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Rating:
THE REVIEW
Kafkaesque electro-delays, a trial within the "process".
Screeching metallic contortions, devouring electroacoustic masses, abrasion and ecstasy, the frightening collage of "everyday humility" comes out in all its dehumanizing obscurantism regarding the nature of the crime.
"He's Afraid Of The Way The Window Might Shatter - Soon - It Will Be A Spectacle: The Fall Of A Crystal Palace. But It Will Collapse In Total Blackout, Without A Single Glimmer Of Light, Just A Great Invisible Crash"
A mass of exasperated concrete sounds, a cut-and-paste that seems to operate in acts of self-destructive electroacoustic suturing, in "Paris,Morgue" the layers of noise thicken to a sort of perceptual overcrowding, the atmosphere of imminent threat expanded into unusual forms by "Default Value: Störeingabe" and the title track stuns and obscures the senses, now camouflaged in creeping shadows constantly lurking.
"Ekstase Des Sozialismus" titanic psycho-active rattle and overload, there is "Anselm Weinbergs Flucht In Den Odenwald" with its destructive vocal inserts and free waves of sounds in perpetual short-circuit, there is a whole philosophy applied to sound, to bend it, shape it, make it "other", a common philosophy to the entire scene of the new German post-avant-garde of the '80s, the experimenters of a new underground avant-garde (Cranioclast, h.n.a.s., Gerechtigkeits Liga and others) intent on tampering and sonic sabotage beyond imagination.
The ruthless and impersonal process "escapes human judgment", just like this "great invisible crash", the nature of the crime remains unknown.
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Summary by Bot
P16.D4’s album 'Kühe in 1/2 Trauer' delivers an intense, Kafkaesque electroacoustic experience that challenges perception with layers of noise and metallic distortion. The album explores themes of dehumanization and obscurity through complex sound collages tied to the German post-avant-garde scene of the 1980s. Tracks like 'Paris,Morgue' and 'Ekstase Des Sozialismus' build dense atmospheres that stun and unsettle the listener. The review praises its ruthless and impersonal sound design as a deliberate philosophy of sonic sabotage and experimentation.
