Dodmaskin – Fullstending Brent (2017)

While I don’t have any real promotional info for this one, I’ve gleamed that this an industrial/horror project from Norway. I’ve also gleamed that it is quite good, bringing the kind of terrifying feel that I want from this kind of music. If there’s a frightening black metal equivalent to the industrial/power electronics in Norway, it is safe to say that Dodmaskin are in that bracket.

As the record begins with “Baldom” we are offered a violin influenced piece that feels like a man is playing in front of a dumpter fire, or perhaps a pit where dead bodies are being set aflame. I’m sure the smell is quite horrific, and his violin only adds to the horror of these dead bodies slowly turning to ash, pale and rising up from the flames like snow. It then starts to take a slightly more melodic tone, possibly introducing in a few more electronic elements, but never going fully into an industrial realm. The violin however, disappears. I also think that I heard someone smash a couple of windows. Glass is definitely shattering. I find myself mistaken, as the sound of huge machinery comes in, making me think of giant robots walking around in glass. Or possibly, giant robots breaking glass. Or possibly a man at the helm of a giant robot who has no idea what in the hell he’s doingor how to control the thing. He very well may have ran througha house and in the most Monty Python of manners, he fumbles for the proper controls whilst going back and forth through the glass. The violinist survived to play a few more times, but I’m sure he moved away from the chaos.

Continuing onward, we have “Heksetimen” which at first feels like a muffling. Later we have the sounds of hissing and lasers that appear to launch outward from flames. This is quite interesting, I don’t believe I’ve ever heard such a laser sound from these kinds of records before. An industrial appoach now fills the album, along with slight explosions that eventually lead into a slight drone outwards. Moving on, we reach “Christoffer Orning” which begins with the sound of several chants. I don’t know what they were summoning, but it never appeared and I want my five dollars from it. Next we hear the sound of a screaming and crying woman, to what I can assume is being sexually violated by a large mecha-structure. As it thrusts loudly, the woman is being torn apart by it and several metallic moans of pleasure. That is honestly the best way I can decribe this one. She wanted a robotic vibrator and she got one. Except for the fact that this thing is attached to a fifteen hundred pound hulking metal monster that knows only pleasure and little more. A scene from our unfortunate future? Perhaps. I hope she’s enjoying herself with this beast, as we must often be careful what we wish for. After the horrifying scene of pleasure… (or was it pain?) we have what sounds like a complete and utter clusterfuck of these sex droids, all pouding at once, pounding the woman until she is absolutely unrecognizable. As terribly sexist as this might seem, it is what I get from this piece, which really could be a scene from our future. With all of the advents in sexual technology and robotics, who is to control them if they get out of hand and pleasure the lot of us to death? As the piece continues, we hear light chanting in the background of this chaos. One might feel that these monks simply looked on as if watching a stage play, viewing the carnage vicariously… and that’s enough of that.

“De Ti – 62” comes next, sounding a little ghastly. Completely removed from the robotic pleasure display, I might add, (I call them like I hear them, and as of recent I’ve been told that I write proficient erotica) we have a piece that sounds as if the recording is coming from a haunted room. That is until the industrial thumps break in, cuasing all sorts of calamity, seemingly out of nowhere. It’s quite nice too, because no one expects the machines with their drilling and whirring to completely demolish the set of Anabelle. Imagine sitting down to watch the new Anabelle Creation film, when all of a sudden these large out of character robot drilling machines burst through the house and destroy everything – the house, the doll, the people inside of it – they just reduce the place to rubble. It would actually make a much better movie in my opinion. Giant robot drilling machines. I think I’m going to buy four of them. Finishing off the album we have “Domt Pa Sitt Til Ild Og Bal” which arrives with the chiming of a bell and light radio static. It couldn’t possibly be any more unsettling. If you play this one in a dark room and lock it with people in there, they might go a bit crazy at first. The industrial approaches come in later, which unfortunately aren’t as horrifying; but I will not criticize Dodmaskin for being an industrial act – it is what they are, first and foremost. However, the piece changes to include a light piano node amidst the same sounds of that familiar pile of bodies from the beginning of the album. The fire and static eventually fade, leaving only the melancholy (yet alluring) piano composition.

All in all, I’m quite pleased with this one. I feel that Dodmaskin have successfully mixed the horror and industrial atmospheres together in a truly memorable way, leaving the record a memorable, frightening experience. I’m not sure of the context of the disc, but it’ll definitely work to scare the hell out of you and others, plus it had me describe a horrifying robot violation scene, which I don’t think I’ve ever gotten from these kinds of records before. So there’s that, as an ovbious originality factor. Whatever Dodmaskin are doing, they’re doing it right.

(5 Tracks, 44:00)




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