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Australian post-industrialists Kollaps (now based in Europe) are a three-piece creating a unique brand of primitive noise "intended for degenerates and outsiders". The band's distinctive primordial tones are created using appropriated waste materials like scrap metal, raw plastics and steel plates combined with blistering percussion, bass and vocals. This is no empty "industrial" gesture, for the band this process of creation facilitates the literal use of postmodern society against itself.
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CD
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CSR 309CD
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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 conceptualization of the record has been stylized and presented using William S. Burroughs's 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's 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 version in six-panel digipak.
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LP
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CSR 309LP
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LP version. 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 conceptualization of the record has been stylized and presented using William S. Burroughs's 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's 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). LP version with full color matt-laminate sleeve and printed inner lyric sleeve.
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CD
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CSR 269CD
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Australian post-industrialists Kollaps are a three-piece creating a unique brand of primitive noise "intended for degenerates and outsiders". The band's distinctive primordial tones are created using appropriated waste materials like scrap metal, raw plastics, and steel plates combined with blistering percussion, bass, and vocals. This is no empty "industrial" gesture, for the band this process of creation facilitates the literal use of postmodern society against itself. Mechanical Christ, the band's sophomore release, is a conceptual continuation of its predecessor, Sibling Lovers (2017). This release sees Kollaps further their exploration of the inherent societal sickness of our times, one that manifests itself in the debasement of individual morality. Themes of exploitation, vengeance, drug addiction, paranoia, and slave labor are part of a dissonant, inverted morality play. Testament to the band's evolving conceptual depth are the overarching themes of love, life, and death that offer a sense of shared experience in the discomfort of the universal human experience. Known for their violent and nihilistic stage performances, this recording encapsulates with harsher clarity the visceral confrontation that is Kollaps' live act. Mechanical Christ was recorded and mixed over a two-month period at Aviary Studios by Mike Deslandes, and mastered by James Plotkin/Plotkinworks. A journey into the desperation and lack of resolve that is both the crux of modern social ills and at the very heart of the human condition. CD version comes in gatefold digisleeve.
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LP
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CSR 269LP
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LP version. Includes printed inner sleeve. Australian post-industrialists Kollaps are a three-piece creating a unique brand of primitive noise "intended for degenerates and outsiders". The band's distinctive primordial tones are created using appropriated waste materials like scrap metal, raw plastics, and steel plates combined with blistering percussion, bass, and vocals. This is no empty "industrial" gesture, for the band this process of creation facilitates the literal use of postmodern society against itself. Mechanical Christ, the band's sophomore release, is a conceptual continuation of its predecessor, Sibling Lovers (2017). This release sees Kollaps further their exploration of the inherent societal sickness of our times, one that manifests itself in the debasement of individual morality. Themes of exploitation, vengeance, drug addiction, paranoia, and slave labor are part of a dissonant, inverted morality play. Testament to the band's evolving conceptual depth are the overarching themes of love, life, and death that offer a sense of shared experience in the discomfort of the universal human experience. Known for their violent and nihilistic stage performances, this recording encapsulates with harsher clarity the visceral confrontation that is Kollaps' live act. Mechanical Christ was recorded and mixed over a two-month period at Aviary Studios by Mike Deslandes, and mastered by James Plotkin/Plotkinworks. A journey into the desperation and lack of resolve that is both the crux of modern social ills and at the very heart of the human condition.
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