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act 119 á black lung á profound and sentimental journey á cd-ep / 12" vinyl

the dawn of love, another moth-eaten happiness, fucking the monsterous music, the universal impasse

designed and executed by david thrussell @ the intergalactic nudist ranch. july2000 - february2001. created and realised through the generous support of the international mind control corporation. exulting in his purely digital being thrussell is intent on building skyscrapers of ultra-distorted sound and darkest ambient. his vast array of stripped beats dismantled clanking and wrenched tones create a panoply of sonic information densely packed, always surprising with each contrasting twist. talent such as this comes along only rarely; indeed history has proven that when god does bless one of his children in this way, the fortunate individual has cause to rejoice, as he or she can, at the end of their career, look back and be genuinely proud of their contribution to human development. there is no sale to the devil involved; no deals made. this is god bestowing a gift on his chosen few. so gifted is black lung. in this world today, with so much hurt and strife we need to reach out more than ever to one another , to make the connection. that's what black lung try to do.

black lung discography 04.2k1

silent weapons for quiet wars (1994)
the depopulation bomb (1995)
the disinformation plague (1996)
the psychocivilised society (1997)
extraordinary popular delusions (1998)
silent weapons for quiet wars. limited picture lp re-release (1998)
the great architect (1999)

the more confusion... the more profit (1995)
uncomfortable questions for comfortable people (1996)
rhic-edom (1996)
rhic-edom, exclusive vinyl only release (2000)
profound and sentimental journey. cd-ep / 12" vinyl (2001)

black lung:

additional information
snog, hailing from the great continent of australia, is the brainchild of david thrussell. snog formed when dj and art student thrussell got together with julia and tim in 1988, and they decided to start making music together, despite what would appear to be widely disparate tastes (julia's into soft ambience, tim's into new wave, while david's into experimental and ebm.) they played the role of the electronic oddity in the melbourne (australia) area, and in 1990 recorded a few tracks and began the arduous process of finding a label. australian labels wanted little to do with a band so far from the beaten path, so in 1991 they hopped a plane to germany and sought out a home in the electronic-friendly realm of berlin. within two weeks, they were signed as part of machinery records' initial musical assault. they first hit the floors in 1992 with their classic electro hit corporate slave, which combined elements of 90s electrodance with 70s funk and a strong anticapitalist message. this was followed up with their first full length cd, lies, inc., and two more dance hits, shop and born to be mild. their lyrics show a strong disillusionment with the western ideals of materialism and mass ownership, a stance which is bound to enrage the "gimme" sensibilities of american capitalism. despite their apparently radical inclinations, david doesn't regard his lyrics as political, but rather as simple and rather obvious social observations. he doesn't claim to have any revelationary secrets, but sees his lyrics as a frank examination of our humanity struggling within itself. snog reappeared in 1994 with a harshly technofied sound, which defines their cliche single. an australian single, hey christian god, was also released, which included material that was later used for david's black lung project. in 1995, david thrussell opened his black lung project with the debut album 'silent weapons for silent wars', he also appeared with pieter bourke (of eden and dead can dance) as soma, whose releases include the hollow earth and the inner cinema. 1995 also saw the release of snog's second full length cd: dear valued customer, which furthered the sound explored with cliche and the politics espoused in lies, inc. if anything, thrussell's antipolitics had become more western-antagonistic, now tackling issues of religious domination and hypocrisy as well as socio-economic ones. thrussell cites a number of influences in his musical styles, ranging from cinema to classic rock and folk to industrial music. seemingly contradictory names such as foetus, the swans, tom waits, cabaret voltaire, ennio morricone, kraftwerk, lustmord, pink floyd, leonard cohen, hawkwind, nick cave, lassigue bendthaus, and clock dva appear on his list of musical influences; with film presences including roman polanski, stanley kubrick, oliver stone, david cronenberg, john carpenter, and an insatiable love of the "spaghetti western". he unabashedly supports the right of sampling, and openly promotes the sampling of his own material by other artists.

...there exists only one perfect path... and this path is in front of you... right in front of you...always...


equinoxe ausgabe 16
da mir die doch eher oberflŠchlichen und teilweise wiedersprŸchlichen antworten, die herr thrussell meinem kollegen in #7 gab, noch in erinnerung waren, erhoffte ich von meiner ersten musikalischen begegnung mit black lung nichts allzu gutes. nun, das eine muss mit dem anderen ja nicht wirklich zu tun haben, aber so funktionieren vorurteile nun mal in einer hermeneutisch denkenden gesellschaft, und ich werde den teufel tun, mich davon freizusprechen. nun, vorurteile tŠuschen oft, und in diesem fall schickt trussell mich, gemŠ§ seiner im titel explizierten intention, auf eine tiefe und empfindsame reise. wŠhrend das personell verwandte projekt snog eher die wirkung von rhythmen auslotet und weniger wert auf getragene stimmungen legt, dominieren hier zumindest klangteppiche, die trotz ihrer dunkelheit einer anheimelnden wirkung nicht entbehren. aber wie gesagt, dies dominiert zwar, ist aber bei weitem nicht das einzige, was black lung bietet: jede menge kurze und wechselhafte spielereien, die oft an spannungsmacher aus der filmmusik erinnern, kommen ebenso wenig zu kurz wie gelegentliche exkurse in holprige und vertrackte bpm-landschaften. das hybride und rund 10-minŸtige âin the dawn of love' wŠre sogar ohne die mir zu prŠgnanten beat-eskapaden ausgekommen, denn es gestaltete sich auch so schon Šu§erst spannend. nun kšnnte es darŸber hinaus noch einem industrial-dj als intro dienen, bevor er seinem publikum zwei stunden hands records um die ohren haut. alles in allem mŸsste auf dieser cd (die mit einer dauer von etwa 30 minuten die angemessene lŠnge aufweist( fŸr einige geschmŠcker etwas dabei sein, und es wŠre schšn, in zukunft mehr derartige musik hšren zu kšnnen. (uwe schršder)

orkus no.36 july-august-september 2001
wenden wir uns einmal mehr einem meiner erklŠrten lieblinge zu... der kommunistoide australier david thrussell und sein projekt black lung sind schon seit jahren und einer nicht unerheblichen anzahl brillanter alben ein garant fŸr besten industrial techno und dark ambient. und es darf bemerkt werden, dass auch die neueste ep in dieser hinsicht in keiner weise enttŠuscht, obwohl es dieses mal offensichtlich auch um das thema gefŸhle abseits der gro§en materialistischen weltverschwšrung geht. bšse schmatzende und gemeingefŠhrlich groovende aphex twin-breakbeats, soundtrackartige flŠchensounds zwischen finsterem science-fiction-appeal und wahnsinn und eine feine kollektion knarziger noiseloops und bleeps machen profound and sentimental journey zu einer echten offenbarung fŸr alle freunde des genres. besonders wer acts wie speedy j, architect, newt, future sound of london oder xingu hill schŠtzt, dŸrfte die vier neuen tracks des australischen weirdos mit grš§ter begeisterung aufnehmen. (alexander maciol)

recycle your ears
new single for black lung, who comes back here in a brand new form. after the rather catchy and stomping "ric-edom" and "the great architect", i wasn't expecting a softening of dave thrussel's most techno project. reflecting the rose of the cover, this is however the case. the first track, 10 minutes long, is instrumental but, in my opinion, takes a lot of ideas from snog (d. thrussel's main project), for example with the guitar sample and, generally speaking the prominent place accorded to accoustic, melodic elements. the beat is dry and short, with typical black lung tweaking, but this stays a track that presents a whole new aspect of this project. same goes for "another moth-eaten happiness", a track from which beats and rhythms are totally absent, and relying on drones and soundscapes. it has quite a sci-fi feeling and is well produced, but that might not be the style in which black lung excels. beats and rhythms are back with "fucking the monstrous music", another long tracks that combines some string samples with a, well, fucked up, pattern, ever changing and ever coming back. not bad at all, this is less linear that past black lung works, but keeps the same sonorities. this is probably the track on which one will recognize that this is black lung playing here. quite a good track. finally, the cd ends with another arhythmic track, filled of echoed sonar-like sounds (another typical black lung element) and small electronic glitches. "profound and sentimental journey" is really a surprise from black lung. the project has undergone a profound "snog-ization", and the tracks are far lighter than before. more details and little evolutions are to be found during one track, but the whole thing sounds sometimes a bit too diverse. all in all, this is a strange offering from david thrussel, which is enjoyable as a 4 track item, but i am not sure of what a cd of this kind of work would result in. and did i say there are no conspiracy theory or political message at all in this single? did i say "change"? (nicolas)

yes, endlich mal was ruhiges, darauf habe ich schon ewig lange gewartet. easy listining noise von der ganz feinen art. die wahl fŠllt einem nicht gerade leicht, denn diese musik ist (leider) nicht jedermanns geschmack (mir gefŠllt so was z.b. super gut). "the down of love", der erste track ist einfach ein knaller. ruhig, monoton, einfach genial. auch der zweite track "another moth-eaten happiness" ist ein song der gut im radio zu spielen wŠre. (was ich ja auch gestern getan habe). wenn man der 3 track liest "fucking the monsterous music" kšnnte man meinen, jetzt geht es mŠchtig zur sache und so tŠuscht man sich doch schnell, denn auch dieser song ist um es mal auf den punkt zu bringen, sehr ruhig. es mu§ ja nicht immer mit "volldampf" voraus gehen, nein, es kann auch mal eine ruhige schiene gefahren werden. deshalb mšchte ich hier nochmals vermerken, das diese ep/cd ein absoluter pflichtkauf sein muss und es auch wird, denn wenn man sie einmal gehšrt hat, will man sie immer wieder hšren. fŸr ant-zen verhŠltnisse ist diese ep, wie soll ich sagen, (untypisch?, zu ruhig?) ok, ich sage mal "was anderes" da man doch immer ein sound gewitter gewohnt ist und gerade deswegen gefŠllt mir auch diese ep schon sehr gut, denn es ist mal abwechslung vorhanden.
was die quallitŠt betrifft, sowohl was das abmischen als auch das artwork Ÿbertrifft ist es wieder mal alles andere. (irgendwie bekomme ich nie etwas zu nšrgeln Ÿber dieses label). (d.w.)

das nenn ich eine _reise_. dŸstere, zischelnde soundscapes verleihen dem elektrostatischen zucken und den implodierenden klangmodulationen eine rŠumliche tiefe, durch die man sich erst mal kŠmpfen muss. das toxische grollen der maschinen. wenn _industrial_ heute noch eine relevanz besitzen will, muss es wohl so klingen wie auf âprofound and sentimental journey'. beides stimmt: sein verstŠndnis fŸr scharfe, energetische sounds ist profund, und die atmosphŠrischen ausbrŸche tragen eine selbstzerstšrerische traurigkeit in sich, die heftig aufs gemŸt schlŠgt. (andreas busche)

electronic surveillance
david thrussell returns with a new 4 track black lung ep, now on ant-zen instead of metropolis (what a change hmmm). also known as the main man behind snog, thrussell keeps cranking out high quality electronic music at a steady pace, and this ep is no exception. starting of with "the dawn of love", thrussell builds well produced atmospheres that give birth to intelligent drum programming leaning toward the broken beat side at times, which then incorporate metallic crashes, string instrumentation, and various spacey strange sounds in which he is known for. "another moth-eaten happiness" delivers cold, ghostly, droning atmospheres that drift through one another testing high frequencies and giving the listener a feeling of dismal isolation. "fucking the monsterous music" (my personal favorite) brings back the percussive elements, pushing them as the focal point of the track. the beats are layered, effected, and change often keeping things interesting throughout, as well as some interesting mechanical robotic sounds. "the universal impasse" is the second more atmospheric track, not as cold and dark, much more relaxing and calm. that is until those atmospheres are pierced with high end strange sounds that will jerk the serenity right out of almost any listener. the end of the track becomes even more chaotic with harsher noisier sounds with a hint of rhythm. fans of black lung will enjoy this release, the production and programming are stronger than the last album. i wouldn't necessarily recommend it to people who would like snog due to its lack of vocals (by no means is black lung snog without vocals though), and dance floor appeal. black lung (especially this one) leans much more toward the experimental, ambient, and idm side and shows much more maturity in the music. a great ep showing progression in the style of black lung overall. i am quite surprised it wasn't released on hymen though. recommended!! (tommy t.)

black #24 sommer 2001
ah, der meister macht wieder verlautbarungen und die jŸnger lauschen andŠchtig. jeder ton schiere brillanz, jeder beat superb gesetzt, jede flŠche geschickt temperiert, jedes sample wohweislich plaziert, alles um die unnachahmliche, digitale dunkelheit des herrn thrussell zu bŸndeln und dem werten hšrer subkutan zu spritzen. ich schwelge schon wieder. entschuldigung. diesmal geht er fŸr black lung verhŠltnisse sehr ruhig und soundtrackartig vor, ist noch mehr auf klanglandschaften als schnelle, gerade beats aus. schon der erste track fŠngt mit clock dva'schen flŠchenanschlŠgen an, breitet sich langsam in varianzen aus und wird von metallisch, verzerrter breakbeat rhythmik tranchiert, um wieder irgendwo in dunkelheit zu versickern. der folgende track ist eine reine dunkelkammer verschiedenster sounds, die aus dem Šther gegriffen, zerknŸllt verstreut werden, vor sich hin ršcheln und leise weinend weiter vegetieren. so klingt totale verzweiflung. danach wird gestottert und geschreddert, was das zeug hŠlt, denn track 3 poliert 50 jahre b-film horrorfilmmusik auf und dreht sie durch den schachtelrhythmik beatwolf inklusive spaghettiwesterngitarre. laptop click and cuts lassen grŸ§en. und zu guter letzt ist die ep schon wieder viel zu schnell zu ende, auch wenn uns track 4 versšhnlich mit seinen kalten, verwehten echos und blubbernden mšchtegernbeats einzulullen versucht, um den abschied etwas zu erleichtern. ich schleudere mich in den schmutz zu fŸ§en deines klangthrones, oh thrussel-san, auf das du mich auf ewiglich erleuchtest und tagtŠglich versŸ§test mir mein nichtsnutziges leben. huch, schon wieder geschwelgt. (t™)

this is the third piece of black lung wax released by ant-zen, and the first to also be offered as a cd. which is a good thing, because even though i may think i'm hip enough to call it 'wax,' that doesn't necessarily mean i have a turntable to play it on. "the dawn of love" starts the ep off in fairly familiar territory. an arsenal of relaxed, yet somewhat rapid beats chip their way out of shrill, frozen, stretched out high pitches and deeper, ominous drones. after a few minutes some simple string samples add more melody and fuse with the processed beats as they churn and mutate. basic and level-headed, and sounding like pure thrussell, the song treks on for 10 minutes. "another moth-eaten happiness" veers off into beatless experimental terrain with an orgy of raw, piercing frequencies attacking subtle, low rumbles and sonar type pings. quite an unsettling piece. "fucking the monsterous music" continues with the abstract frequency doodles, but brings back some percussion to ground it. the beats seem especially heavy after their absence on the last track, sledging over the roughly hewn backdrop of noises and shifting from forefront to background. the song has an odd hysteria about it, somewhere in between outright frantic spasms and a faint nervous twitch. "the universal impasse" wraps things up with a calmer, more collected ambient track, though still quite dark and foreboding. electro buzzing sounds tingle in a soup of atmosphere, echoes and reverb giving it all a vast spacial quality. the intensity gradually picks up, as the drones expand and a collection of oddly percussive sounds twitter frantically like a moth caught in a lamp. everything grinds down in a gritty climax the last minute, before thirty seconds of silence. of all thrussell's work under the black lung moniker this ep certainly isn't the most accesable sounding. the thirty minutes of music has just enough beats to tease you and lure you back to old school black lung to get your fix, but at the same time it has a strong experimental element that ties it in with the rest of ant-zen's output.

snog's david thrussell returns with his prolific side-project black lung. this lengthy 4-track single sees thrussell at his creative best, combining striking industrial electronics with cinematic sweeps, heavy on deathly atmosphere. 'the dawn of love' is a 9 minute organ grinder of harsh electronic mangling infused with a nightmarish but compulsive ambience. 'fucking the monstrous music' delivers with all the passion of the title as shards of mutilated digital sound spin and evolve into a hideous deluge of distorted, forever mutating sound. thrussell obviously revels in these experimentations and his enthusiasm is catching, however 'profound and sentimental journey' is for the truly eclectic electro connoisseur, for the casual onlooker you are neither likely to find this profound or sentimental.

c'est en 2001, que dŽbarque chez ant-zen ce maxi, ŽditŽ en deux versions: une cd, et une vinyl. 4 titres, toujours aussi bien produits, et qui auraient dailleurs eu leur place sur la playlist de "the great architect". "the dawn of love" retourne aux ambiances noires et cinŽmatographiques des tous premiers albums avec cependant l'Žnergie rythmique des derniers. a noter l'apparition, bien que furtive, d'une mŽlodie ˆ la guitare au milieu du morceau. un trs bon dŽbut, saturŽ et clair, noisy et prŽcis. puis vient "another moth-eaten happiness", longue pice electro-ambiente cosmique, remplit de drones, glitches et autres manipulations sonores biomŽchaniques. "fucking the monstrous music" retrouve du groove, bien lourd et rugueux, indus et mŽtallique. une grande quantitŽ de breaks font monter la pression, sans jamais exploser vraiment, jusqu'ˆ l'apparition d'une autre guitare alien, puis le morceau s'achve en magma bruitiste, de sons visqueux et grŽsillements presque huileux. "the universal impasse" ressemble comme deux gouttes d'eau ˆ "another moth-eaten happiness". nappes diffuses et nŽbuleuses, parsemŽes de soubresauts chaotique. un peu courte, mais tout de mme intŽressante, cette production de black lung synthŽtise correctement les multiples facettes qui composent sa musique.

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