Apetite for Deconstruction dos Overdose Kunst é um disco que atravessa estilos sonoros caracterizados por liberdade estética, sem sentir a necessidade de se identificar com nenhum em particular e subsistindo sem recurso a lugares comuns.
Do mesmo modo que toda a gente que está viva hoje contem o gene de Adão (pelo menos se formos adeptos do criacionismo), toda a gente que actualmente envereda por um determinado género sonoro possui o gene de Robert Fripp, facto evidente na faixa de abertura The Night of Mansyuria, algo reminiscente de No Pussyfooting, mas não se limitando a seguir caminhos já existentes.
A faixa seguinte, Schizopoiesis explode abruptamente depois da dormência instalada anteriormente, e não parte sem proporcionar um assombro de contemporaneidade.
Nikias Luhman, a terceira musica devolve-nos alguma tranquilidade mas nenhuma da dormência da abertura pois está rodeada duma áurea de imprevisibilidade.
A quarta faixa do álbum, Requia for ethnic cleansing, são 3 minutos e 4 segundos não muito longínquos do mundo de Stockhausen, embora menos orgânico e mais desconstrutivo.
Von Bertalanfly, a ultima faixa do disco é como que um pós rock corajoso o suficiente para não divagar sem rumo por terrenos melancólicos e a espaços ecoa algum psicadelismo.
- Hugo Filipe Lopes
Overdose Kunst (”Kunst” is German for “art”) consists of Takeshi F. and Ryuta K. (aka. Ryu - Japanese for “dragon”) who present their latest release on Mimi with an apetite for deconstruction. It all begins with The night of mansyuria, a track that was previously released on Ryu’s “the depressed” album on Dark Winter, but still has has maintained its intense atmosphere of a lonely full moon night at the see. But do not get fooled by the introduction, the deconstruction phase will become apparent in Schizopoiesis: Imagine several voices keep on repeating the same phrase over and over again, with various degrees of pitching and applied effects. While this sounds not at all thrilling at first, the surprise lies in how the voice’s intonation causes conflict rhythms and actual basic, accidental melodies and how it even works well throughout the entire 13 minutes of the track.
The follow up track dedicated to the German sociologist Niklas Luhmann provides a steady stream of floating particles centred around a rather percussively used guitar. During the course of the tune, walls of noise are gradually piled up with whispering voices bouncing back and forth the stereo panorama. They seem to reveal frightening visons about life that has crossed the line to insanity as the detuned guitar is being maltreated in a frantic No wave fashion. The psychic meltdown of a frightened individuum is one of the themes that appear like a common thread in Ryu/Overdose Kunst’s release history and not accidentally was Ernst-Ludwig Kirchner’s “self portrait as soldier” from 1915 chosen as front cover for Ryu’s “the depressed” album.
Overdose Kunst - Apetite for Deconstruction back coverThe follow up track is a role model of a paradox in itself: The requia for ethnic cleansing with its almost folk song like laid back characteristics is the contrary of what could be expected from the title, runs entirely backwards and - even weirder - it seems to be right this way, like the face in the mirror being the original - and not the person standing in front of the latter. The origin of the final title von Bertalanfly seems to be rather sketchy: Is it referring to the astronout Bertalan Farkas, the first Hungarian in space who participated in the Soviet lntercosmos programme in 1980? This would support the almost post 1969 Pink Floyd like arrangement with an analogue synthesizer line that sees some filter tweaking, floating chorus guitar intermissions and echoes of bottleneck slides, suggesting some alien mothership taking off. But the mixture sticks with a lot of room for one’s imagination, finally leaving the previous state of psychotic delusions behind.
Over the years, Overdose Kunst have been delivering at times excentric but nonetheless impressive music with influences of or references to Japanese noise legend Merzbow (for example Ryu’s “neuromancer” looks like a pun on Merzbow’s album title “Aqua Necromancer”). Still Overdose Kunst manage to keep an identity of their own, and with each new release their music becomes more reflective and coherent (in a positive way). Confusing and dissonant elements are used in a controlled and very effective way as dramatic means and thoughtfully contrasted by almost folk music like passages. I really recommend this release for downloading to those who are not afraid of dark and confusing music - and be sure to explore their release history as well: you probably will not regret it ;-).