HR129 - Maeror Tri - Peak Experience - C60 — 1989
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Side A:
MY ELECTROCUTION SNEAKING MOVEMENT SENSORY DEPRIVATION SMALL FACES BOUNDARY TO INSANITY 5 (white noise in my head) |
Side B:
TALITA KUM! TRANSLUCENT VAULT WOVOKA THE THREAT GROWING ROTATION THE LAST PERCEPTION |
REVIEW by Jerry Kranitz
Maeror Tri were the German trio of Stefan Knappe, Helge Siehl, and Martin Gitschel. Peak Experience is an 11-track C60 of hardcore industrial and space electronica.
From Side A to B is a jarringly schizophrenic experience. With its opening salvos of Industrial mad scientist laboratory that build up to sheer sonic mayhem on ‘My Electrocution’, conjuring up from the listener cries of “Holy Throbbing Gristle Batman!”. ‘Sneaking Movement’ is more of the same only deeper in space and psychedelically played backwards. And on we go, joyfully mired in the ooze and slime of the Industrial sewer, kept interesting by a varied parade of minimal noise and effects patterns and anguished shouting. But then the last Side A track, ‘Boundary To Insanity 5 (White Noise In My Head)’, signals a transition. We’re treated to harshly mechanized chaos and textural churn that later eases into a cool freaky space to ambience finale.
And sure enough, the Side A finale is only a hint at the complete 360-degree Side B turn to space exploration Maeror Tri shifts to. ‘Talita Kum!’ kicks things off as pure floating, effects colored space, with a lightly symphonic feel, mild crashes, and cosmic drones. ‘Translucent Vault’ is like the soundtrack to a space-industrial sci-fi film. I like the eerily melancholy, yet meditative vibe, punctuated by mildly intense drone and wind waves. ‘Wovoka’ is a little different, letting its rhythmic hair down with skittishly tribal electro beats jamming to majestically rolling space drones. And the remainder of the set is pure mind-bending, alter-dimensional space.
Maeror Tri were the German trio of Stefan Knappe, Helge Siehl, and Martin Gitschel. Peak Experience is an 11-track C60 of hardcore industrial and space electronica.
From Side A to B is a jarringly schizophrenic experience. With its opening salvos of Industrial mad scientist laboratory that build up to sheer sonic mayhem on ‘My Electrocution’, conjuring up from the listener cries of “Holy Throbbing Gristle Batman!”. ‘Sneaking Movement’ is more of the same only deeper in space and psychedelically played backwards. And on we go, joyfully mired in the ooze and slime of the Industrial sewer, kept interesting by a varied parade of minimal noise and effects patterns and anguished shouting. But then the last Side A track, ‘Boundary To Insanity 5 (White Noise In My Head)’, signals a transition. We’re treated to harshly mechanized chaos and textural churn that later eases into a cool freaky space to ambience finale.
And sure enough, the Side A finale is only a hint at the complete 360-degree Side B turn to space exploration Maeror Tri shifts to. ‘Talita Kum!’ kicks things off as pure floating, effects colored space, with a lightly symphonic feel, mild crashes, and cosmic drones. ‘Translucent Vault’ is like the soundtrack to a space-industrial sci-fi film. I like the eerily melancholy, yet meditative vibe, punctuated by mildly intense drone and wind waves. ‘Wovoka’ is a little different, letting its rhythmic hair down with skittishly tribal electro beats jamming to majestically rolling space drones. And the remainder of the set is pure mind-bending, alter-dimensional space.