As fans of à;Grumh… (a band we interviewed one year ago), we are always interested in everything related to those EBM/industrial pioneers and, as you probably know, in Hà;PEOPLE.3.55, we can find two members of the Belgian band. J∆3 SEUQCAJ and J∆55 EKOJ, helped on stage by J △ 57 nEAJ and C △ 56 sIRC are the “Hà, People”. Last year, I bought One Bear, Two Bicycles And One Xylophone, first album of the band, a masterpiece in oppressive music, with strong influences from doom metal, and also, two years ago, we reviewed the first Día de la Bestia. Now, with a bit of a delay, I would like to review this second part and at the same time tell you that they have already recorded a new single with three remixes of the track “Control”.
The title really fits the album as one can easily imagine that it has been created in the deepest circle of hell, with some demons as technicians. The first track, called “War”, opens fire with some martial rhythms, bells, interrupted samples of voices, industrial sounds and the unmistakable voice singing about dead bodies, victory and defeat. In “The Crow and The forest”, the synths become prominent in a track with a fast pace that still keeps the heaviness. It could be synthwave if the noise did not prevail over melody and because synthwave is too fashionable to have lyrics in Latin. Compared with the previous album, the doom influences have changed to a less heavy synth sound. With “Rage,” we almost feel like dancing in a track where the electronic part ready stands out, while “The Lost Room” sounds like a black mass, and that’s what probably is. The beginning of “Prophecy” reminds me of Throbbing Gristle, as it’s a powerful industrial song.
“The curse of the Stone” has a very interesting production, following the industrial vibe of the previous track. Instead in “Santa Muerte”, we get the impression that “Blue Monday” is going to commence, but soon, the voice of J∆3 SEUQCAJ, singing in Spanish and English makes us realize that it’s not going to happen. “The Pagan Fire” is really claustrophobic but also danceable. The album continues with “Petrofied”, again with a danceable rhythm, joined by some ominous chorus and industrial sounds. Instead of voices, in “Zombie Tales”, we have some growls played along some insistent drums and some bells that seem to advise us that the hour in which beats go hunting has arrived.
Being the album more electronic than metal, make me think that the strange path of Hà;PEOPLE.3.55 is becoming closer to mine, and hopefully to our reader’s too.
