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A good in-depth review for the upcoming Variát first album from Monolith Cocktail

Ukrainian multimedia artist and co-label launcher Dmyto Fedorenko makes an abrasive, thickset and caustic noisy statement of mystery and forebode on his latest dissonant album.

Under the Variát alias the static, fizzled and pulverized pulsating sonic sculptor uses a busted and transmogrified apparatus of blown amps, hammer thumped toms, cymbals that have been drilled to make unpredictable resonating distortions, and countless found objects to conjure up the most heavy and deep of savage and alien discomfort.

One artist’s reaction to the times we now live in, launched from Fedorenko’s own Prostir imprint that he set-up with fellow electronic music experimentalist Kateryna Zavoloka, the album’s eight fizzing contortions burble, squeal, scream and drone lethargically with unknown ritualistic invocation.

The accompanying PR notes tell me that this project (in part) was conceived last year as a ‘provocative outlet’ for transgression, reinvention and liberation. This all becomes a bestial, doomed industrial freedom when channeled through a fried crunched distortion. Unknown propelled craft hover as the stark brushes and scrapes of an electric guitar are magnified to sound like an unholy alliance of Sunn O))) and The Telescopes. Reversed sharpened blades, searing drones, metal machine music concrete, vaporised static, the sound of a robbed manic knocking on the gates of Hades and various bone and gristle menace converge as leviathans, secret ceremony and regurgitations emerge from the discordant mass.

Itchy-O, Faust and Emptyset bring in augurs and break the limits in a suffused display of heavy metal primitivism, as Variát craves out meaning, description and evocations from a corrosive block of fucked-up serpent like dark materials. It’s probably, exactly, the right sound we need at the moment.