This debut work from Mohammed was first released in 2009. Roto Vildblomma is a powerful sound-mass of strings and electronics, merging impressively into a compelling harmonic whole. This reissue, courtesy of Antifrost, presents the album in brand new artwork, and is narrowly limited to just 111 copies.
7/10 Robin Staff review, 10 February 2016
Those familiar with Mohammad’s invented genre cello doom will know what to expect of ‘Roto Vildblomma’, their proto-drone debut. If you’re new, though, get all descriptions that go by the watchword “beautiful” out of your head: the music Mohammad make is as terse as dark ambient but as churning and uncomfortable as harsh noise. From ‘Som Sakrifis’ through to their psychogeographical album trilogy, their sound has remained steadfast and punishing, but ‘Roto Vildblomma’ shows their sound in process, rather than completion.
Opener “Vildblomma” is as you’d expect -- gnarled, slogging cello going back and forth by rote. It’s on “Skora” where the act become momentarily unrecognisable, opening with a foggier and calmer iteration of their sound; electronics fumble in the distance as a bloodlet bass drone slowly begins to rumble. “Lamane Kradoj” continues this flittering exchange of tone and gentle noise, bringing in what sounds like rhythmic field recordings before handing over to the suspiciously low key (but eventually power-noised) “Letzen Tranen”.
Listening to one of Mohammad’s records is very much like entering some grand hall moments before the doors lock; on this record, things feel more open-ended, as if Mohammad were sketching out ideas before a grand performance. These are still ominous and often scratchy drones, but you can hear slightly prettier versions of the band, ready for reduction (the actually quite gorgeous half-melodies of “Lumunis Vuori”, juxtaposed against heavy cello contact). A worthwhile listen for anyone who thought this band came from nothing.
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- Roto Vildblomma by Mohammad
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