Published by Davide Pappalardo on January 26, 2019
Institution D.O.L is the Austrian power electronics/industrial project of Barbie B. (Matthias Beisl) and Meta Dolor, active since 1999. It is characterized by an uncompromising brand of harsh electronics and a career with many releases such as Diskotheka Dekadenza (Halbwelt Organisation, 2004), Instructions For Modern Weakniks (Steinklang Industries, 2007) and Caeremonia Inferna Vindobonae (Klanggalerie, 2017).
Now the project returns with Our Love Can Destroy This Whole Fucking World, a collection of 7 tracks ranking among it’s most violent music ever made. Here we will find a coherent narrative with a high dose of noise and cacophonous attacks, offering what they themselves aptly call a deathscape.
The first track Invocation is an intro of sort, starting with analog synth sounds and ceremonial samples. It even mixes pipe organs and industrial disturbances, developing a strange and alarming atmosphere. We are the black ones introduces us to the proper world of Institution D.O.L: droning noises and harsh vocals welcome us in soundscape made of misery and destruction. Grinding rhythms, industrial sharp effects, chaotic samples evokes the best of the genre, reminding us of masters like Genocide Organ and The Grey Wolves. This is not noise music made by chance and without a purpose, a clear development can be heard during the progression of the track.
You are all lost is a mechanical affair full of buzzing lines and corroding distortions, a crawling mantra of death upon which ferocious vocals are layered. The track moves slowly underlining droning voyages into the abyss of human condition. Abschlachtung indulges in swirling effects and dramatic disturbances, getting close to harsh noise territory. Shrilling sounds and atmospheric pieces give us a mysterious and emotional take on the genre, evoking distant horrors which torment our memory. Absolute hell is another chaotic episode with walls of noise and grinding movements, staying true to its name by the means of an infernal noisescapes and desperate vocal deliveries.
In dust and death offers a hypnotizing loop which works as the foundation for a merciless obsession with captivating synths and vocals which seem taken from a rally. The aural effect is strong and it guides us toward the inevitable, a sort of sliding scale to hell. The Title track ends the work with its industrial soundscapes with factory-like sounds and the usual harsh noises, without forgetting shrilling reverbs and droning distortions. But there is a surprise: all of the sudden, emotional ambient elements are added to the equation, mixing human sadness with imperative vocals and burst of noise. The narrative quality of the songwriting showcases once again the skills at work, and the use of delicate piano sounds and synth-lines underlines the desperation reached by the singer toward the end.
A solid release showing noise pieces moving between power electronics, harsh noise, industrial, synth sounds and ambient takes. It is at the same time violent and vicious and emotive and human, giving us the idea of a dramatic story narrated via aggressive music. Recently noise music is having a sort of renaissance, with many people e coming from techno-industrial getting interested in various aspects of the genre; for sure this is not a newcomer wetting his feet, but an artist with a well developed career a precise identity. Highly recommended.
Label: TORM Ent.
Rating: 8