Internal Fusion

Internal Fusion
Internal Fusion should need no introduction. he’s been active for more than 15 years now, releasing only a very small input of solo works : two tapes (on Désaccord Majeur label) ten years ago, one cd in 1996and a 3’’cd-r two years ago on our own taâlem label, NedenBahe (see here). these tracks are part of a cd that should have been released years ago but for various reasons, this couldn’t happen. two tracks of this "lost" cd have appeared on the 3", the remaining ones are here,together with three other tracks recorded at the same time. so what we said about NedenBahe is still valid for Atona Ton Tona : Internal Fusion’s music has been once described as "the french response to Rapoon and Muslimgauze" ; add a good Lustmord proportion (one of the absolute references of Internal Fusion) and you will have agood idea of its music : dark ambiences rhythmed by numerous ritual sounds (bells, ethnic percussions, flutes, foreign languages...).
Kokeshidisk - April 2005
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INTERNAL FUSION atona ton tona
... avant toute chose, qu’il soit entendu qu’à l’instar de Noït, Internal Fusion représente à mes pots à miel le cinquième diesel des artistes français estampillables ’ambiant’ ... n’attendez donc nihilobjectivité de ma tarte ... dès les premières notes le vieil homme de la montagne sourit, voyant ses dévots céder au pouvoir hypnotique d’une joie enténébrée que martèlent les machines et incantent lesrelicats d’humanité ... tradition et électronique réconciliés, avec autant de brio que Von Magnet marie canicule et blizzard ... à la manière des mantras krishnesques, les morceaux misent sur le transporttemporel, en une fixation de mouvements rotatifs, captivants ... rythmiques crépusculaires et humides, tambours étouffés, effluves de parfums orientaux, écho lointain de rites ancestraux pratiqués sous leregard bienveillant de la lune : tout concourt à instaurer un climat de sacralité ancestrale et primitive ... couleur Nigredo ... même les brèves incursions groovy du côté de Mère Destruction arriveraient àm’arracher des holas d’admiration ("NoPatNomen") ... voilà donc un disque parfait en certaines circonstances (pas toutes, faut pas exagérer) ... un must, vraiment ...
amadeo (In_tensioN) - Avril 2007
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Internal Fusion "NedenBahe"
NedenBahe is a 2 track 3"CD-R by Internal Fusion on the Taalem label - the third in a series, designed to be low cost and to remain in print. The two tracks here are both long pieces, about 10 minutes each.Starting with the title track, NedenBahe, we build towards vibrant layers. Starting with a repeated vocal sample, a voice saying "dum dedum...", with bass waves building up behind that along with warmvibrating lines. After sometime the vocal section is replaced with a tribal rhythm, working on two levels, the focused beat drive on one level and an echoed, almost stripped to click rhythm behind that. thefeel of the track behind that remains behind that, if anything more reverberant as it fleshes out the deep feelings. This section established we have the return of vocal elements, this time a singing/wailingform of words - richly textured atmosphere with a definite exotic appeal. The second piece, EnheGuenHan starts with low waves of reedy wind instrument, warm and wavering in drone inference, with a certaintextural layering. Deep bass stroke plays, a triggered string struck and reverberating, backed by tiny glacial chimes. Hot and cold combining in motions that play across the initial levels. Pinging hand heldcymbals play a chiming rhythm with a new found drone, rising to a peak and fading off for a bit. This helps to flesh the sound out, adding more of the richness which was present in the last piece. Low vocalgroans play in the background, giving ground to a more sighing form, mixing with the other details as is right.
re:mote induction - May 2002
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M U S I Q U E K O R R E K T N E W S L E T T E R A U G U S T - 1 9 9 9
This new name is the surprising collaboration between two great French bands: Internal Fusion and Désaccord Majeur. Both of these bands exist since many years and have produced their sound works on their ownlabels, in various forms (although mainly cassettes and CD’s) and they both had their release on Staalplaat. The close relation between the two is clearly shown in their music: both bands use an array ofdigitalia (synthesizers, samplers, midi et al) to create an atmosphere that is everything but digital. There are clear inspirations from ethno music, ambient and maybe even dashes of dark (in order to avoidthe terms dark wave or gothic) industrial music. Their collaboration shows how these skills perfectely match and work out in five hypnotising pieces of music. The perfect cross-over between Rapoon andMuslimgauze on one side and some of the colder Swedish bands on the other.
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It has been a while since I read Jorge Luis Borges. How time flies! It must be ten years now since I read "Labyrinth." I mention this because "Tlön" and "Uqbar" are, as I recall, fictional places in hiswritings.If I am wrong, please forgive me. It’s 2:21am, and my Borges books are in a storage bunker miles from here. I would go get them and check, but Christ, I’m a bit weary, okay? If you have never read Borges,read Borges. I can’t even describe to you the effect of his writing upon the brain. However, this music is actually a very good interpretation of the feeling. I remember the twists and the knots of logic andsemantics as they unravelled in my poor head. I remember staring out over Puget Sound, and cursing the fellow who gave the book to me. I had a headache, and I was thinking much, much too hard, and lord, thatold Seattle caffeine was pumping Borges through my brains at a frightening speed.At any rate, this CD would be highly enjoyable, even without any knowledge of Borges, and becomes exquisite with it. Exquisite because, like his writing, the music does eat its own tail, and spin round andround again, sifting through layers of trance-like Middle Eastern sound, which is then riddled with more disturbing and unsettling metallic noise. It is reminiscent in some aspects, of Muslimgauze, and yet,is both more tribal and more industrially dense than most of Bryn Jones’ work.That the music itself is founded upon fictional realms which call into question some of the basic premises we tend to take for granted, is telling; Borges would have us explore the notion of sound asreality; would have us delve into the prospects of reality as sound. Unlike any other art, sound actually moves our bodies, can destroy, and can heal.Yes, sure, the rods and cones of vision are excited by colour, but the process is nothing quite so gripping as the experience of sound. Even those who cannot "hear" can most certainly feel sound. It’s notjust about ears. It’s about cells. It’s about our perceptions and our pasts, and everything that we bring with us to any given sound experience. Why do we hate an album one time, and adore it five yearslater? Why do we find some music unbearable that was once cherished? What would the world be, without sound, without any sounds whatsoever?These recordings are exceptionally beautiful, and very inspiring. They are not soothing- they are not ambient. They are fully, blatantly interactive. They seem to instigate activity in the brain, andencourage a heightened perception of ones environs, both externally and internally. I would imagine that experienced psychonauts would consider this album a treasure. Not that I erm, encourage the use ofmind altering substances, but, hrm, well, actually, yes, I guess I do. Not to the point of ridiculousness, mind you, but I would guess that certain types of sage, and other wondrous plants, would make theexperience of this music downright religious.Tlön Uqbar are: The collective members of two French bands Internal Fusion and Désaccord Majeur
reviewed by Kirin
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The writings of Jorge Luis Borges seem to have totally inspired the mysterious and enigmatic compositions by Tlön Uqbar (apparently comprised of French entities known as Désaccord Majeur and InternalFusion). La Bola Perdida strides boldly into fantastically murky electroacoustic soundscapes which are often decorated with tribalistic rhythms.Sonorous drones and foreign-speaking radio voices open Yemishe; these elements carry on, to be joined by ethnic rhythms, electrical textures and other interestingly arranged found sounds. Backed by groupchants and an unidentifiable clunky/watery sound, the world of Succurath expands to include brassy swells, incomprehensible spoken words and sparse percussive clatter. A dense, sweltering dronecloud leadstoward Yaquaru (10:00) where a throbbing pulse (or a pulsing throb) sets the predominant rhythm and is adorned with various snippets of vocal mutters and insectoid noise. Echoey ripples of a faintly musicalpattern resonate from deep within Elengassen; odd whirrs, faint textural ambiance, flute loops and deep electronic groans and glitches are stirred into this hypnotic mix, which grows thicker and louder as itdevelops. Atonal bells ring, echo and slur through the opening of Mylodon (12:39). A pulsating (perhaps grating) shimmer eventually dominates the proceedings, threaded with occasional didge-like growls,making for a moodily edgy listen, until the piece fades to silence.The liner notes (and my own web research) reveal little about the people responsible for TlÅ¡n Uqbar, but frankly that only adds to the enchanting strangeness of La Bola Perdida. Definitely recommened tothose sonic travelers seeking to get away from the ordinary and into an eclectic, occasionally semi-tribal otherworld. Visit the Staalplaat or Soleilmoon websites to arrange your own trip. An appreciative8.5. (My interest in reading Borges’ work is also piqued now...)
This review posted December 28, 1999 AmbiEntrance © 1999-97 by David J Opdyke
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The Dutch label Staalplaat probably release some of the most obscure music in Europe. With some exceptions, like the electronic drone rock of Tin Foil Star and Piano Magic’s swings between beautifulharmonies and uneasy low frequency noise, they stand for extremely hard listening, or "irritainment" as they sometimes call it themselves. Tlön Uqbar end up somewhere between the, relatively, easilydigestible and the more disturbing sides of Staalplaat. It’s actually a collaboration between the French bands Internal Fusion and Désaccord Majeur, who have both released records on the label in the past.Their new album, "La Bola Perdida", often has a dark industrial feel towards it - deep bass drones meet distant, looped voice samples and create a dense, uncomfortable atmosphere. But unlike many other bandsin that area, most notably those on the Swedish Cold Meat Industry label, Tlön Uqbar don’t fail to vary themselves. Intricate rhythms, soft melodies and song structures that are constantly evolving, a bit inthe Autechre manner, lighten up the mood and make for fascinating listening.
AUGUST 27, 1999 - KRISTOFFER NOHEDEN
Biographie
Evènements, Traverses, Contrariétés - K7 - Désaccord Majeur - 1991
Et la nuit éclaira la nuit - K7 - Désaccord Majeur - 1993
Om Vajra Sadva Hum - CD - Staalplaat - 1996
La Bola Perdida ~ Tlön Uqbar - CD - Staalplaat - 1999
Nedenbahe - mCDR - Taâlem - 2002
Atona Ton Tona - CDR - Kokeshidisk - 2005
Interaktion - Nuit et brouillard - 1991 - K7 Compil
Opus 1 - Les Nouvelles Propagandes - 1992 - K7 Compil
Ophir - Désaccord Majeur - 1994 - CD Compil
Le Cénacle - Harmonie - 1995 - K7 Compil
Ahimsa - Harmonie - 1996 - CD Compil