Italian industrial of the noisier variety has a long and illustrious history, though perhaps other scenes have been outshining the homeland of Augustus and Cicero for the past ten to twenty years. Out comes Gopota to rectify this sorry state of affairs, with their second release:
Music for Primitive, an odd piece of subdued, semi-noisy death industrial. After an intro, consisting of some musical sample, probably from a movie, overlaid with some industrial rumblings, the actual non-music starts. Having listened to all too much HNW lately, it is refreshing for this reviewer to be reminded that it’s actually possible to do all sorts of thing with noise, feedback and industrial junk abuse.
The track “Meaningless” is a sort of laid back, glitchy ambient affair with a heavily corrupted voice mumbling to the tune of careful feedback, a fuzz, and a diverse array of industrial thuds and rattlings. Moving on to “Summa Liturgica”, there is a bit of Catholic vocalization, spliced together with layers of fuzz, feedback and glitches. There’s more power and variation in this one, bass lines and massive reverb abuse cutting in every now and then. The next track – “Attitude” begins with a menacing, melodic drone, supported by whispers and glitchy pluckings. It moves on to a form of noise based ambient, a flooding and ebbing static, flowing together with melodic synth work. Dreamy stuff, and probably the favorite track of yours truly.
The last track “Empty Eye” moves the band closer to Power Electronics territory. There’s a bit more bass involved here, though the EQ-curve remains heavily dominated by treble, no matter how you look at it. There is a digital quality to the glitching, which doesn’t really speak to me, but there’s plenty of great ideas in this track.
This can be said for the entire recording. The general atmosphere is very strange, in a good way, and when combined with the minimalist visual work that comes with the various versions of this release, it gives a great impression. Adidas pants wearing guys minding cars in pixelated images give a strong Camorra/’Ndrangheta vibe (I’m no expert in these matters, mind you), and given the band’s self description, we believe that or something similar is what they are going for.
What would need work on this one is the production, which would give a far better impression if the digital glitching/digital distortion was removed or at least reduced, and the band focused on a more analogue sound. It’s all there already, it’s only broken up by the clear computer overload stuff. Granted, in this day and age, perhaps there is something to be said for this way of including computer chip abuse on an industrial tape, but to me it is distracting and takes at least a little away from the overall experience.
All in all, this is a promising effort, at times really good, and this reviewer would urge Gopota to keep producing their brand of Italian Crime Industrial.