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Konstruktivists - Konstruktive Kontinuum

Konstruktive Kontinuum completes the trilogy of albums, which began with Anarchic Aracadia in 2015 and was followed quickly by the release of Destiny Drive later that year. Konstruktivists always veered to the electronic end of the industrial spectrum, and with Mark Rumbae (Codex Empire, mitra mitra, Oppenheimer MKII) accompanying Glen Wallis, this current formation continues to provide a more contemporary sound that sits alongside klassiks like A Dissembly and Psykho Genetika. In the interim since their last release Dark Entries have dipped into the Konstruktivists archive with reissues of A Dissembly (2016) and Glennascaul (2019) but Konstruktive Kontinuum offers a slice of their current sound which continues with dark electronics, abstract rhythms and Glen Wallis' surrealist lyrics.

The chiming, bleepy electronics of 'Sin and Sinners' is riddled and shot through with noise bursts. Glen Wallis's delivery veers between dark, sinister utterings and impassioned proclamations. I love the way the lyrics incorporate the titles of the previous albums in the trilogy whilst referencing Dark Union, another project of Glen Wallis Lyrically it sounds assembled in parts from a manifesto citing Soviet surrealists, Perestroika, cure for Kapitalism, Digital death alongside quips dripping with sexual innuendos such as the voice to make you moist, something for the weekend. Wallis certainly gets heated up in this 9 minute plus piece which increases in pace with a cinematic intensity.

'Revolving Revolver', meanwhile, evolves from a series of airy drones and clicked, ping-pong rhythms, soon throbbing and beating time, as if attuned to a 70's glam rock number, rendered in electronics. "Shoot to kill" Wallis intones over the buoyant throbbing beats before it all dissipates into drones. The first half of 'The Vanguard of Total Obscurity' revels in flickering German electronics as Glen Wallis imparts what sounds like a manifesto. His voice cold and stern. Wavering synths enters as the sporadic pounds become more incessant and domineering as Wallis becomes more impassioned as things become denser. It changes shape once again, transforming Wallis' voice into something robotic, sounding almost like a Dalek. From man to machine in the course of one track.

Flip it over and we're in the realm of klassik old skool industrial given a techno overhaul on 'Torture in Black', where an interplay of rolling, rickety rhythms is cast against feedback splurges and screeches, intermittent sound crashes, droning electronics. Electronic rhythmic disarray surrounds Wallis' treated hollers of the repeated "tortured in mass, tortured in black" as he expands on the lyrics amidst layers of rhythm 'n' noise. The rhythms here are complex and techno influenced but the frequencies, sirens are definitely of the old skool industrial variety. While 'Torture in Black' offers a good combination of the old and the new merging rhythms with more abrasive elements. 'Love Light Eyes' offers a much cleaner sound. Setting off to precise analogue sequences, with Glen's voice emotionless and given a robotic edge; there's a distinct Kraftwerk feel to this one as it unfurls with the addition of gentle synth tones. The sterility of Wallis' delivery contrasts with the layers of synth work which quicken and form a chiming abstract melody.

Konstruktive Kontinuum ends on 'Pain and Torment' eschewing sequences for a starker sound. Opening to a clink and clank over subdued atmospheric synth work, Wallis' voice is distant and spoken, amidst a melange of clipped rhythm, sonic ripples and melodic chime, as he ruminates on the pain and torment of love almost paraphrasing the title of Joy Division's best known track in the lyrics of its final minutes.

Musically, Konstruktive Kontinuum is diverse and varied dipping into a variety of styles associated with Konstruktivists but maybe it's the vocals and persona of Glen Wallis, a one time associate of Throbbing Gristle, Whitehouse and Chris and Cosey, which now proves to be the most challenging aspect of the group. Dark Entries have dipped into their back catalogue reissuing eighties work such as A Dissembly and Glennascaul, as well as some early recordings Glen Wallis made with Robert Rental. In a year which saw the return of Cabaret Voltaire, they are a group who are certainly far more deserving of being more than just a mere footnote in industrial music. This incarnation of Konstruktivists really should be better known and you can find out why on any of these albums in this trilogy, completed by Konstruktive Kontinuum. Konstruktive Kontinuum is released as a strictly limited edition of 100 vinyl copies in a hand printed Linocut Kraft cardboard sleeve, sealed with ribbon and a wax seal, and digitally for those that miss out. The vinyl edition is available from Schalko and digitally from bandcamp