TRANSMISIA

FRIGID PROSE

  1/  Hybrid                                     (Transmisia)                  3.56
        30 seconds of...mix
  2/  Flame Projector                            (Transmisia)                  6.27
        Upcoming Meeting Mix
  3/  Flame Job                                  (Transmisia)                  6.33
        Final Meeting Mix
  4/  Virus                                      (Transmisia)                  6.06
        Ted Bundy Mix
  5/  Dumbshow                                   (Transmisia)                  7.22
        Orwell Mix
  6/  Madre                                      (Transmisia)                  4.05
        Scorny Mix
  7/  General Death                              (Transmisia)                  4.30
        Dumb Mix
  8/  Ali Khan Paschia Sulejy Man's Pray         (Transmisia)                  11.31
        Muezzia Mix
  9/  Hail                                       (Transmisia)                  3.08
        Show Mix

          Original tracks recorded at Alchemia, Croatia by Predrag Trpkov 1993
          Additional recording, mixing and mastering at Verba Corrige Prod. Studio,
            Italy 1996, by Mick Harris and Eraldo Bernocchi

Sinisia Simper: vocals, bass, fx; Robert Paus: guitars; Robert Meznaric: drums, machines; Gabriele Bramante: engine.

          1997 - Wide Records (Italy), WD 024 (CD)
          1997 - Invisible (USA), INV078 (CD)

Note: Although Invisible credits them for remixing every track, Mick and Eraldo both say the did only 6 or 7 remixes (two together, four or five by Eraldo alone).

REVIEWS :

This 'new' Transmisia album is actually not new, but instead a collection of remixed, rearranged, and reworked Transmisia tracks. The masterminds behind this collection of reinterpretations are none of other than Mick Harris and Eraldo Benocchi. You might recognize Mick from variety of projects which include and are not limited to Napalm Death, Scorn, & Lull. Having not actually heard any of the original version of these tracks, I really cannot compare the final outcomes of the remixes. However, the general mood throughout most of the material is one of constant change and shifting beats. Many of the tracks are heavily laden with bass and the usual Mick Harris ambient dub stylings. If you are not a fan of disorganized electronic chaos then this is not an album for you. Yet, if you really enjoy loosely beat structures and varying array of upbeat and downbeat material alongside each other, then this album might be something that interests you.

Jester (courtesy of the Sonic Boom website)

..................................................

Here's a CD with a strange genesis and no mistake. Transmisia are a Croatian post-industrial who have, to date, released two albums which have, naturally enough, only been picked up abroad by the very keenest industrial culture junkies - which alas doesn't include this scribe. Two such followers, did, however, include Mick Harris and Eraldo Bernocchi. Harris, of course, is accorded almost legendary status in underground rock circles; his maelstrom drumming has graced bludgeoning rock bands as diverse as Napalm Death and Pain Killer, while his skills as a programmer and producer have been behind such ambient and dub projects as Scorn and Lull and have brought him into the orbit the likes of Bill Laswell. The Italian composer Bernocchi is rather less well known, but is a very significant figure nonetheless. The last two or three years have seen him drawn into an ever-widening international circle of post-industrial, post-ambient musicians and composers that has Laswell and Harris, among others, at its core. How either Bernocchi or Harris came across Transmisia I haven't a clue, but they were plainly impressed enough to offer to use the group's music as the basis for a series of remixes. Not knowing the original material, I couldn't comment on how these remixes reflect the origins, but as music in itself, well... there's some fine stuff in here: big, driving loops of metal-riffing guitars, hanging, edgy atmospheres, dubbed-out rhythms. It's a territory both these musicians have mapped out well before, but their experience pays dividends, if only in that it allows them some room to experiment. The results while intensely malevolent at times, are very impressive.

Stephen Fruitman