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KOLLAPS - Until the Day I die

Format: CD Label & Cat.Number: Cold Spring CSR309CD Release Year: 2022 Note: third album by the raging Australian old school industrial "rock" attackers, influenced by W.S. BURROUGHS methods.. more song-oriented and electronic sounding at times, still extreme enough with a large array of self-build metal objects in use, scream vocals, noisy bass and tons of effects... - "The soundtrack to a society collapsing on itself" - [Robert C. Kozletsky] Price (incl. 19% VAT): €13.00 More Info "Until The Day I Die" is the third album from Australian post-industrial outfit KOLLAPS. "Until The Day I Die" is a merciless and visceral assault on the senses and continues the trajectory of the band's idiosyncratic approach in their creation of sound. The album showcases an uncompromising force of harsh post-industrial music narrated by overarching themes of condemnation and redemption; of violence, romanticism, sexuality, and addiction. Much of the creation and lyrical conceptualisation of the record has been stylised and presented using William S. Burroughs' cut-up method. A wide variety of metals and raw materials were used in the creation of the album including metal grates, a rusted hoist, cement cylinders, field recordings, hammering of various decrepit objects, broken amplifiers, an exposed reverb tank, various synthesizers, and the infamous metal coil; a crudely self-constructed artifice that has become iconic in its use across KOLLAPS' triptych of releases and lengthy touring history in Europe, Australia, and New Zealand. "Until The Day I Die" has had a tectonic shift in production methods compared to its predecessors and was entirely written, recorded, and mixed internally the self-constructed ILoveHeroin Studios built above a sculpture museum in Lugano, Switzerland. All instrumentation was handled by Wade Black except for bass guitar by Andrea Collaro recorded at Hangar 121 in Lenate Pozzollo, Italy on all tracks except "D-IX" and "I Believe In The Closed Fist," handled by Black, and additional sound design and percussion by Giorgio Salmoiraghi. The album was mastered by James Plotkin and completed with cover artwork by Nullvoid (Thomas Ekelund | Trepaneringsritualen). CD in 6-panel digipak || LP with full colour matt-laminate sleeve and printed inner lyric sleeve. Written, recorded and mixed by Wade Black Bass guitar by Andrea Collaro except “D-IX”, and “… Closed Fist” Additional sound design and percussion by Giorgio Salmoiraghi Mastered by James Plotkin Recorded and mixed at ILoveHeroin Studios in Lugano, Switzerland Bass recorded at Hangar 121 in Lonate Pozzollo, Italy and engineered collectively by Kollaps. Artwork: Nullvoid (Thomas Ekelund) ######################################### "Sometimes I go to a concert with minimal expectations. Once I decided to go to an unknown name, I didn't bother to investigate further; I just saw and be surprised. A few years ago, I decided to go to Kollaps, which I thought would be an Einsturende Neubauten-inspired thing, seeing they took the title of their first LP as a band name. I learned that they were from Australia and they used metal, synthesisers, maybe a bass and a singer. Oh, and a stack of amplifiers. I was pleasantly surprised that night. It was much louder than I anticipated (for no good reason). The group clearly found inspiration in SPK and Neubauten, but with a manic singer, screaming, shouting, pointing the microphone towards the amplifiers, generating feedback. There was great control among the various players, and I think they played songs and some mind-numbing barrage of noise. Back home, I shamefully admit, I didn't follow up on this concert, checking their work online. So, 'Until The Day I Die' is my first encounter with this group with studio recordings. I still enjoy what I hear and find some interesting musical nuances here. It is not a festival of feedback. Not that I expected this to be. There are quite a few of that, obviously, sitting next to banging on objects, screaming, but also a satire (I should think) of neo-folk in the title track. Complete with guitar and sad vocals, but drenched in reverb, leaning towards feedback. Some orchestral samples, mangled field recordings, and the military bang on the drums. Top-heavy music and filled with furious aggression. Not the dulcet tones of summer, but the sounds of a society collapsing in misery. I love it." [FdW / Vital Weekly]