This “Collusion” of Hati and Z’ev contains minimal percussive elements, utilizing symbols and an attempt at esoteric symbols. Hati are a supposedly a well-known percussionist duo, and Z’ev is an experimental percussionist. Lacking the spirit which constitutes the subtleties that discern music and musick ™, it barely functions as an ideal backdrop to ones studies or ceremonies, as it remains in the remnants of Malkuth as opposed to the diligence of other acts such as Desiderii Marginis , or the modern exuberance of ceremonial performance such as Halo Manash. The work within is decent enough and hardly contrived, it simply lacks the magical formula which leads the descent into the abyss, and in R.d. Laingian fashion towards a transcendent bliss. Transcendence is so passé at this point anyway, so moving on.
The odd intro with some folks talking does the complete opposite of creating an austere experience from the onset. Perhaps this is a Fools Journey, beginning with such a nonsensical thing to evade the pretentiousness that tends to creep into the Occult world. Shamanistic rattles and shakes alongside cymbals and gongs creates the atmosphere. Albums like this rely on repetition, the trance like experience that is seen in Mantras, Galdr, or any other form of ritual that requires the patience of focusing on the cycles of breath and the seasons.
Track II continues this lineage, with a gentle rumble of drums and various scraping sounds. Some strange horn is blown, and the rattles and chains create images of some primitive dance . The clicking that comes out of nowhere is quite annoying and does not even sound like it holds a rhythm. An aspect of this sounds like my step-children and me trying to make music together. This of course, is more a criticism of my musical abilities than the children’s or this musical experiment. It just sounds so rushed, the only psychopathology perhaps being ADD.
To go on is a bit tiresome, none of the following tracks are drastically different. Works such as this benefit from the live experience, to witness what makes this a complex experiment. This does not have the hypnotic qualities which create a somatic listening experience, which as of late is all the rage. Overall, it is fairly predictable, and lacks any comparative song writing techniques. I can imagine such a creation would be enjoyable in the act, yet the listening process requires the patience to imagine what makes this interesting, as opposed to an experiential endeavors which make other similar music so enjoyable and powerful. Albums such as this are much more background noise than a frontal lobe massage.
While the use of such primitive percussive elements is certainly interesting, this does not constitute a worthwhile listen. The methods used within certainly draw in ones curiosity, yet music like this can not stand on its own simply via musical ability. I honestly find the work of Tatsuya Nakatani to be much more interesting, or the madness of Hiroko Komiya. Perhaps a bit of temperance is in order, as things are often quite ecstatic with neither build up nor moments of silence to reflect on. Collusion is a work for those interested in how percussion and drums can be used to create music without strings, keys, vocals, and the minimal use of any other such instrumentation. It will lose the attention of those who are looking for a ceremonial album to put on or any kind of music which inspires the senses.