Visionist — A Call To Arms


For the first time ever, Visionist released his album on Mute Records, a label that can always surprise you with its exploration of industrial. The new album of the British musician also contains a rough, tense, industrial shell while, at the same time, unexpectedly having an ambient drone filling.

One can only perceive A Call To Arms in fragments. This music has many parts that come into play at the most sudden moment.

The piece Allowed To Dream was written in collaboration with KK Null, a master of noise, so it will come as no surprise at all to many of us that the sound of the album contains a rather significant amount of noise-like elements. I think that working with a master of KK Null's caliber is eye-opening for an artist in terms of perceiving sound in general.

The track Nearly God could easily become an anthem for an illegal party at an abandoned factory. It is menacingly dangerous, yet very much dance-inspiring. An important fact for us as an audience is that the artist used live vocals this time around instead of using samples like he had done before, which contributes to this release feeling rather vivid.

The choir parts of A Born New are in a way a reference to reincarnation and realizing the darkness of existence, while simultenously becoming one with the vocal cuts of the musician. The pinnacle of the album is an incredibly touching composition The Fold where the industrial shell of the album falls and the album gains a rather tender and romantic tint. The composition conveys a certain feeling of saying goodbye, detachment, being lost.

A Call to Arms is some kind of a mechanical butterfly that has a live heart. The album is a shining example of a successful sound experiment in the field of combining the uncombinable.