Infernal Machines / Lars Graugaard & Hans Tammen – Rife

rife-coverClang 034, released 2016. 28 Minutes. Recorded by Lars Graugaard and Hans Tammen, October 22, 2015 at James L. Dolan Recording Studio, NYU Steinhardt, New York, USA. Technical assistants were Daniel Pasqual and Urosh Jovanovich. Mixed and mastered by Lars Graugaard at James L. Dolan Recording Studio, NYU Steinhardt, New York, USA. Artwork by Vladyslav Kamenskyy.

Track list
1. Is That A Light? – dur. 8:00
2. Ashen Lines – dur. 11:36
3. Steady Jolt – dur. 8:20
Total: 27:56

Preview further down on this page, buy on Clang here.

The endangered guitar is Hans Tammen’s guitar-add-computer hybrid, and a vehicle for unending sonic explorations. Together with Lars Graugaard’s sophisticated interactive computer sounds, patterns and grooves they become Infernal Machines, and a world of rhythms and sonic escapes opens up. Their performances and recordings is music with tight electronic punches, dizzying chases and unreal, compelling atmospheres.

This is neither “infernal” nor any other kind of wretched music, but music of a place in space that is rife with sonic pleasures, intense and dangerous encounters, and mesmerising even irresistible delights. But the music has conceptual layers that makes it monumental in its complexity and with an intensity that certainly can be suggestive of otherworldly creatures.

The digital, non-human sounds and melodic gestures are counter-balanced by construed yet strangely natural rhythm patterns and motions where beats drift in and out of time, mutate and wash away, only to be reeled back in and dressed up for more adventures. This gives the album a warm and structured feel with long stretches that develop with tranquility and composure, in spite of the sizzling and burning energy that lies immediately beneath and constantly pierce the sonic surface. Like a husky patina on what is not really such a rigid and unyielding shell.

Aural Aggravation – James Wells

Infernal Machines is Lars Graugaard and Hans Tammen. Both respected composers in their own right, they’re also, independently sonic innovators. While Tammen is perhaps best known for his choking Disklavier, Rife features a guitar/computer hybrid in the form of the ‘endangered guitar’, while Graugaard brings interactive computer work to the table for forge rare patterns and grooves, with some interesting and, in parts, bamboozling and dizzying results.

Yes, this download album may only contain three tracks but it has an overall running time of 28 minutes and is so texturally rich than any more would be to be left beyond gorged.

‘Is That A Light?’ pings and pops, drones and groans over rapid percussion resembling bongos. Building an intense insectoid scratching clamour, it drills its way into the cranium. The album’s centrepiece, the eleven-and-a-half-minute ‘Ashen Lines’ hits as a laser attack. Pulses form hectic and cacophonous polyrhythms that shift and mutate. Scraping and rattling against one another, churning and circling.

‘Steady Jolt’ marks a radical departure, as a strolling bassline – remarkably conventional, by all accounts – wanders hesitantly toward a flickering curtain of electronic light that cascades and iridesces. Pulsing dance beats emerge as the sonic spectrum slides into another realm.

It’s not a work you can readily pin down, its shape in eternal flux. Constantly shifting, no two bars are entirely alike, as layers build and sounds evolve and transform. By the end, you find yourself wondering just how you arrived at the end destination – not that it matters, because it’s very much about the journey.

Original post here.

Rockerilla #80 – Roberto Mandolini

Le soluzioni estreme non spaventano certo Hans Tammen ne l’amico Lars Graugaard. I due musicisti hanno unito le forze pochi anni fa per formare il progetto Infernal Machines (l’esordio e l’omonimo album del 2013 disponibile solo in DL sempre su Clang). Tammen percuote una chitarra elettrica modificandone in tempo reale i suoni con un software (lo strumento ha anche un nome, “endangered guitar”). Graugaard si muove in territori piu astratti costruendo con le sue macchine scenari apocalittici e fantascientifici. Le tre tracce del mini album Rife mostrano bene l’alienazione raggiunta dai due maestri del noise digitale. Non Solo Rumore!

Υπό το όνομα Infernal Machines, ο Hans Tammen και ο Lars Graugaard- endangered κιθάρα με ενσωματωμένο softwear και διαδραστικοί ήχοι από υπολογιστή, αντίστοιχα- κυκλοφόρησαν το Rife συνδυάζοντας τους ντίτζιταλ «ψυχρούς» ήχους παράλληλα με τις φυσικές μελωδικές γραμμές σε ατμόσφαιρες όπου τα beats οδηγούν το συνεχές και χωρίς τέλος μουσικό ταξίδι με τη μορφή ηχητικών συσπειρώσεων και εκτονώσεων. Υπάρχει συνεχής εναλλαγή ρυθμού με από ηλεκτρονικά που συμπληρώνουν και υποστηρίζουν τις διάφορες μουσικές δομές.

Original review here

Diso – Tony D Onghia

“…a bizarre and unheard hybrid of stupefying, distorted drone music and alien funk, shaken by epileptic tremors. Intense and recommended to the most daring of listeners.”

Innocuo è un progetto musicale all´insegna dell´understatement, del profilo basso, ma soprattutto della sostanza al di sopra della superfice dell´apparenza. Per accorgersene basta ascoltare le tre tracce contenute in questo “Inside The Memories”, lasciarsi avvolgere dagli strati sonori sovrapposti con cura certosina, con la pazienza del mosaicista, la passione dell´artigiano. Ambient piena di musicalitá, umanità, calore e poesia.

Chiudiamo questa breve rassegna con una release coraggiosamente sperimentale. Esce infatti su Clang questo “Rife”, frutto della collaborazione tra Lars Graugaard e Hans Tammen, uniti sotto il moniker Infernal Machine, un riuscito incontro/scontro tra le manipolazioni al computer del primo e la deragliante chitarra del secondo. In bilico tra l´esplorazione sonora più pura e fine a se stessa e urgenza ritmica, il risultato di queste sessions è un bizzarro ed inaudito ibrido tra narcotica e distorta drone music e funk alieno scosso da tremori epilettici. Intenso e consigliato agli ascoltatori più temerari.

Original Review here.

Polynomia – Łukasz Komła

Poznajcie nagrania amerykańsko-duńskiego duetu Infernal Machines.

Infernal Machines tworzą Hans Tammen (gitara, elektronika) i Lars Graugaard (elektronika). Ten pierwszy znany jest z produkcji własnych instrumentów (np. Endangered Guitar). Jego solowe kompozycje charakteryzują się niezliczoną ilością kontrastów, które często są budowane w oparciu o niecodzienne rozwiązania (np. lutowanie i łączenie różnych podzespołów w trakcie występów). Graugaard z kolei tworzy innowacyjny software.

Pod szyldem Infernal Machines wydali swój pierwszy minialbum „Rife” nakładem clang. Artyści zaprezentowali trzy kompozycje będące przedziwną miksturą elektronicznych brzmień, przede wszystkim składającą się z nietypowego metrum i nieoczekiwanych zwrotów akcji, gdyż pod koniec płyty z noise’owo-drone’owej magmy wypływa techno o industrialnym zabarwieniu.

Original review here

Dark Entries – Peter de Koning

…As these two geniuses unite under the moniker Infernal Machines, they inevitably create some very high expectations. But do not worry, they are fully met because the music sounds exactly as the name suggests: The machines draw you into an intense and hell-bound trip.

The record opens up with the quite attractive “Is That A Light?”. The track treats us to gloriously bizarre clangings and glitchy drums – but everything remains within the four-four meter. It’s a great track to start with, but not the main reason why we often will return to this release. The second track “Ashen Lines” is what has made us especially addicted to Infernal Machines, and it has even made us dig into the previous work of the artists. It is a track that is hard to describe, but terms like “insane and depraved” come readily to mind. The sounds seem like they are from another planet and throw you right into a Dantesque dream-world. Escapism? Say Houdini…! The track starts off quite busy but Infernal Machines still manage to build up a dense, eleven minute long track that is so varied that there is not a single moment of boredom. On the contrary, the ‘repeat play’ button is pressed instantly. In fact, I can hear this track all day, provided I can have a date with the brain doctor afterwards. Due to the complexity and rich layerings we keep hearing new twists even after many listenings. There are subtle but also downright blunt mutations of the sound, unreal changes in rhythm and much more to be spellbound by. The release closes with the quieter but also rather nervous track “Steady Jolt”. Here the two gentlemen go merrily experimenting with different rhythms in the intro and then attempt at various polyrhythms later on in the track. The issue is further enlivened by a jazzy improvisation on Rhodes. The rhythm that keeps the on-goings together is the standard boom-shack, spiced up with hi-hats and a few claps. A surprisingly commercial choice in the light of the rest of the release, but probably essential to keep the avalanche of clangings and melodies in check. “Steady Jolt” is the composition that appeals the least to us, but in itself it is still much more interesting than 90% of the experimental releases we get to hear.

The three compositions are not so easy to place as inspirational lines can be drawn to quite a lot of artists. The tracks are quite melodic, which admittedly is not synonymous with harmonious. Despite its explicit experimental nature, I suspect that this music can attract a lot of people to the camp of the avant-garde music. Masterful!

Original Review here.