Following relatively quickly on the heels of 2017’s debut tape, sole project member Kim Vann has returned with his debut vinyl release. To make reference back to my review of the debut tape I noted that: ‘Detrimental Effect is project to keep an eye on’, which is proven absolutely correct with the release of Be My Enemy. This new album has also been issued with the following ideological statement, which frames its thematic focus and intent: ‘A perplexed continent adrift with ever more fractions while claiming to have the solution for the crisis at hand. Indifference or resignation is no longer an option and confrontation is called for’.

In noting that the debut tape showcased a modern take on the traditional German power/heavy electronics/industrial blended sound, pleasingly everything on Be My Enemy has been refined and stepped up a notch. Essentially this is demonstrated with devastating impact on the opening track Relentless, based on jittery and tensile fractured loops, prior to a vocal barrage blasting into frame. And to speak of the vocals, these have become a standout element of Be My Enemy where everything from their delivery to sonic treatment is perfectly executed. Although the saturation with delay/pitch/phaser treatment effectively renders the vocals another sonic element in the mix, yet the aggression and force of their delivery is still palpable in their blood boiling intensity. An array of samples are scattered throughout the eight tracks, where some take key focus, and at other times they function as track intros/outros. One such example is on Grinding You Down, where the minimalist atonal throb and sustained wavering noise backs a lengthy movie dialogue sample, prior to the standout vocals appearing front and centre late in the track. The pairing of tracks No Borders, No Nations and Victim Morality as the second half of Side A uses simplicity in the best way possible, with variations on the use of cyclic throbbing loops, fluttering noise, bulldozing static and the standout vocal attack. Side B maintains the momentum of the first, where Herded Into Submission features slight sonic variation with a mid toned, fast paced modulated throb, sporadic panning distortion blasts. In then pulling back on overt aggression Gods & Guns evokes controlled queasy atmosphere with its central swaying loop. The final of the eight tracks The Burden of Symbols also functions to widen out the project’s sound palate by showcasing a slightly mellower and melodic drone approach, which is a partial reprieve following the sonic barrage which precedes it.

In many ways the sound and approach of Detrimental Effect on this album could be deemed to be an updated, modern and slightly more direct and attacking version of Operation Cleansweep’s heavy electronics approach, where I apply such a comparison with absolute high praise and respect. Yet, a limited pressing of 100 copies seems too few for an album of this quality but is partly explained but the current emerging status of the project. But don’t let either this limitation or current obscurity of Detrimental Effect turn your away, as surely this will be sought after album in years to come. In a word – recommended. © noise receptor