Label: None (or maybe several?)
Cat#: None (or many, counting the individual compilations these are from)
Keywords: Electronic, Ambient, Experimental, Industrial, Noise
Reviewer: Alex Spalding
T.R.I.v.M. is I.v.Martinez, a noise and experimental composer from Slovakia. This release is one that I imagine most people could find polarizing. From the artist’s description:
“[A] Collection of tracks from different compilations released online (only tracks,which are not on regular T.R.I.v.M. albums). Links to compilations are in tracks info.”
You can learn a lot about an artist, I’ll bet, from the sort of compilations they send tracks to. This short description also leads me to think that the work is going to be highly varied, possibly possess little connectivity between tracks, but… naturally if the material is strong, it will be a positive experience. I wonder to myself if this is an album that the artist will be adding to with additional tracks sent in to compilations or if a Subtracks II will be compiled should the artist continue submitting material to other compilations? If the former, then the Subtracks I review today could be different than the Subtracks of tomorrow. Anyway, I think it could be time for me to hear it and decide how I feel…
… track one is ‘Slow Cold Peace’ which was originally from the compilation Letters To Everett on SPNet. It fades in gradually with a drone and what sounds like an electronic flapping of wings. A feedback frequency is humming… it sounds like an encoded secret signal, maybe a communication from a military base someplace. It’s impenetrable, icy, subliminal. A slight dissonance occurs, a growing computational sequence that disappears suddenly. Very minimal for the most part.
Next is ‘Throbbing Voices’, from an interesting compilation titled Election USA 2012 – A Sound Reaction, which appears to be a collection of music from an international symposium of electronic avantgarde artists in reaction to the US election of 2012. A harsh, lofi noisescape surfaces slowly, with layers of shrill feedback and rough, mechanical fuzz. This one does really feel alien throughout, like subtle survival horror vgm from maybe Silent Hill or Siren, a composite of disturbing frequencies.
Afterward comes ‘Rattlerat’ from the Institute For Alien Research Compilation “The Beat Sounds From Way Out” (Volume Three) — some wild compilations! This is a distorted to hell rhythmic noise breaks thing, sounding like someone chomping on an apple core. Highly abstract though, reverb-heavy.
That is followed by a track called ‘Slow Negation Of Positivity’ that was released as part of a compilation titled ANDREAS N°14 – Positive-Negative – Compilation. It starts with a large draft of wind. Peculiar electronic sounds echo out… at one point I’m imagining to myself a giant computer brain in a cave, because that’s what it sounds like at times. Or Earthbound generally, really…
… then it’s ‘Circles (Silent Mix)’ from We Salute You Freddie (A Black Circle Tribute Album), which begins with a rhythmic noise pulse of reverberating, warm and softly abrasive mechanical sounds. This devolves into a prolonged texture, sizzling and buzzing. There is a bit of static coming up… very mental shit! Perfect for blacking out into a void, becoming disoriented and failing to realize who you are, factory work, obliviation.
Next, from the 100 Years Of Noise compilation made to celebrate to 100th anniversary of the original publication of Luigi Russolo’s L´Arte dei Rumori, is ‘Mechanoid (Speed t.R.I.p. Mix)’. A blast of white noise and a tiny bass pulse come in suddenly. The white noise begins to modulate, distorting as if impacted by an unseen barrage of signal interferences. Bassy, clipped distortion frequencies regularly break through. There is a high-pitched bit of feedback. This track more so than the others seems to have an effect more physical than mental or emotional, or spiritual if that’s your bag, as I cannot seem to sit still any longer and move frequently as if discomforted. The minor flourishes, changes in signal noise, receptively trigger as stimuli. Twitchy, convulsive, music that does to the central nervous system what Miles Davis or John Coltrane do to your brain… and legs, in my case, as I used to listen to these artist’s jazz and fusion records on long walks all the time.
‘Die Verwandlung’ was originally put out on Sound Interpretations — Dedication To Franz Kafka on the Haze Net Label… sheesh, Kafka must get so many strange tributary albums put out with his name on them every year, haha! I wonder what he would have thought of them all? Crunching noises like bestial machine dogs… this is what it would sound like if the aliens from the aptly titled film Alien were holding a conversation with each other over tea. It’s a Giger-esque soundscape that eventually becomes almost ambient with dripping computer tones and disturbing deep low frequencies that almost feel like they exude a tropical humidity.
After that comes ‘Dreamons’ from Infinite Drone Vol. I. Harsh blasts of feedback noise kick in. Underneath is a shaky gush of hot wind, unsettling the surface of a cratered and despoiled landscape of sepia-toned and barren earth. After some time, space unfurls another textured world, this one darker and even more isolated. A grotesque space in black and white, leviathan blooping from beneath a sea, moving the tract of ground we occupy.
‘Machinecro’ comes from The Right To Health: A Benefit Album To Help Towards The Healthcare Costs Of The Founding Member Of Naked City Cinema… it’s a loud, gnashing noise track! Screaming electronic loops clattering in the mix… it makes me think of power electronics. It is my belief that healthcare should be treated as a basic human right.
Then there’s ‘White Christmas (Crystal Meth Paranoia Flow)’ which is from A Christmas Gift From Black Circle. A clipping rhythmic piece of noise with whistling in the background make up the first part of the track. A hollow, cavernous wind enters… then a strange, mid-frequency modulation… very mindbending! Over the course of the track you begin to feel weightless, like forces are pulling you from all over.
Next? It’s a track from We Ride Vol. 1 from a label calling itself Brainrape Rekords, titled ‘Zombie Smurfs’… harsh, fierce noise with lots of feedback… voices are mounted onto it, audible among the ruckus. It sounds like a wall of clanging metal, jarringly amplified. It continues for over 12 minutes.
Not Santa, but ‘Satan Klaus’ follows after, on a sleigh borne aloft by fireal doom deer, like one of the horsemen of the apocalypse. It’s from a compilation titled The X-Mas Compilation from Petroglyph Music & VJG Records. The link on T.R.I.v.M.’s bandcamp was broken, but the link above should work. A loud, heavy sonic cavalcade of noise bursts forth. This noise is accompanied by shouting/screaming wails of vocal sound. The whole thing is washed in dense reverb. Very nice!
The final track is ‘Slow Cold Peace (No Escape Mix By Sonologyst)’. This remix is not separately on another compilation, from what it seems… much like the original version, it creeps in very gradually. A disquieting drone grows louder, taking a couple minutes. Later I hear what sound like the ghostnoise of train stations, mostly abandoned, condemned. Then it falls away.
Overall impression? I liked it. Might have to check out the artist’s other material some time, but I think that as a starting introduction to the range of sounds T.R.I.v.M. produces, this compilation of tracks from compilations satisfies quite well. Check into it yourself at the following link: