ex nihilo

by XFnX

The four tracks on this album were created “ex nihilo”, out of nothing, because XfnX improvised them during the recording sessions. Not quite out of nothing, though, because the studio improvisations were played over tracks recorded at live shows during his 2018 “losing shelter” tour and his 2019 “alchemical mystery” tour. XfnX's ingenuous set-up of “pedal tweaked analog drum machine“ and „bass guitar tweaked analog synth“ makes for a very energetic album with as much rock'n'roll as it can possibly get on attenuation circuit.

Not only each track, but the whole album is driven along by a motorik beat as relentless as any by legendary kraut minimalists Neu! However, the overall feel is more akin to contemporary indie stars Idles, because the pounding rhythms are punctuated by rough, dirty distorted bass guitar lines that are less krautrock than garage rock. XfnX's musical roots in punk are clearly audible, and his album is a good example of how the minimalism, passion, and aggressiveness of punk can be put to good use in experimental music. Equally strong on manic, repetitive riffs and atonal freak-outs, the most exciting parts of the album are part Velvet Underground – with important lessons learned from both Waiting For The Man and Sister Day – , part Eugene Chadbourne. For anyone who's been waiting for a new attenuation circuit release they can dance to: this is your pick!

File under: psychedelic, avant rock

ACU 1035

factory-produced CDr in cardboard sleeve

Released in 2021

limited to 100 copies

price: 7.00 EUR (excl. postage)

one shot takes, no overdubs
all impros reworked from:
- 2018 loosing shelter tour
- 2019 alchemical mystery tour
Many thanks to all partners on the road...
especially my bass guitar fellows

special mentions to:
- Sascha Stadlmeier
- Attila Szabó
- Anne Ambellan

Also available here: http://www.discogs.com/seller/dependenz?sort=price&sort_order=asc&q=attenuation+circuit&st

Review

VITAL WEEKLY

Who is behind XFnX? I don't know! I am not sure if it is supposed to be a mystery, but there is no name. The was a tour in 2018, titled 'Loosing Shelter', and in 2019 the 'Alchemical Mystery Tour'. Recordings from those tours found their way into 'Ex Nihilio' music. That title seems to imply that the music comes 'out of nothing', but that is not true then, isn't it? A "pedal tweaked analogue drum machine", and a "bass guitar tweaked analogue synth"; that is the set-up here. Sometimes I believe Vital Weekly will be more and more a place for improvisation and modern composition, which I would very much regret if that happens, but a release such as things makes me think differently. It is not that I am a massive fan of this kind of music, but the bluntness of the music here is quite refreshing. The beats are harsh and loud, the bass is muddy and dark, hoovering closely over the earth's surface, while the beats are like torrential rain. Or like a whip cracking. Industrial music, department harsh sounds. XFnX's music sounds like a direction that Esplendor Geometrico didn't take, especially the addition of bass guitar seems like an interesting addition. The music is very minimal, relentless, and best enjoyed at full volume throughout. Sometimes the music goes off the rails completely, and a rather straightforward noise remains, but somehow NFnX reloads his guns while going full speed ahead and starts firing properly again. Techno meets industrial meets postpunk.

http://www.vitalweekly.net/1315.html

Review

BAD ALCHEMY

XFnX, das Psychedelic-Noise-Projekt von Chris Teissier, mischte sich mit „Friction“, „Ignition“ und „Fusion“ unter die Monsters Of Doomcore in Rotterdam, auf der Plattform der nietzscheanisch-nihilistischen Powernoise-Formation The Peoples Republic Of Europe. Ex nihilo (ACU 1035) zeigt ihn mit der improvisatorischen Aufbereitung von bei seinen 'Losing Shelter'- & 'Alchemical Mystery'-Performances mit pedal tweaked analog drum machine & bass guitar tweaked analog synth dargebotenem Stoff. Mein Versuch, mir ein Bild des Franzosen zu machen, gewinnt dabei, von seiner Schwäche für den Sexappeal von Catastrophe Noise und Cacophoneuses eh abgesehen, durch sein Interesse etwa an Stahlschlag in Hamburg, dem Synthwave von Dame Area in Barcelona und dem walisischen Klopfer Dez Williams einerseits und andererseits dem Ambientdröhner und Chansonsäusler Arthur C. Colombo, Attila Szabó aka Remetemen und sogar dem Gitarrenwizard Guillaume Gargaud zwar nur sehr vage Konturen, aber doch kosmopolitische und scheuklappenfreie. Mit „the dark side of mathematics“ (2014) bescherte er freilich meinem schwachmathischen Trauma einen inneren Vorbeimarsch. Und wie er „live @ club re: noize“ (2017) die 'Rolling Mill' desolater 'Mass Production' ihren 'Modern Dance' stampfen ließ, gibt einen Vorgeschmack auf seine schutz- & obdachlose Alchemie. Rollend verwirbelter und stereophon beklackter Automatenbeat wird von dunklen Impulsen ostinat geschoben und durchfurcht. Der unermüdlich raue Bassschub spielt dabei eine Hauptrolle, händisch schrammelnde Schraffuren in hypnotisierender Repetition inszenieren ein rituell rockendes Brainstorming. Man kann dazu fast die in Trance und Wallung versetzten Reihen sehen, die sich wenigstens für diese eine Stunde von Mammon abwenden und stompend einem Ziegengott huldigen. Mich errinnert der rau schnarrende Bass nämlich eher an Gimbri-Mystik in Joujouka (oder Konono Nº1-Power aus Kinshasa), denn an Velvet Underground, aber dabei gerockt mit maschinengöttlicher Rhythmik und rasseliger, surrender Insistenz. In riffend und klopfend sich immer weiter drehenden Loops, die bei aller Monotonie doch immerzu sich zu Ölfasstamtam weiterschrauben und frisch geölt weiterschmatzen, -knurren, -jaulen, -knittern, -zwitschern. Wer kann da ohne Drogen dem gnadenlosen Beatdiktat Folge leisten? Denn auch der Ziegengott ist, selbst wenn er Herzen rösch und blutig frisst, ein sturer Mathematiker.

http://badalchemy.de/

XFnX ex nihilo cover front
XFnX ex nihilo cover back
powered by the brezenstudio engine