Review: Női Kabát – Make Room! Make Room!

a1212866862_10Női Kabát have been on the tapestry for a long time, and I am about to disseminate why this might be a classic with longevity, already. Their first release on aufnahme + wiedergabe, titled “Make Room! Make Room!” features two tracks which I’m going to delve into. I’ve listened to both for a long time and haven’t made up my mind if I really wanted to review it. But here it comes, nevertheless.

When you get into it for the first time, the title-track “Make Room! Make Room!” is the first one to loudly come into the picturesque urban sound-scape, with swirling synthesizers and determined drumming. A ravingly good thing is that they manage to set the mood for the track already in the beginning, as the introductory phase of the song isn’t a pain to listen to or get into. Everything seems to be carefully planned out and set in stone, as they move us into it with a groove that could seldom be heard anywhere – or anyhow – in a setting like this, as our modern world seem to have swallowed most of the retro-fantastic vibes they continually deliver in the introduction. Once the characteristics of the song begin to form themselves, they take the shape of a unimaginable synthesizer that sweeps the floor with my emotions. It’s like you’re being swept away by the callousness of the waves that pulsate through your eardrums, as each hit of the synthesizers magical keys seem to be done with ultimate passion. At the same time that it brings dismay to the table, it also brings an angelic touch that is affecting your own logical dissemination. The sound itself re-sounds through layers of drums, that are being assaulted with impudence. These blows that are delivered are perfectly matching the irreversibly tasteful harmonics that let you acknowledge the vibes that are roaring, throughout. When listening to it, you don’t notice the vocals all that much, as you are too enthralled by the environmentally sonic wonderland that is manifesting itself to the highest degree. But that does not take away the importance of Dee Rüsche, whom does an outstanding job at accompanying this perfected toxin that is simply moving outwardly towards you, lunging at you with the painful reminder of total urban decay.

His vocals are filled with passion, as he sinks his virtual teeth into you for a clinging bite that will absolve your cadaverous existence. He is the total reminder of what their quest seem to be, to remind us of what’s actually happening beside us at this moment. Well, it helps to actually know of this so called “mission“, if it actually is one. But one can read their almost apocalyptic turn in the song into this particular subject. It is pretty obvious what the influence might or might not be, but the emotions that this song bring forth in a human being is so remorseless that it isn’t even funny. If anything at all, this song is the pure anthem for Női Kabát. It is their shell, their core – if you will. The further you get into it, the more disgruntled you’d be. As the sonic landscape shift in between hard-hitting drums, fierce and uncontrollable synthesizers, into a more angelic and spiritual voyage that seems to be there to put you to sleep. Not because it is boring, but because every single nerve in your body is hurting. I can’t actually think of anything that is bad about this song, because everything is so perfected – yet so imperfect at the same time. A balance that is hard to actually allow oneself to follow, but I’d imagine that it would’ve taken time. One can actually, for once imagine – that it’s a mold that is not to be re-used once again. They’ve already done their best to shape it into what it’s become, a taste for music, at the same time a taste of reality. A reality I would like to be a part of. There’s no reason to not actually have this song on a list somewhere, maybe even a top-10. What they’ve done here is a reminder of what people should do more often; build up their own room in this world, so make room for Női Kabát.

As if something hasn’t been described enough, we must sadly depart from that wonderful song and make our way to “Industry“, which is the song on the B-side of this 7¨. It feels like it was a good idea to put this song on that side, because it is much harsher and lack a lot of what they delivered with the first song. It sounds like they’ve given up, which is frankly what they’re doing with this song. The metaphysics are colliding with the idea of themselves, which isn’t good at all, because the metaphysics is exactly what makes Női Kabát so great in the first place. But their approach here is more minimal and less bombastic, which takes away a lot from the mixture that could make the track a lot better. Even though it becomes more bombastic in the middle, as the chorus wails into place, it saves the song as such. The rest of it is just a pure mess which most of those that like the more minimalistic touches that they deliver, will froth over and defend to the last man. I actually abhor everything else on the track when I hear the spastic synthesizers coming in and the continual rhythm that is turned on, which makes me check my pulse, as it pulsates to the motion of “Industry“. But in no way can it match the first song on this 7¨, because a lot of their passion seemed to have went into the first song.

Even though some of the passion is returned in the end, it doesn’t make up for some of the wasted seconds that could’ve went into a more passionate landscape of sound. Somehow, it feels like they’ve inverted everything they once held true with the first track, like they’re rebelling against their self. Putting a megalomaniac at the helm, touching us a last time with their quirky synthesizer-laden mattress, telling us to fear not – because they will be back in one shape or another. If you view it as that, much of it makes even more sense. An experimental move to say “sayonara!“, as the ship is sinking into the wreck of humanity – as the oil is spilling over; as we ignite it. Though it has its moments, it doesn’t really recover, but the end is so incredibly alarming that even those of you that have no pulse, must be shaken to your knees. Which is certainly one of the other good parts about this song, but it doesn’t make it into my harbor, at least. I’d rather see the ship sinking with it’s captain, just so he can save the crew and fade away into the blurred ocean – with dignity. However you choose to view this release, it has already become a classic amongst a lot of people. It’s a shame that it hasn’t reached more people, because it has to. Whether you like it as a whole, or simply one song, it is a landmark for the electronic genre as such and music as a whole. Probably one of the best records released this year, even though some of it really doesn’t make it ashore. They’ve made their mark, which should honor them, and more people need to delve into it. Take it, or leave it – because it’s going to be your last chance.

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Featured Premieres: Illuminoscillate / Abre Ojos!

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Secrets Of Giza is an independent label based out of Santa Barbara, California. They have a small roster, but seem to be very dedicated to what they see as their mission; which is to help the artist be an artist, without the administrative “bullshit” that comes with it. Which helps the artists do what they do best, which is to create music and slowly develop it into what can be called art. Anyway, I was in touch with one of the label-heads of this particular label and we decided that we’d be better off with a double-premiere. Two artists from his roster, namely Illuminoscillate and Abre Ojos, have released their albums not too long ago on Secrets Of Giza. Mind you, you’re in for a treat when it comes to this, if you’re interested in dark ambient, drone, industrial – or anything that could even remotely be considered to be dark. Both artists have a history of releasing albums, so they’ve settled down into what could be their niche. Or have they? Anyway, Illuminoscillate has released “Uniform Wall“, which is the second newest addition to the label. Abre Ojos is the newest addition, an album which have been titled  as “Gates“. As I say new, I’m speaking of those two albums in relation to each other. When it comes to these particular songs, which I’m going to premiere here on this blog-zine, they’re eerie but different. The first premiere which I am going to share with you is from Illuminoscillate, as he delves deeper into the brain-thrusting motions that deliver buzzing saws that will crack your skulls open. It will bleed you out, sonically.

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The trackLate November” is all about the icy and dampened coldness that can be called harsh noise, mixed with dark ambient. A colossus doesn’t fall far from the earth as such, when the deliverance is stomping upon your civilization with all its glorious weight. Every bit of this track is about as torturous as its beginning, which is a numbing experience – from the core of the characteristics that Illuminoscillate already patented, but within the realms of dark ambient. It will be to your big dismay as your eardrums are being drilled into with such mercilessness, that you may well not endure it. Really, really harsh jolts of checkered beats, industrial rhythmic and general arrhythmic noisiness, will destroy you. Abre Ojos, on the other hand, enters with his track “Light On Our Foreheads“. There are such contrasts between these two tracks, as he introduces us to a more eerie and illusive musical landscape. We really needed to get away from the harshness for a bit, which is why these two tracks might’ve been handed over. Hear the monumental sighs of the titans that dwell below us. Fear not, because their rage is instilled and they’re our captives. But for how long? Abre Ojos really deliver the needle in a haystack when it comes to precision. It would feel impossible, it might well be impossible – but when he takes over, there are many barriers he’s crossing at the same time. Hear these pounding drums as they sound closer, as they move closer. You should fear, because it’s an impending doom. Better hide yourself, because they’re coming to take over once again. Moving from claustrophobic to a marvelous open landscape of fruitfulness. It might become a little bit stingy, but is in no way as harsh as the track before it. Listen to it with joyous feelings, stream it as you like, because these are the mastered versions directly from the CD’s. “Uniform Wall” came out on the 6th of August and “Gates” was released on the 20th of August. Support the label Secrets Of Giza, buy both these (or one) physical album in the store. Where you can also buy it digitally, if you want.

| www.secretsofgiza.com | secretsofgiza.bandcamp.com |