Das italienische Urashima-Label bringt dieser Tage ein auf fünf 7-Inches verteiltes neues Album vom seit drei Jahren existierenden Masonna-Ableger Controlled Death heraus. Das Projekt verkörpert so etwas wie die düstere Kehrseite der kathartisch-aggressiven Musik Masonnas. “Requiem For The Boundless Flesh”, das laut Label vom frühen Industrial und von den Wiener Aktionisten (und v.a. Hermann Nitsch) inspiriert wurde, folgt dem Lo-Fi-Ansatz des Debüts “Symphony For The Black Murder” und basiert primär auf dem Einsatz verschiedener Synthesizer, ebenfalls zu hören sind Piano, E-Gitarre, Vocals, Tapes und diverse Effekte. Die Singles erscheinen in einer auf 300 Exemplare limitierten Holzbox mit Lasergravur und im Download.

“Like a cosmic journey, without a precise destination, we enter a new evolution of Controlled Death’s work. The sound is darker, the darkness envelops you with its ancestral echoes, the use of synths is accompanied by inhuman screams, sounds on the edge of psychosis are lost in the infinite expanse of the gorges ”at the mountains of madness”. A sound tunnel is created that leads to the depths of the earth. The myth of Cthulhu mingles with the mangled flesh of human beings. The legend moves towards the harsh reality. Rotten, worm-eaten flesh lies beneath thousands of tombstones: boundless masses of flesh! The rumble of the synths becomes thunderous. The use of the guitar and the grand piano are thus distorted, slowed down and overwhelmed once again by the slanted and dilated screams and the intertwining of the pedal’s effects. The tape editing work is wonderful, with a mastery of machines that can be compared to the German cosmic duo Moebius & Roedelius. But the result is not as sugary as Cluster or Harmonia tunes. Honey has become blood and flesh in Maso’s hands and harmony gives way to obscure and desolate side. But if it had been recorded in West Berlin during 1970, Rolf-Ulrich Kaiser would have certainly wanted it for his Ohr label!” (Urashima)