act 54 á stigma á inhumanity á cd
a melting of floating electronics and industrial ambient, subconscious stuctured chaos and forceful percussion. a powerful timeless monument - threatening and cold like an iceberg. deleted
untitled, the end, laboratories of crime, infection, fire
stigma website: www.chez.com/67kl/
don muerte email@example.com dayton, ohio
beautiful noise album that, when listened to in full, plays more like a movie than it even begins to resemble a musical album. there's a story in the wonderful transistion. i can't quite get at it, but somewhere tragedy befalls a man or group of men. it'll take many more listens for me to fully comprehend the intensity of this piece. the story seems to start out at a birthing moment (untitled) our hero is created and released unto the world. he's soon captured and brought into an ugly place of torture. his life is over and he feels an "infection" rising in his bosom. the "fire" hits him and he falls face first, never to see the world with the same eyes again. truely a masterpiece to be witnessed. yes, the music is dancey, ambient, and noisey. who the fuck cares?! it's far beyond labeling. best tracks: laboratories of crime, fire, and then all the rest
Electronic Diseases, january 97
Inhumanity is de tweede cd van het Franse Stigma, anders dan vele labelgenoten doen deze Fransosen het een stuk rustiger aan. De muziek van Stigma laat zich regelmatig vergelijken met de rustige kant van ome Dirk Ivens, het is dan ook geen wonder dat deze mensen elkaar goed kennen. De muziek van Stigma komt koud en leeg over en dat is precies wat de band ook wil, het resulteert in een muur van geluid dat zich het best laat vernoemen als industri‘le ambient met drijvende electronische klanken. Luister bijvoorbeeld naar The End en Infliction. 7.4
This is the second album by this project, this time released on the German label Ant-Zen rather than Daft. With the first track, Stigma bring us up to speed on what has gone before. Untitled sounds like a reprise of Henry which finished the previous album, though it is stripped down to the form of a grade A soundscape.
With the past established by Untitled, the cocoon breaks and we are given The End - additional elements adding mutations to the atmosphere. Spoken whispering vocals invade your mind - with a hint of the French accent revealing their origins. These vocals have menace, of the kind we would expect from Dirk Ivens, reminding of the closeness and shared language of France and Belgium. In the background we have a swirling melody - with a wind sweeping across it's plane - an atmosphere familiar to listeners of Stigma. On top of this there is a range of percussive elements - with echoes of the bridge between the track Putrefaction Taste and Anastigmatic Aperture - perhaps the offspring of those parental beats.
Laboratories Of Crime takes Stigma into new territory - a certain calculated violence, more vicious than the promises of before. If the phrase wasn't already in use one would describe some of these beats as "breakbeats" - at times you can hear these crack under the stress. Though this is not a full desertion of the Stigma sound - there is a rapid freight train sound: heavy wheels thundering, and clattering along metallic tracks, the tensions of which were present in some form on the first album. In addition to that are the pulsing electro sounds also used to some degree previously. With an album like this, which has only five tracks, one should expect some long tracks; this being one of them. At just under twelve minutes long it has plenty of time to develop beyond a passing description - the ever-present layers shifting and morphing.
Next track: With an almost minimalist intro - perhaps only three layers playing around each other. True to its title, Infection, this grows slowly subtly, so that you would not notice at first but it does take effect. It's repetition has worked it's way in, and has taken over. Now there is little you can do...
Interestingly one of the most virulent infections in history was the Black Death, when it was present in London, that presence was eventually curtailed by an accident - The Great Fire Of London. Here we have Infection followed appropriately by the consumption that is Fire. As it starts it crackles, floundering - attempting to catch. With persistence of it's electronic motions it does indeed catch. Fire devours, but seemingly in a peaceful manner. Hypnotic and cleansing - until it catches flesh and the rhythms changes - your mouth opens to scream, too late. Having turned to ash, the flames die down - flickering waiting for fresh fuel. The cycle repeating as it finds that fuel. And with Fire we have another chilling conclusion to a Stigma album.
RVWR: PTR, September 1998
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