From the corrupt and deranged minds of Lord Thyle and Professor Death comes MEMORIOQUIA’S debut album AURADEUTUNG.
Formed as a side-project by the founding members of the Australian metal band Memoria, MEMORIOQUIA is an experiment in horrific sound design, industrial noise and ambient music.
Auradeutung was written as a soundtrack to a photography exhibition by Australian photographer S.J. Ward. First displayed in 2007 at a gallery owned by sound artist Alan Lamb, the Auradeutung recordings exists in a style more akin to film composition. With each sound piece designed for individual photos, “Auradeutung” explores the noise and music potential of images and aims to bring each photo to life.
All sounds on ‘Auradeutung” were recorded in the field or studio by Memorioquia. Locations of the recordings include the Fremantle Port; mining railways; metal processing factories; and inner-city elevators. More complex sound pieces were acted out by Lord Thyle and Professor Death in a home foley studio.
The CD comes with a booklet of all the photos as they appeared in the original 2007 exhibit.
REVIEW - LIVE 4 METAL -
By Luke Goaman-Dodson
The debut album for this Australian dark ambient outfit, Auradeutung, was written for a joint audio-visual exhibition with photographer Sarah Ward, whose pieces form the album art to this release. Neither the art nor the music are nearly as horrific or demented as the promotional material makes out, mostly capturing moods of understated menace and gloomy melancholy, with the occasional violent power electronics intrusion. Each track is an accompaniment to one of the photographs, the sonic backdrop often directly reflecting the physical elements that make up the artworks – for instance, 'The Light' is a very nice piece taken from inside a train tunnel, and appropriately the companion track begins with
field recordings of trains going past; 'Last Stop', based around a night-time scene showing a car parked outside a crumbling house, opens with the muffled sounds of a frenzied old man shouting and banging on a door, before shifting gears into a relatively accessible moody acoustic segment. This variety and narrative sensibility immediately sets this apart from other works in this genre, and it's something I would rather like to see done more often. This isn't metal by any stretch of the imagination, but open-minded readers with a taste for the outer reaches of ambient and industrial music should find much to like in this release. Highly recommended