(the first paragraph is nothing else but a copy of the first review I did for this U.T.R.Y.N.-series, and the following ones are slightly adapted versions; yet then again: no remorse, no shame, just laziness)
For the legendary story of the universal happenings with the Emperor and the King I’d like to refer to the greatly comprehensive discographic catalogue of Zebulon Kosted (or, in a modest way, to some of the reviews I did for the marvelous recordings by Mister Rachid Abdel Gafur; links at the bottom of this article). More confronting is the fact that the concept of this album is so topical, so real-life at this very moment of our earthly existence. It deals in a space under true authoritarian monarchy, where nobles decide the everyday fates of peasants. It’s an unfortune fact that autocratic despots indeed do rule, and dictate, the current world order. Tyranny takes the place of democracy and only those of royal blood, their yes men and lackeys (read: those who gently kiss the hairy ass of their president, eh, I mean, their country’s chieftain) are allowed the privilege of comfort and security. It’s so ‘everyday’, so remarkably true, and even though Concreteweb, as you know, focuses on the sonic side of ‘Music’ in essence and not intentionally on politics (or at least: not in the first place, I have to admit, yet it feels liberating to spit my bile from time to time on the illness called man-un-kind and its inferior existence on this planet’s being), it makes honest people sick to notice that rights are an abstract concept for commoners who only dare to dream of a better life for their children.
This said…
This second U.T.R.Y.N. chapter is a five-tracker as well, being an acronym, this time, for United Towards Realistic Youthful Negativity. These compositions are, like always, very lengthy, but that’s not new, as mentioned before, when talking about this specific project, or some other related projects by Rachid (Zebulon Kosted, Themis, Vrozlyd, Obsidian Mirror, which, more than often, do offer extremely prolonged epics). On this second release, the compositions last in between forty-two and forty-seven minutes, clocking about 220 (!) minutes in total!
Once again only digitally available, this second U.T.R.Y.N. narrative is the next step within the (hi)story of Vrozlyd, Synthos and its inhabitants, both rulers, men of flesh and synthetic entities. As mentioned before: please do check the BC-page to experience the whole, still unfinished, anti-tale…
Even-though all five of them have a comparable nature, among themselves and compared to the three other chapters, i.e. Dark Ambient with hints of Space Ambient, Noise and Doom-Drone, all of them do have their specific aural nature. I will not go too deeply into each of them, dissecting every single minute, yet a modest illustration is the least I can, and will, do.
United (43:15) is about the youth, questioning government and might, and regimes are afraid of the increasing influence amongst these adolescents (once again: it’s happening all over again in real life). It is a piece of seemingly monotonous waves, abundant in representation, and rich in variety, despite the long-stretched structures, caused by the length of this (and all other) piece(s). The darkened ambience offers an open-minded and, at the same time, introspective foundation, eerie in nature, oppressive in execution. Like rumbling drones, the rich layers of synth-manipulation result in a first tragic yet, somehow, fair symphony of grandeur and rebellion. The subtle changes in performance and the injection of industrialized elements keep the process enthralling.
Towards (41:43) focuses on the purpose of monarchy’s undeniable and unquestionable powers. Little more bombastic in essence, this part sounds like a magic, somewhat ritualistic symphony, with an uncountable amount of enigmatic additions. At first, doomed melodies and hypnotic drones get mingled into a dreamlike elegy. Step by step, other elements join: electronic effects, astral injections, intoxicating sounds whatsoever, before reverting into the initial atmosphere of doom and discretion.
Realistic (42:55) shows introspection after a century of demure humility and, at the same time, sort of passionate oppression. At first, it does sound more psychedelic, cosmic, hovering – interfacing the so-called Berlin School approach, if you want to – even-though the mesmerizing ambience still guides the whole journey. Once in a while interrupted by dark-droning or elevated extravert passages, Realistic is like an aural opiate, anesthetic and mentally levitating (hehe, sounds nice, isn’t it?) at the very same time.
Youthful (46:36) explores the individual freedom of thought, the possible freedom of self-government. Overwhelmed by a rather Noise Ambient approach, or an Ambient Noise Wall attitude, the timbre is more unpolished, more rough, and more edgy. With distant harmonies drawing obscure figures in the immensity of the night-sky, immersively thundering whirring and rusty barb-wired textures get canalized into a huge overflow of psychic sound-manipulation; a sonic treatment that attracts and repels at the very same time. For some reason, I do experience a semi-divine form of mental levitation, for what it’s worth.
Negativity (45:42) narrates about the King’s apprehension of losing control, and the (false?) promises he will make. Here too, the permanently oscillating balance of noisy components, atmospheric details and primal principles of evocative Drone Ambient, injected by hints of Post Industrial and Psybient, gets channeled into, and towards, a dark-cinematic audible vision of factitiously visionary sonority. More repetitive, and therefor more oppressive than before, Negativity guides the listener through unphysical dimensions of agitation (!), awe and even hesitation.
In contrast to the first part of this quadriptych, Under Tyranny Rights Yield Nothing, this second part focuses more on areas of Dark Ambient and Dark Drone, with fewer industrial or noisy segments. But overall, the core of this series’ raison d’être dwells further within the same orbits of unworldly sound-scoring. Part three and four – nope, that’s for later…
Oh yes: mind the intriguing, ingenious cover artwork, which was created, once again, by Mister Rachid himself.
https://zebulonkosted.bandcamp.com/album/u-t-r-y-n-2
https://www.concreteweb.be/reviews/utryn
https://www.concreteweb.be/reviews/utryn-0
https://www.concreteweb.be/reviews/zebulon-kosted
https://www.concreteweb.be/reviews/act-entropy-zebulon-kosted
https://www.concreteweb.be/reviews/zebulon-kosted-0
https://zebulonkosted.bandcamp.com/album/u-t-r-y-n
https://zebulonkosted.bandcamp.com/album/u-t-r-y-n-3
https://zebulonkosted.bandcamp.com/album/u-t-r-y-n-4