SYSTEMS EMERGE FROM COMPLETE DISORDER

After a mail exchange with Weasel Walter, the leader of The Flying Luttenbachers about a previous review, I had promised him to get another albums of their under my belt, but much later in their career (since I knew only the albums around Destroy All Music), so here goes. One independent observer might say that I chose another album with a very hard- sounding program, but looking at their complete discography, there is no real chance to find an easy-listening Cd under their name.

Contrary to their early albums, here we have an owner's manual to explain us how to come to grips with their chaotic infernal music and what to make of it: apparently this is eighth installment of their concept (started with 96's Revenge) and we are now in a recombination cycle (although you'd never know if they hadn't told you) of "life after the extinction of all earthly matter". Actually in a way it makes sense: this music actually sounds like molecular fusion coming from a particle accelerator working backwards. Again as previously, there is very little normal words to describe this music that seems to be written for over 95% of it, but generic terms as chaotic, noisy, industrial, obtuse (but in an impressive way) etc. Don't get me wrong, there are moments where the music does seem to make sense, but it simply does not last beyond a minute at a time. Tracks go in increasing length, from the short Enthropic Field to the 7 minutes Thorned Lattices, but it seems that the 20-min+ Iridescent Behemoth is the cornerstone of the album, but it is certainly the most difficult of tracks in this phase.

OK, Walter! I admit it, your concept of musical experimentation is well beyond my comprehension or at least beyond my patience, but I will salute yours (or more likely your persistence), for this very experimental project that seems to stretch the boundaries of human tolerance for nonsensical