivers the apocalyptic vocals in his
characteristically processed and caustic voice, subtlely contrasted by thematic presences
passing through the piece like so many ghosts in the machine. Also featuring coarse,
treated vocals (in German), Synapscape serves up a collage of droning
bass rhythms, decayed synth beats and occasional spurts of malfunctioning gadgetry.
Selections from three of Ant-Zen's
early releases have been included. Ant-Hology's opening track by Moata Omen
originally appeared on the second vinyl LP to come out on the label -- the compilation Xerosma.
"Ash Nazg" is powered by a single crashing beat, high voltage pulses, and
piercing synth tones, while the vocals are yelled out in a contorted German voice against
a storm of other corroded electronic effects. Ars Moriendi's
"Endlich!" features distorted percussions similar to those of Moata Omen,
but the atmosphere here is of even greater desperation. "Endlich!" was included
on the band's first release for Ant-Zen, the now deleted 7"ep The
Last Document. Like Ars Moriendi, Stigma is another
of the label's repeated offenders. The instrumental track presented in this context
"Structures Of Chaos," alternate between segments of clear test tones, and
thundering passages of machinehall ambiance. The piece initially appeared as the title
track on Stigma's first EP release on Ant-Zen.
Some of the more recent releases on
the label are also represented. "Ethnatic" is taken from the split LP release Red
Blood Cells by DKF and Thorax. DKF
is a side project by Raoul R., and appears to be an even harsher and grittier
manifestation of Noisex. Sonar (a collaboration between Dirk
Ivens of Dive and Hypnoskull's Patrick Stevens)
has previously appeared on Ant-Zen; the grinding, ultra-industrial
"Dislocation" -- from their recent 10" of the same name -- is presented
here in an exclusive live version. "Rhytmusmaschine" by Hypnoskull
lives up to its title, with its many interveawing, staccato rhythms and robotic repetition
of the song's title. The original version of this track is to be found on Hypnoskull's
debut-CD, which has also just been released on Ant-Zen.
The program on disc one is completed
by contributions from Morgenstern (who has previously appeared on Ant-Zen
on a split LP with Asche), Vromb (whose Transmodulation
7"ep and Le Facteur Humain CD came out on the label a while back), and Sigillum
S and Asp (neither of which have recorded for the label before).
The intricate rhythmic arrangements of Morgenstern's
"Salvation" sound like a combination of synth drums and processed acoustic
percussions, with subtle harmonies hovering in the background of the sound picture. The
sampled words of religious fanatics have been sprinkled throughout the piece, and then
almost buried again beneath the thick layers of rhythms. Sigillum S is a
collaborative project between Eraldo Bernocchi and Paolo Bandera, with a
long list of releases to their credit on Italian labels such as Minus Habens,
Unclean and Old Europa Cafe. While less rooted in rhythm
and percussion, their piece "Heavy Wheather Flickers" is a rich tapestry of
whistling and shimmering electronics, rumbling distorted drones, and a true jungle of
other sound effects. "Hymn" by Asp singles itself out by
sporting the highest rate of beats per minute on the compilation (with the possible
exception of Imminent Starvation). The piece is a brief centrifuge of
gyrating rhythms and white noise -- a true kamikaze dance track.
Vromb's eleven
minute sound monument "Au Dessus Du Sol" beautifully bridges disc one and two of
the set. It is a very exotic piece that constantly mutates and develops, moving through
soundscapes of buzzing drones, swarms of flickering electronics, and passages of pulsating
rhythms.
In the manner of disc one, disc two likewise brings together material from a number of Ant-Zen's
previous releases, along with tracks exclusive to this set. There are again selections by
some of the label's prominent names such as Telepherique, Synapscape,
Mondblut and Hybryds, as well as more obscure outfits
like Ah Cama Sotz, Das Schreckenskabinett and Stone
Glass Steel. However, whereas the unifying elements on disc one were percussion
and noise, the majority of the tracks on disc two are of a more ambient and experimental
nature.
Pineal Gland Zirbeldruese
(the rebirth of Pineal Gland -- one of the earliest names on Ant-Zen)
opens the CD with a brief, harrowing depiction of death. The coarse, grating sound of
human breathing is penetrated by the sharp, clean bleeps of a cardiogram, which eventually
ends in a flatline signal. Also obsessed with death is Asche's remix of Synapscape's
"Helix." The track begins with a series of film samples in German, concerning
the perverse desire of the speaker to murder a pair of victims. Following this eerie
introduction, the piece embarks on a voyage of fast-paced synth percussions, and
streaming, howling themes that rush through the piece, like wind being sucked past the
windows of a speeding train.
Two other stable acts on Ant-Zen
-- Telepherique and Contagious Orgasm -- are represented
with exclusive tracks. "In My Heart" by Contagious Orgasm
consists of news media samples, distant screams, the roaring as of jet engines and grating
noises whirling around amidst each other, supporting an ethnically inspired rhythm track.
In stark contrast to this apocalyptic soundscape stands the atmospheric beauty of Telepherique's
"Memories." Here, the sound of streaming water runs parallel to sustained
weeping tones that eventually evolve into a melodic progression. Also utilizing the aural
qualities of water -- and nothing but -- is Aube's mesmerizing remix of
"Across The Water," the original version of which appeared on this Japanese
sound sculptor's split release with Small Cruel Party, also entitled Across
The Water. Aube inverts, distorts and manipulates the sounds of water
into an extended piece of music that is at turns both rhythmic, melodic and cacophonous.
A series of tracks have been culled
from some of Ant-Zen's early compilation releases. From the LP Xerosma
comes Stone Glass Steel's "Circle Of Sound" -- a piece composed
of layered dark harmonies and muffled samples of news announcers' voices. T.G.V.T.
is featured with one of the most evocative selections on Ant-Hology; originally
released on the LP Octagon, "Final Insult" weaves beautiful treated
string themes and deep, manipulated, choral drones around a slow, steady throb. The
murmurs of Asian voices, and a reporter's account of American military strategies in
Vietnam, add an extra edge of gravity and unease to this excellent piece. Acoustic
percussions dominate "The Black Lodge" by Das Schrekenskabinett
(taken from the 7"ep 4b), with exotic female vocals breezing through, and
electronic effects flickering in the jungle atmosphere here and there. The last track
taken from a previous compilation is Ah Cama Sotz's "The Howl Of The
Werewolf," which was originally included on the LP 40 Wings. Pumping synthetic
rhythms, echoing electronic barks and desperate human screams establish a nightmarish,
paranoiac mood, which appropriately sets the stage for a dramatic voice explaining the
myth and nature of lycantrophy.
Another pair of powerful,
soundtrack-oriented selections have been taken from Stromlinie's 10"
Travel and Mondblut's 7"ep Man's Infinite Soul. True
to its title, Stromlinie's "U-Bahn-Fahrt" has a strong
travelling feel to it. Vibrating drones, and flickering synths initiate the journey, with
clear electronic tones flashing and screaming through the piece at uncertain intervals.
The title of Mondblut's "Man's Infinite Soul" is likewise well
chosen. Expansive thematic presences of a melancholy order are lifted up by tantalizing
sequenced synth beats, while a voice repeats: "The infinite soul...you cannot
destroy...it is forever."
The neo-ritualistic Hybryds
have also released a couple of records through Ant-Zen, although "I
Walk Alone," which is featured on this compilation, originally appeared on the
Icelandic label Something Weird. Deep, noisy percussions of a tribal
nature propel this song, with what sounds like a choir of indigenous children supporting
the demonic lead vocals. Nightmare Lodge (the musical project of Italian Minus
Habens Records' owner Ivan Iusco) makes a guest appearance with a very
dreamy and harmonic piece entitled "Awakening." Sheets of synth themes overlap
to create a very beautiful and resolved atmosphere, with a strange mystical presence
lurking beneath it.
Closing the CD is a track from
another of Ant-Zen's very earliest releases -- the Re-Active
7"ep by Salt. Salt is the personal musical outlet
for label owner Stefan Alt, and on "Laphroaigh" he manipulates found
sounds, such as a running engine and some kind of intercom message, beyond all
recognition, and then attacks it with spurts of white noise. "Laphroaigh" ends Ant-Hology
on a harsh note, the way it was begun by Moata Omen two and a half hours
earlier.
A more impressive compilation than Ant-Hology is difficult to imagine, and it is all the more impressive for the fact that every piece on it was produced within the brief span of Ant-Zen's first five years as a label. There is not a single track on this anthology that seems unjustified; each individual piece is excellent in its own right, and taken together they describe an entire microcosmos of all that is exciting and new in European electronic music at this very moment.
