Terrorakt / Begräbnis - split

Whereas many reviewers and writers tend to be critical of them, I enjoy mini-albums and short EP releases such as this split between Norwegian noise/industrial Terrorakt, and Japanese funeral doom band, Begräbnis.  One can look upon these recordings in several ways, sometimes as a cheap way of producing something quickly between albums, but let there be no mistake that in 2024 there is no possibility of making money on such formats, especially for underground bands.  Part of what is great about a short single is the focus provided their duration, the assumption that more care was invested in selecting just the one or two tracks rather than a full album’s worth of music, sometimes stretched out under pressure, and that they symbolize activity of a band when that particular band tends to not produce anything for years but full-length albums.  In the case of Begräbnis, the band just released one album after 13 years of existence, while Terrorakt I know very little about except that Maniac or Sven-Erik Kristiansen of Mayhem is the sole musician behind the project.  Terrorakt begins the CD with a speech by Margaret Thatcher (“Where there is doubt, may we bring faith...”) and then transitions into low-fi pulsing analog electronics with what might be some guitar riffs played backwards.  The track segues into warbly metal junk noise with ambient pulses and more samples, including speeches in Russian and what sounds like possibly a Kurt Schwitters dada poem.  The track rapidly changes and keeps from ever freezing into a dull pattern.  That it stands alone and there are not eight other tracks exactly like it is probably to the benefit of Terrorakt and lends it force in this context.  Begräbnis opens with an ominous dark ambient tone that slowly lifts like subterranean fog from cold ground.  Around two minutes in the metal comes in, with very low vocals from female singer Fumika Nakazawa, and minimal guitars evoking a powerful ceremonial mood... the track is slow and very melodic despite its harsh tone, with a warm analog-like tonality.  I hear some strange ambient effects move throughout the duration of the metal part of the song adding to its depth and that keep it from sinking into generics which would probably be the case with a lesser band producing uncomplicated riffs and structure like this.  The track is consistent with Begräbnis’s earlier output, and does not disappointment.  Both bands, as different as they are, compliment each other and serve as a fine example of a split done right.    Congratulations to both bands and Makoto of Weird Truth for producing this unique and enjoyable recording.

Read more of my reviews in issue 10 of Convivial Hermit, order here.