DEAD FACTORY po dłuższej przerwie wydawniczej powraca z nowym albumem, po raz pierwszy wydanym na srebrnym krążku. „Nachtmusik” dostępny jest w dwóch wersjach: podstawowej – w kopercie, dołączonej do szóstego numeru HARD ART oraz limitowanej do 200 szt. ręcznie numerowanych kopii – w specjalnym opakowaniu z dodatkami.
Jest to pierwsze wspólne wydawnictwo Beast of Prey oraz Zoharum.
Album CD wyprzedany.
1. Oddech Przemysłu
3. W pyle i smogu
Maciek Mutwil has had a presence into the industrial music field since 2003, when he released NowherE. This time, the digital-based label Zoharum and the anti-digital orientated label Beast Of Prey are jointly releasing the first real Dead Factory record.
The polish composer can easily be regarded as an authentic industrial artist that has worked towards the development of a distinguishable style of music. Ethical and philosophical background is a relevant aspect of an artist’s craft, along with personal beliefs and his vision upon the world and society. Here, Dead Factory constructed his musical ethos upon a devastating visual impact produced by the transformation men have imposed on nature. The first track, “Oddech Przemysłu”, comes as a solemn and critical depiction of artificial surroundings that tend to obliterate natural living. The musical stratagem starts with coalescent percussions that fade away under a grey, plague-delivering ambiance. You are forced into realizing your role as a victim of a colorless society, whose intention has nothing in common with the human natural state.
“Entropia”, the second track, is subjected to an intriguing style of composition that opposes the world he rejects with its own weapons. He uses man-made materials to illustrate by a demanding concrete ambient a sense of soulless anticipation of human transformation into what the enthronement offers: a factory-made man.
The third track maintains the same atmosphere: that of a Dead Factory where human life is absent. Man has entered a sort of soulless symbiosis with a production process that he participates in, and from which he generates his dull existence. Musically, this dark-industrial sledged ambient almost falls into the same sense of dereliction one experiences when becoming a part of such a style of (un)living. Melody is absent and finds its substitute in machinery noises pervaded by a sound corollary to confusion or absent-minded monotony. Without realizing it this ambience is molding spirit and corporeality alike into a metalo-morphosis surrounded by a smog nimbus. Is this the savior we have been waiting for?