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act 138.3 · iszoloscope · this monstrosity is part of my fibric · lp

this monstrosity is part of my fibric, no more sighs, skotophobique, 32 hours of eternity, the apocryphal market, -28c and falling.

act 138 · iszoloscope · au seuil du néant · 2cd

'at the threshold of nonexistence, i become something completely different. i become the probability, i become the horror, i become what we know we can become only in our heart of darkness.' (iszoloscope)

the concept behind iszoloscope is an artistic portrait of the effects of isolation on judgment, mental health, interpersonal values and anger toward a human being. an accoustic interpretation, in a very personal way, of its consequences on one's mind. that is the inability to express and understand thoughts/feelings that result in irrational thinking and the overwhelming anger that climaxes in unpredictable cycles.

in 1999, françois bénard & yann faussurier, both from canada, decided to start a project that focused on their own sound; they already had a background as experienced djs at a local radio station and both had time on their hands. as such, they began to experiment. in early 2000, after creating several different ambient, experimental, industrial/noise and rhythmic compositions, the two named the project iszoloscope. in august 2000, iszoloscope performed for the first time as a live act. in the fall of 2000 iszoloscope was contacted by spectre records (belgium) in regards to releasing their first cd. this cd release was launched on september 11th, 2001. 'coagulating wreckage' focussed on the 'darker ambient-industrial' side of iszoloscope. in may 2001 the lineup changed after françois bénard departed the band. in october 2001, iszoloscope was invited to perform, for the first time outside of canada at the legendary maschinenfest in aachen, germany. this rhythm-based live-set caused euphoric reactions from the audience and there were many requests for recorded material. the first step - after the release of the 'aquifère' cd on nautilus - was the collaboration 3" cd 'the blood dimmed tide' with antigen shift. now, ant-zen presents the first rhythm-oriented full length album !

the production work on 'au seuil du néant' took two years, and you will understand why when you hear the final result. it is powerful and straight but it is also a very complex block of rhythms, which are combined with dark, droning atmospheric soundscapes (a specific feature of iszoloscope's sound). unlike other dark rhythmic projects, iszoloscope's rhythms don't overwhelm the drones with their loudness - the combination in intensity and volume is just mind blowing.

on the vinyl version you will get an extract of iszoloscope's rhythmical rage. fight ! fight !!!

so if you think the rhythmic noise (or whatever you call it) genre only repeats itself and there is no innovation anymore - taste this - you won't ever regret it.

iszoloscope discography. 05.2k3:
coagulating wreckage. cd/cd+7". spectre r06/r06.1. 2001
aquifère. cd. spectre/nautilus na05. 2002
the blood dimmed tide (w/ antigen shift). 3"cd. spectre s10. 2002
do america (w/ tarmvred). cd-ep. ad noiseam adn25. 2003
au seuil du néant / le dénominateur commun. 2cd. ant-zen act138. 2003
this monsterousity is part of my fibric. 12" vinyl. ant-zen act138.3. 2003

iszoloscope official website:


following his striking debut on in 2001, there has been a tremendous buzz - some may say hype - following iszoloscope. his combination of intense, isolated textures and cold, hard rhythms struck a nerve with many fans of rhythmic noise as it presented something more immense than they had ever encountered. the ambience and textures that so evocatively embraced the rhythms were brought to the fore on his next two releases for spectre: the water based and antigen shift collaboration, so it seems only logical that his next step should be a more rhythm orientated release. indeed, that is what we have in the form of "au seuil de néant", his first release on the homestead of rhythmic noise, ant-zen. paraphrasing frank black from television's millennium, the liner notes tell us that "...i become the horror, i become what we know we can become only in our heart of darkness" and from the opening wails of the album's first untitled track, this is the first thing that strikes us: just how incredibly dark and menacing the sounds are. heavy, tectonic rumblings underpin swirling rushes of noise and resonant metallic squeals - it is nightmarish in its execution and provides an unsettling introduction to the album before the pulsing bass of no more sighs introduces us to the main thrust of the album and a storm of distorted drums tears through the mix. the track then twists and turns around several variations on the main rhythm, with the undercurrent of ambience synchronously evolving to a stream of white noise. like all the main pieces on the album, no more sighs is a fairly lengthy piece, clocking in at a shade over eight minutes. while this does lend a certain air of grandeur to the tracks, depending on my state of mind, i can also find it very irritating, as there often aren't enough variations to warrant the excessive length. after another brief interlude, the album jumps, somewhat abruptly, to le dénominateur commun. this shows just how long this album has been in production, as this track appeared on the "maschinenfest 2001" compilation, which was released at roughly the same time as "coagulating wreckage". indeed, one of the weaknesses of this album is the fact that many of the tracks have been leaked elsewhere before: -28c and falling appeared on "saturation bombing"; skotophobique on "subsnow 02" and the apocryphal market on "words, becoming vol.1". as such, these tracks, for me, take a back seat to the pieces that are new to me and which, in my opinion, far outweigh the other tracks in terms of quality. tracks such as 32 hours of eternity and au seuil de néant take the established iszoloscope formulae and add a healthy dose of glitch and idm structures to the tracks. this gives them an extra dimension of intensity beyond mere pounding beats, a dimension that is able to reach our mind, rather than just our base, animalistic urges. iszoloscope has again produced a very exceptional release with "au seuil de néant". it has established a new standard for rhythmic noise that is moving gradually away from the techno influences of early 00s and into a new realm of oppressive soundscapes and otherworldly noises. the only problem i can forsee for this young act is managing to excel this album with his subsequent releases. once again to paraphrase millennium: it's his gift - it's his curse. (gavin lees)

'an der schwelle zum nichts werde ich zu etwas ganz anderem. ich werde die wahrscheinlichkeit, ich werde der horror, ich werde zu dem wohlbekannten, das wir nur in unserem herz der dunkelheit werden können'. dieser leitsatz der beiden kanadier françois bénard und yann faussurier zu ihrem neusten werk "au seuil du néant" (an der schwelle zum nichts) gibt zwar wenig auskunft über die darauf enthaltenen tracks, aber dafür einen guten einblick in die beweggründe für die entstehung dieses longplayers. iszoloscope beschäftigen sich mit unbändiger wut und der unfähigkeit, gedanken auszudrücken, die aus irrationalen eingebungen und gefühlen entstanden sind. die produktionszeit von zwei jahren scheint zu bestätigen, dass iszoloscope nicht mal eben ein album veröffentlichen wollten, sondern ein durchgängiges konzept hinter ihrem dritten full-length-album steht. aus diesem grund sollte man sich auch nicht über die fehlenden songtitel wundern, denn die tracks ohne beschreibung dienen als beiwerk und ergänzung. die beschäftigung mit irrationalen gedanken und zorn führt zwangsläufig auch zu paradoxen songstrukturen. iszoloscope nutzen ambient und noise, um ihre persönlichen interpretationen zu erschaffen. äusserst dunkle soundlandschaften gepaart mit teils peitschenden teils mechanisch wabernden rhythmen und einigen samples bilden das fundament von "au seuil du néant". die songs sind in sich, bis auf einige ausnahmen, sehr abwechslungsreich. mit tempo- und melodienwechseln versuchen iszoloscope ihren betrachtungen ausdruck zu verleihen. das ergebnis fällt zum teil äusserst clubträchtig ("-28c and falling") aus oder sehr zurückgezogen und düster ("iszoloscope tomes deux"). auf der zweiten cd haben sich namenhafte vertreter des genres an einigen songs 'vergriffen'. das resultat sind vom eigentlichen album losgelöste interpretationen, die aber trotz ihrer eigenständigkeit neue betrachtungsweisen eröffnen. beide cds sind sehr zu empfehlen. (veit)

still fairly fresh on the heels of seeing iszoloscope's phenomenal live performance in toronto, i am caught up in the iszoloscope sound. his most recent live set has earned the title of the best live set i have ever seen. i can hardly describe it, and at the time, felt somewhat unprepared even listening to it, it was just that good (and more surprising, my brain was unaddled by drugs or alcohol at the time). this was just too good for my brain to react to, i remember thinking. with "au seuil du néant" iszoloscope now takes his place at the top of the rhythmic noise genre, dark soundscapes underlying the unrelenting harsh beats, twisted evil sounds, and the odd sample finish the composition. the sound really finds its form in his ability to build and fall, the waves of noises that steadily intensify, something perfected in his live performance. of course, this cd is rhythmic noise through and through, and it comes at a point where there is somewhat a backlash against it, (not from those who like synthpop or ebm (i.e. those who never got into genre to begin with), but from those who consider themselves 'noise' fans). that this cd has evolved the genre to a new level may be lost on them; to those that give it a casual listen, it may sound like just another rhythmic noise release, and to the casual listener, maybe it is... but an exceedingly well crafted one. the second cd, a remix cd suffers from the same two problems that affect most remix discs -- namely that there are too many remixes of the same songs, and that the remixers are all from the same general genre (all coming from the 'rhythmic noise' side of industrial), and so can offer up only 'limited' variations of the original. the individual mixes are of the quality one would expect from an ant-zen release, and from the individual artists, such as ah cama-sotz, antigen shift, and imminent. there is also a very nice showing by the highly talented ottawa contingent of upcoming noise artists, such as liar's rosebush, we v2, pupil and 45 cep, and one from toronto-based mortmain, revealing that yann, iszoloscope's one man driving force, shares the feeling of community that has empowered the ottawa region to create such a growing industrial base. (squid)

ver sacrum
il nuovo album degli iszoloscope è un vero e proprio magma di sonorità altamente abrasive: fin dall'inizio l'impatto con la musica proposta dalla band canadese è davvero devastante e non lascia alcun scampo all'ascoltatore!! ma andiamo per ordine: au seuil du néant contiene ben due cd, uno con brani composti e eseguiti dagli iszoloscope e un altro con remix ad opera delle band pi svariate. nel primo caso abbiamo un ottimo esempio di rhythmic noise martellante, ultradinamico e potente, cioè un sound dal grandissimo impatto che non pu proprio lasciare indifferenti. i pezzi si susseguono vorticosamente e alternano parti velocissime a drones e atmosfere oscure: non venga per da pensare che questo cd possa essere in qualche modo (o a tratti) monotono, perché le sonorità "catacombali" presenti nel lavoro emergono solo a tratti e, per il resto del tempo, rappresentano una sorta di sottofondo per altre sonorità che fanno invece del ritmo e della variazione le loro caratteristiche principali. non c'è che dire, questo primo cd vale da solo l'acquisto dell'intero album, e sicuramente proietta il nome degli iszoloscope nell'olimpo delle grandi band ant-zen. le sorprese positive comunque non sono finite, ed infatti anche il secondo dischetto (intitolato "le dénominateur commun") dimostra fin dall'inizio di essere parecchio interessante. in esso sono contenuti ben quattordici brani dei canadesi remixati da altrettante band pi o meno conosciute, tra le quali imminent, asche, ah cama-sotz, antigen shift e molte altre. in questo caso i generi proposti spaziano tra il rhythmic noise e l'industrial/experimental, costituendo perci un diversivo rispetto al materiale di cui ho parlato in precedenza. concludo dicendo semplicemente che, se siete appassionati delle produzioni della ormai celebre etichetta tedesca, questo lavoro non pu mancare nella vostra collezione! web: (grendel)

voici le genre de disque qui exprime parfaitement l'expression "simple, mais efficace". simple, parce qu'il se veut brut, voire brutal. efficace, car sa réalisation, proche du parfait, donne un nouveau souffle à la musique industrielle "dansante". même si quelques plages purement ambiantes viennent geler ici et là les tympans lacérés par les morceaux plus bruyants, ce jeux d'ombre et de lumière rend le résultat encore plus percutant. la production de cette oeuvre a pris deux ans et on peut en juger immédiatement à l'écoute de morceaux tels que le dénominateur commun ou the apocryphal market. le groove écrasant et noise ne submerge jamais totalement les drones de second plan et la stéréo est souvent mise en valeur, tendant à rendre chaque minutes surpuissantes et perforatrices. de l'excellent skotophobique et son hardcore gigantesque, au breakbeat effroyablement pesant de 32 hours of eternity, il n'y a que le répit du glacial this monstrosity is part of my fibric, sorte de prélude sans âme au déluge sonore et assourdissant qui pourrait (presque) résumer la racine même de au seuil du néant (non-existence). outre cet album, en tout point réussi, on trouve un second cd, non-négligeable, contenant quatorze remixes concernant des titres de au seuil du néant, ainsi que d'autres provenant des deux productions antérieures. histoire de prolonger encore un peu le carnage musical. rien à redire, l'indus sait aussi se faire aimer, si ce n'est pas sous une forme, ce sera sous une autre. vivement conseillé aux amateurs, à la croisée des chemins de l'électro, de l'indus et du noise.

wreck this mess
cet album rassemble des pièces inédites qui montre le côté le plus obscur d'iszoloscope, nom de code sous lequel yann faussurier se produit depuis maintenant cinq ans. connu pour ses réalisations tek-indus / elektro-noise, à l'égal de vromb, son compatriote, il démontre avec ce type de compositions stratosphériques que son talent ne repose pas uniquement sur une déferlante de breakbeats noisy dont est friand le public d'ant zen mais qu'il peut aussi produire une musique méditative, sombre et inquiétante. des drones insaisissables ("your dark and ghostly guidance", "les manuscrits de l'invisible - ch. deux", "reaching out from his watery grave"). le genre de disque que l'on écoute de préférence seul, les rideaux tirés ou la nuit devant un écran... d'autres préférons utiliser ces textures mortifères comme trame de fond pour un mix cinématographique, forcément cinématographique... à l'exact opposé des atmosphères relaxantes des chill-out, iszoloscope explore "les territoires de l'inquiétude", "les ténèbres intérieures" qui sommeillent en chaque auditeur... une démarche introspective qui se matérialise par des chuintements dont l'étrangeté est renforcée par l'absence totale de tout élément rythmique ou mélodique. plus qu'un disque, c'est à une véritable expérience sensorielle à laquelle nous convie iszoloscope. (ld)

heathen harvest
iszoloscope is the french canadian industrial project by yann faussurier. as some releases consist exclusively of ambient patterns ("les gorges des limbes"), others are really industrial, rhythmic noise, i'd say, such as "au seuil du néant" and the latest "the audient void". but, one shouldn't think iszoloscope is clearly split between rhythmic noise and ambient albums. no, it is one of the few industrial project i know that mixes successfully ambient patterns and industrial rhythms with some breakcore touches. "au seuil du néant" both cds are a good example of such a 'hybridization'. the structure of the album is already intriguing, unconventional: there are ambient shorter intro tracks before (almost) each rhythmic track. since the first listening they take the listener out into a dark, cold and, somehow, oppressing atmosphere. this is as if they've been made to prepare the listener's ears and attention to the upcoming noisy deflagrations. the rhythmic tracks often start again with the main theme of the previous ambient one. and one hasn't to wait much for the distorted heavy beat to impose its law. meanwhile the ambient pattern is still evolving and reappearing from time to time during the track each time the abraded beats get evanescent... more and more layers of sounds are added 'til the electronic storms reaches its top. some deformed voices samples, or echoed whispers punctuate the recurring electronic discharges. as you'd understood, it is mainly rhythm based: not much melody here. no need for it actually, for the ambient evolving background gives much 'depth' to the record. rhythms are original, rather complex, although the whole remains fairly danceable. they consist of distorted sounds, heavy beats that don't sound much like usual drumkit, nor sampled mechanical sounds, nor technoïd stuff. they sound "non organic" to me, difficult to define: alien. sometimes some seem to tend to metallic sonorities or like some electric devices, but they don't remind much actual ones. many frequencies from low to high are represented, many sounds, from abrasive ones to really smooth ones. stereo effect is also used, but with moderation. the whole sounds complex, changing, hypnotizing, with a complex structure, with quite short loops, often changed, combined and repeated further in the track. many effects and subtle changes are hiding all along the tracks. such a dense music deserves more than a listening to be fully appreciated. at the first listening, it may sound obscure, difficult to grasp, although supplying efficiently a unique dark, cold, but "vibrating" atmosphere. feelings of loneliness, darkness, oppression, but also, energy, "heat", depth, space are created. very rich, deep and powerful music, combining extremes as ambient and rhythmic noise, creating an inimitable dark and mysterious atmosphere: this work deserves to be listened to carefully, especially for any fan of tarmvred or ah cama-sotz. (perceptron)

chain d.l.k.
iszoloscope born in canada in 1999 thanks to françois bénard (who left two years after) and yann faussurier. they were already djing at a local radio station and the step that moved them to start experimenting with sounds was short. as reported on the label's website the concept behind iszoloscope is "an artistic portrait of the effects of isolation on judgment, mental health, interpersonal values and anger on a human being. an acoustic interpretation, in a very personal way, of it's consequences on one's mind. as the inability to express and understand thoughts & feelings that results in irrational thinking and overwhelming anger that climaxes in unpredictable cycles". au seuil du neant isn't their first cd, even if it's the first on ant zen, the band already released a couple of cds on spectre (their first work "coagulating wreckage" was launched on september 11th 2001) and a couple of mcds. au seuil du neant is their first work concentrated on rhythms and the production of it took two years because the sixteen tracks are composed of many alternating layers which give a sense of power, inspiration and incoming darkness. distorted rhythms, drones and creepy ambient sounds are a band's characteristic and make of this release an indispensable item for your collection. on the second cd you can find fourteen remixes of "skotophobique", "crimson road", "spontaneous cognitive combustion", "prima momentum", "phobos ii" and "le dénominateur commun" thanks to urusai, antigen shift, ah cama sotz, 45 cep, mortmain, sinequanon, pin, pupil, kuuda, asche, liar's rosebush, imminent, we v2 and if then do who gave their personal interpretation of the tracks expanding the ambient side or the noisy one. get it, you won't be disappointed! p.s. there's also a vinyl version of the album (titled "this monstrosity is part of my fibric") but it contains only six out of sixteen tracks and no remixes.

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