Jazzkammer
Metal Music Machine

It is beyond doubt that to hypothesize and concretely forge such a darned paroxysmal work required, for the co-owners of the JazKameratorea reality, a deep and innate sense of humor: an attitude that undoubtedly is among the peculiarities of the overwhelming SmallTownSuperJazz and that likewise cannot and should not diminish in those (courageous?) who venture to listen to the dazzling, totally suffocating, and, I would dare say, by the end of the listening experience, concretely fatiguing, sonic wreckage contained in the pitiful, immensely scorching five tracks in question.

Substantially (and thankfully) little or nothing to share with the historical and original L(o)uReed controversial metalwork [dating back now to the last century] except for the deliberate/significant homonymity and total self-referentiality and blatant intransigence of the contents: the current, quintessential, visionary metallic (meta)musical machine of our Norwegian heroes, in a little over forty (infinite or insufficient will be, I fear, the result of pure subjective observation) spins of the chrono-brevilinear hand, unleashes a paradoxical sampling cloak of inscrutable and astonishingly multifaceted sonic-fierceness that often border, if not very often settle, beyond the natural threshold of humanly perceivable auricular pavilion torment.

The opener “Friends Of Satan” clarifies, not without some hesitation, what one will find oneself (alas) having a difficult time confronting: six testing tabular-dents first composed of authentic sound-magma made up of fantastic, cathartic, liberating (I presume) ultra-crunching guitars unleashed and launched at speeds that calling insane is a gentle compliment, layering and blending everything on an impenetrable rhythmic/percussive wall of impact almost concretely physical; what more can be said about the literal ultra-drone/doom abyss that redefines (in its “only” seventeen minutes) a hitherto presumed challenging and surrounding sound-reality like Sunn O))) into a vibrant and delightful adolescent-pop reality?
And of the absolutely uncoordinated and ruinous title-track, a sort of indigestible noise-pastiche post-Merzbow/Masonnian devoid of the slightest mercy for those (anyway willing) who decided to grant them a curious albeit (in)sane afternoon of idle and light-hearted listening? The most “listenable” track (so to speak) remains the unmentioned (until now) yet nomenclatively ‘light’ “Abomination”: demolishing, albeit academic, industrial/noise/grind exercise of exquisite audio-f(racture). The concluding symphony-of-trebles convulsion named “Occult Glider”, progressively hampers its progress towards the inevitable and substantially exclusively-noisy, rocky/epilogue.

Notably, finally, that for the realization of the presented acoustic delirium (martyrdom?) the cohesive duo consisting of the courteous Gentlemen Hegre & Marhaug has implemented the formation of as many as four additional tormented instruments/elements, thus simultaneously “lost” the double consonants characterizing their own (former) logo (Jazzkammer, until the previous work).

There is no doubt, truly unexpected, amusing pranksters/fun-makers these eclectic De-Norwegians (antzyquénòn).