Resistance brings together two power electronics artists for an album full of tension, the give-and-take of repeating rhythms with the oscillations of particularly chaotic sounds. Resistance – in its political and theoretical sense – is an apt theme for this approach to noise, because there’s always that method within the genre as well as the small stylistic breaks from the norm.
Body Cargo begins the split with some laid-back PE; these tracks generally aren’t as raucous as Pogrom’s, and they tend to drone instead of terrorize with their ideas. Opener “Birth of Iron God” and the next track, “Black Smoke Obelisks”, emphasize the calamity of bass-driven electronics and the ability for dense but not necessarily harsh tracks to have an effect on the listener. They even use vocal samples mixed in low instead of the shrieks common to the form. “Gutpath” offers oscillating sounds to add more intensity; the allure of the lo-fi but atmospheric sounds is here.
It seems both appear on each other’s tracks during the midsection of this release; vocals from both appear on the respective “Resistance” tracks, and it’s interesting to see the direction the two go, within the same genre but miles apart. Body Cargo places them underneath swarms of feedback and drones, while Pogrom keeps them above the mix.
And Pogrom’s side is much different, and a little bit more cut-and-dry PE. The thick and crusty screams are present, as well as the repetitive use of heavy bass and warped electronics. “Pradeginta Unifornia” focuses on harsh feedback blasts, while “Toks melsvas vakaras…” features abrasive shock waves of tight static. These are good tracks with an intensity that makes up for Body Cargo’s more melodic side.
Resistance shows both sides of the power electronics spectrum. Body Cargo and Pogrom deliver their own brands, and while neither are superior to the other, they do showcase two different sides to the genre.