Green Field Recordings, 2016
A surprisingly calming work of experimental drone, The Biography of Industrial City meshes treated guitar and electronic ambiance with practiced ease. [existence_sounds] (Stephen McCann and Kirill Makushin) avoid the doom-and-gloom atmosphere that you might expect from the album title, opting for a greyscale sound palette that follows a static structure.
Despite track titles like “Dismal Monument” and “Factory Slaves and Waste Biomass,” the feel of the album is archival rather than apocalyptic. By drone standards, the track lengths are short, with an average time of around four minutes. This works in the album’s favor, however; if it was much longer, it would risk becoming repetitive. The album’s concept is of dual drones: one electronic and one analog, from guitar to something that sounds like an accordion (the wonderfully evocative “See Place – Gray Swamp”). Following a basic and straightforward structure, each track quickly establishes its identity, flows for a brief and pleasant interval, then moves smoothly to the next. Only the final track, “Drone Gamelan Piece,” a collaboration with KG, adds details like chimes and bells to the lazily drifting fog.
Perhaps it’s too similar in sound design, and perhaps it’s too short, but I find The Biography of Industrial City to be immensely satisfying. It’s mysterious without being ominous and consistent without being soporific. The best thing about an album like this is how you can loop it, revisiting familiar ground, while remaining within its created borders. You’re not at ground level, right in the thick of the presumably abandoned city, but floating above, observing the empty streets and silent buildings without foreboding attachment. With this album, [existence_sounds] proves you don’t need a lot of studio trickery or twenty-minute track lengths to create effective immersion.