AMBASSADOR21 vs. FRAGMENT KING "GOOD MORNING W." (INV036)

ORKUS MAGAZINE (9/10)

DE: Die dreigeteilte "Schlacht der Titanen" lasst aufgrund der hochqualitativen Vergangenheitsreleases sowohl von Ambassador 21 als auch Fragment King auf Revolutionares hoffen. Ebensolches darf man zwar nicht erwarten; eine einzigartige Kollaboration, die einer monstrosen Ohrenmassage gleicht, hingegen schon, bedenkt man, dass ein wutendes Aggro-Breakcore-Inferno auf ein Drone Electro-Gleichnis trifft und beide miteinander zu einem Ganzen verschmelzen. Der "Afternoon" gibt sich drei Mal noch etwas schlafrig, doch das Brodeln der Macht, welche da gerade erwacht, ist schon deutlich spurbar. Auf Good Morning W. ist ein ultravenoses Spektakel mit donnernden Tiefen und treibenden Breakbeats entfacht, das in "Midnight" dreizeitiges Schlagmassaker und industrielle Gerauschentsorgungen respektive psychedelisch verarbeitete Gegenwartsaufnahmen von sich gibt – trocken, blutig und steinhart. Am Ende steht "Morning" – die finalen drei Kapitel halten derbe Splatter-Szenen parat, ein komplettes Noise-Theater, chaotisch, neurotisch und im totalen Larm versunken, bis hin zur "Erlosung", dem uber 16-minutigen Hypno-Albtraum und dank der enorm dominanten bis aggressiven Vocals verstorenden Titelstuck am Schluss dieses schonungslosen Krachtragers, der jedoch – im Gegensatz zu einigen anderen Lauttonkunstlern – nie die Kontrolle uber sich selbst verliert.


EN: The three-part "Battle of the Titans" makes you hope for something revolutionary, especially because of the high quality of the previous releases of both Ambassador 21 and Fragment King. That is something you can't expect. A unique collaboration, similar to a monstrous ear massage, is something however you can expect, considering that an angry Aggro-Breakcore-Inferno meets a Drone-Electro-Equation, both merging into a singular whole. The "Afternoon" is still sleepy, but the ripples of power which is in the process of awakening can doubtlessly be felt. On "Good Morning W", an ultravenous spectacle with thunderous depth and pushing breakbeats is unleashed, which spawns forth tri-fold beat massacre and industrial noise recycling in "Midnight", including psychedelic treated snapshots of the present - dry, bloody, and hard as granite. In the end there is "Morning" - the final three chapters include gross splatter scenes, a complete noise theater, chaotic, neurotic and descending into total noise, up to the "Salvation", the 16-minute-hypno-nightmare and, thanks to the enormously dominant and aggressive vocals, disturbing title piece at the end of this relentless noise carriers, which - in contrast to some other noise sound artists - never loses control over itself.

by Thomas Sonder for Orkus

CHAIN DLK (4/5)

Divided into three parts “Midnight”, “Afternoon” and “Morning”, GOOD MORNING W. is an Ambassador 21 / Fragment King collaboration. The album is the proud son of its parents, because it gathers the musical styles of the two bands: the industrial raging guitars of Fragment King and the anarchic industrial break core of Ambassador 21. Recorded during an improvised session, GOOD MORNING W. is an album that sounds thick, if you know what I mean: tense, distorted and experimental. The perfect example is the final 16 minutes track which gives the title to the album is a sort of bomb that is about to explode. On this one Natasha free all her rage crying her lungs out while on the background the tension builds a wall of noise that seems to fall down on the last minute where only a feedback lasts. Intense…

by Maurizio Pustianaz for Chain DLK

AD NOISEAM

Surprising semi-improvised collaboration between two very different act. On my left, the Ambassador21 duo, usually more active with guitars and shouted vocals. On my right, Fragment King, who is more often pigeonholed as a maker of dark, noisy ambient. The encounter of both is however a heavy, suffocating, at times percussive and resolutely dark (almost) instrumental album, more taylored for home listening than for the club, and reminding slightly of Converter. Surprisingly deep, scraping and intense.

by Nicolas Chevreux for Ad Noiseam