Ordre & Progrès ‎– Inemployables

Label:
Thödol ‎– THO007
Format:
CDr
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Also available as digital download.

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tardigrade1

tardigrade1

March 14, 2015
During last decades, Power Electronics has been drowned by Bennett’s followers and many groups have filled the market with discs full of horrible noises, continuing to mix in a sterile way imagery about domination, abuse and abominations of all kinds.
Ordre & Progrès (Order & Progress), which appears much like the collaboration and the inevitable culmination of 25 years of friendship between Elliot and U235, is clearly positioned face to all people who are huddled in this music for 30 years. As they say in their presentation:
"Our themes are much less dramatic than those of Power Electronics but proceed from a similar interest in the commodification of the individual. Our perspective is deliberately amoral and politically disengaged. In the same vein, the use of noise by the Group Ordre & Progrès shouldn’t be equated with that of the rearguard alternative culture. Our approach is also unrelated to any ideology of cultural resistance. We do not dissolve existing forms by blurring, but create new forms by the noise."
Formed of short and sharp tracks, Inemployable recovers the sound collage industrial method where frequencies mutate, shove and overlap in brutal and intense way. In these pieces, the group seems to seek an approach that aims distanced, but still aggressive manipulation by the ferocious sound they make. A conversation, threatening voices, and much more... Everything has an alienating effect and sweat a disturbing desolation. The noise would be a dull day in an office building, or in a hospital, where all drugs are used up.
Of course, this has the desired effect, and the group has fairly successful: the music is relentless and we are crushed. And that leaves the frightened listener in a gloomy mood. Repellent, but in a good way: a scary listening.
Somehow, those who listen to this musical style likes to hurt themselves. But they know it and Inemployable is just the epitome of what inherently this music is: exploring the tensions between the listener and the sound. How stumbling and shaking his thought and free will. Enslavement. And of course, doubt. In this sticky social aggression, all is implied. What do we expect?
"Obey" comes from Obedire, who has himself Oboedio, Ob- and -Audio. Obedience is submitting by our ears. Compelling by hearing. Submit to the Order.
Elliot and U235 distill all the social oppression for inoculate the essence to us directly into the ears. A tough purge. Inemployable is like a sound treaty about impasse of our time.
"Anthropologists have inventoried musical techniques good to intimidate the tornado, to whip the storm, to calm the fire, to knock out the squall, to scare the rain, for bring them into the drumming flow, to attract the flock in his trampling, to bewitch the coming of the beast in the the sorcerer’s body, to terrify the moon, the souls to obedience. (...)
Disenchant our societies of their obedience. The love of order and liability in our society has turned to hysteria. The cruelest wars do not happen yet. Counterparties will be more appalling, the sacrificial payment of social welfare, medical, legal, moral and police of peacetime." Pascal Quignard, Hatred of Music
If you are brave enough to listen this album, it's hard to don’t be marvelled in front of the extent of obsession and fascination. This fascination catches the eye, to the point that it cannot be detached. The fascination is the perception of the blind spot. And we have to observe it in a blink.
When popular music, almost like an infant trace, is surprisingly approved by people, sometimes against their will, Power Electronics becomes the regret of the singing of man. No music can overcome this one in the darkness and in its petrifying violence.
It’s the striking evidence Art has never been the opposite of barbarism.
"Where we want to have slaves, it should be more music possible." L. Tolstoy
Please play it as loud as possible.