Womb C, self-titled, Bestial Burst, CD BeBu-059 (2013)
Dark space ambience, post-industrial percussion, sinister electronics, black metal and trance psychedelia combine to form this quartet of instrumental pieces that trace an individual journey into communion with the cosmos. The musicians responsible for this unique if weird and wonderful set of soundscapes include members of Finnish BM bands Dead Reptile Shrine and Ride for Revenge as well as musicians from bands I don’t know: Blutleuchte, Cloama (who share members with DRS) and Will Over Matter (the brainchild of the man behind Ride for Revenge). This looks like a Finnish-Russian affair which might mean (in a good way of course!) plenty of sparks flying here.
We begin with “Satan Universe Moloch”, a long sprawling track that takes in glitchy electronics, noise-lite textures, trance guitar work and atmospheric soundtrack music effects among other things. At times you fear the music might travel down some very dangerous paths menaced by black devils itching for a chance to ride the sounds and drones out of the loudspeakers or headphones and into your ears and head. Second track “Bug Humanity” is no less adventurous, daring to tread through some very low-key sections of darkness where a heavy atmosphere reigns or inhuman distorted voices make pronouncements in the far distance. A monster percussion rhythm, its edges fuzzed over with acid noise, thumps through the track. Later moments include some very odd and deranged robot voices in an apparent emptiness and some bombastic industrial metal knees-up bashing.
The music enters underground metal territory proper with “She Male Vegetation” which is dominated by a repeating series of harsh textured drone guitar riffs over a shambolic drum pattern. As the album continues into the fourth track, we enter a strange universe of beings that are partly organic and partly mechanical living among environments that are at once beautifully space ambient and terrifyingly machine-like in their natural rhythms. Increasingly the record acquires a more interior and precious feel, as if it were retreating into some hallowed space where only a privileged few may be allowed to enter: it could be a shrine to unseen gods or it could be the cell of a deranged prisoner. A kind of tinny chainsaw black metal whine forms the backbone of the music over which drills whine, a melodic country-western guitar melody plays and a sorrowful clarinet-like sound follows the chaos that gradually develops. The album’s conclusion is rather ambiguous: unity with the universe is achieved in a way that suggests a return to the cosmic womb and therefore death promises a slim chance of rebirth, leading perhaps to another tortuous journey back to the darkness of the womb, risking one’s identity and sanity again. (The CD sleeve offers a prose piece which listeners can follow to make sense of the music and what it’s aiming at – but I can’t promise that the prose makes any more sense than the music does.)
The recording does feature a dry atmosphere typical of those Ride for Revenge albums I’ve heard which is no surprise as the fellow behind RfR and WoM plays a big role in creating and assembling together such a wide disparity of musical elements and genres. For all its musical expanses, the album is actually well ordered rather than full-on blatant and intense. Though it can be heavy-going in parts due to a heavy black atmosphere, the music is often very minimal and every bit of sound, no matter how far back in the distance it seems to be, can be discerned. Quite a lot of polish and care must have been applied here even though the music has its demented moments.
For fans of the bands whose members participated in creating this work of dark twisted soundscapes with a mystical message, this album is a must-have that showcases a more varied and experimental side of their heroes.