I do like getting odd things in the post with no accompanying explanation about them and at first I thought I had been sent a film here as it is presented in a DVD style case. On further exploration I realised any visuals were going to have to come from my head as it was a CD and if anything more in-line with a soundtrack. Clues are the tribal figure on the cover-art, song titles and a 1961 quote from Aldous Huxley about the takeover by Pharmacology companies and their enslavement and servitude of populations; well he always was prescient. Behind the music, Paranoia Inducta is Anthony Armageddon Destroyer aka Ryszard Lal from Poland. A musician (and seemingly excellent nature photographer) with over 20 years of experience having notched up somewhere in the region of 18 albums some of which collaboratively. He works in what he describes as ‘Apocalyptic Death Industrial.’ However, during journeys into the fascinating ‘Demon’s Factory’ this is not quite the case and this is a much mellower listening experience than suggested.
Perhaps due to the cover-image and the cinematic language of the album I am first drawn towards the work of Godfrey Reggio and his ‘visual life work’ films such as Koyaanisqatsi and Powaqqatsi. The ambient stylings of Philip Glass are certainly present as we undertake this 65-minute voyage through a life out of balance. ‘New World Order’ the first track suggests a life in flux, changing in ways outside our control as big corporations disrupt environments in their quest for globalisation, destroying whole cultures in their greed. There’s a sombre melody via keyboards and a constant background throb. It’s ambient essentially with a dark edge to it. A bit of Vangelis perhaps futuristically summoned up too. World music is also a present descriptor, partly due to some occasional vocal parts subtly in the background. These move to operatic but again in a soothing and understated way as they fill in the gaps and the percussion creeps in on the title track. ‘Lord Of Illusions’ adds a brass like presence that austerely parps away with plenty of drama about it suggesting something dreadful this way comes and conjuring the coming inevitable apocalypse. Whether ‘Heaven Inc’ sees an intervening God is uncertain but spoken words and cries of “hallelujah’ suggest destruction is welcomed with open arms. It’s time to start again and wipe the selfish scourge of mankind off the earth. I see this progression quite clearly as we embrace next track “Welcome to Hell,’ complete with an evocative funeral lamentation credited to Erszebeth.
The throbbing sound continues to mesmerise and there are all sorts of other effects to appreciate here. The epic ‘Triumph Of Death’ for example has tinkling noises and bell clangs as it dreamily drifts away. The chilled qualities rather than chilling ones take over, there is only a slight feeling of lurking danger on the likes of ‘Beast Of Prey’ despite title and the luxurious flow of the music is embraced like a narcotic slumber. Attention is in danger of waning here as one languidly rides on the choral motifs of ‘The End Of Our Time’ and gets ready to embrace the final judgement of ‘Dying Light’ and the reset switch being flicked on the end of humankind, extinguishing the endurance of suffering that seems all the more prevalent in these troubled times.
Right or wrong that is what it all says to me and importantly it felt like the music was speaking to me, not something easy to convey when it is essentially non-lyrical. I will be listening to this again primarily for its meditative and relaxation qualities and would certainly be up for hearing more from the artist, maybe something of what I would consider of a more “Apocalyptic Death Industrial’ orientation than this though, to compare and contrast. Experience it at the links below.
(8/10 Pete Woods)
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