Późna noc, lekki półmrok... Nie ma lepszej pory na to, by chłonąc nowe wersje utworów Andrew Diey'a. To płyta dla tych, którzy muzyczne horyzonty mają dość szerokie i są otwarci na ekperymenty muzyczne. Współczesna, raczej undergroundowa muzyka elektroniczna zebrana na jednym krążku. Prace nad tym materiałem trwały ponad rok. Słychać, że włożono w nią dużo serca. Wszystko jest przemyślane, tworzy spójną całość. Najbardziej przypadł mi do gustu utwór ósmy, w którym pełno drgań o niskiej częstotliwości podszytych mocnym, rytmicznym niemalże Warpowskim bitem. Ów klimat utrzymany zostaje także w następnym utworze. Dźwięki co prawda są już mniej świdrujące i przeszywające, dochodzi orientalny wokal oraz gitarowy sampel wyłaniający się co jakiś czas, przez co następuje lekkie zwolnienie tempa, by w kolejnym tracku zrobiło się mrocznie za sprawą deszczu asteroidów lub elektronicznych sprzężeń. I tak burza ustaje, znów nastaje spokój, rytmika i harmonia, która zostaje wsparta dziwnym, męskim głosem przypominającym modlitwę muzułmanina. Pora jednak znów otworzyć oczy, do czego namawia duet z południowego Londynu - Black Moses. Prócz typowo sztucznych, komputerowych dźwięków, które towarzyszyć będą nam na pewno przez cały XXI wiek, nie zapomniano tutaj nawet o odgłosach świerszcza, co przy dźwiękach lecącego odrzutowca daje niesamowity kontrast. Reasumując, płytka to rzeczywiście - tak jak określa ją niezależny wydawca - VIVO, doskonały przegląd współczesnej elektroniki, od undergroundowego techno i hip hopu, przez IDM, click&cuts, elektro-dub, trip, ambience, do preparu i field recordingu.
Do zdobycia:
Hubert Augustyniak LAJF/
The most fitting introduction to Black Faction's work is to snip a bit from Andrew Diey's bio. Diey, who records under the moniker of Black Faction, is a sound designer and composer living in Manchester, England, where, when he is not in the studio crafting experimental audio, he does work for a number of production companies. Recently he was commissioned by Granada Television to write three hours of original music for a series called Secrets of the Dark Ages (which ran in the UK on Channel 4 in May 2002). The match, as will become apparent once you've heard his work, was perfect.

Reworked, released on Polish label Vivo, is a re-examination of an earlier work, Internal Dissident Part I, a themed exploration of Dante's journey into Hell done through music. Reworked is a continuation of the exploration of Dante's Divine Comedy throug the filter of a number of luminaries of the experimental, electro-acoustic, and electronic genres. Originally intended as a smaller project -- a few remixes here and there -- exploded as email discussions about the work grew, and Diey stepped in at the end to add some additional sound design to a few of the track as well as synthesis the collection into a more organic construct. In essense, the "remix" has become "reworked," as the additional artists have pulled Diey's work in unusual directions while still working under the broader umbrella of his vision.

The combinations add to Diey's ghostly and Middle-Eastern influenced designs, fabricating spaces which are like the dark places in a foreign bazaar. You take a wrong turn and everything -- which is already strange and exotic -- becomes even more strange and alien. John Hudak, who focuses on the nearly imperceptable edge of natural sound, offers two brief tracks, "Grains" and "Älska Dig Min Kärlek," and each strips away so much of the sound that you become completely mesmerized by the slight whisper of sound which sneaks past you. Black Moses slides "Anti-Freeze" into the mix, a hip-hop cut-up track which would cause Timbaland to crank up his sampler. "Dissidents in Exile," a Foreign Terrain (Diey's other moniker) and Cclay collaboration, has a strong Muslimgauze flavor, a combination of Azzazzin era minimalism with Gun Aramaic-style loops and distant vocal lines.

Halfway through there is an interlude called "Dante is Afraid of Virgil's Vision" done by Diey himself under the Black Faction name. It falls between Valea Djinn's "Arlesian Girl Remix" of "Modanesa" and Nemezis' "Window Maker." Both of the enclosing tracks are beat-clipped constructions, supple movements of sound and structure. Black Faction's interlude, on the other hand, is a crackling moment of indecision, a shard filled hiss of caustic static like the magnified buzz of a thousand cicadas. Vanishing behind this cloud of sound is a man's voice, drifting aimlessly in the periphery of a series of location recordings. You feel caught on the cusp of something, the edge of change, and, as Nemezis' "Window Maker" bleeds through the mix, you realize how marvelous Diey's ability is. He can make you understand what Dante has written through his aural mixes and sound design. Excellent.
Mark Teppo /

Black Faction, "Reworked"
Vivo Records
Though technically a remix album of 2001's 'Internal Dissident Part 1', it's more practical to consider 'Reworked' a new entity. Mancunian Andrew Diey (aka Black Faction) has taken the input of about 10 other artists from around the world, often adding "additional sound design" to their reworkings, and spliced in more of his own for another 72 minutes of seamless segues. Whether it's Diey's or the others' doing, the sound never strays too far from Black Faction's (varied) aesthetics. Diey's own "Cartesian" sets the tone in typical Black Faction style: crisp and clean, cinematic electronica that's as melodic as it is moody. Universal Delux's "Kaftanistanabul 1" blends deep beats, tinted textures and Middle Eastern voices (the disc is dedicated to friend and influence Bryn Jones aka Muslimgauze). Rapoon's "Caligulan" is a seething dark ambient soup that pours neatly into the metallic tone collage of Keith Fullerton Whitman's "Sepia Indate." Then it's back to the rhythm, as Sutekh goes gritty techno with "Oakland Concréte" and Valea Djinn loops her own pretty vocal wail into the quirky mix of "Modenesa". Nemezis rechristen "Widowmaker" as "Windowmaker" and it's just as subtle and sublime as the original masterpiece. Black Moses drop the Hip Hop bomb, scattering cut-up MCing over the lilting string pads and minimal beat of "Anti-Freeze -Props Mix." The lengthy finales are "Dissidents in Exile" by Foreign Terrain (Diey's previous moniker) and CClay and "Mina Schoen Unreleased" by Black Arc (Seven Sages Version, another of Diey's projects). Both settle into mild mannered, repetitious rhythms allowing the feminine voices and miscellaneous sound effects to fill the foreground. Every facet of Black Faction's sound is expertly explored here making for an album that's as good if not better than 'Internal Dissident Part 1'. It's a fine companion to the 'New Cult of the Sun Moon' two disc collaboration between Robin Storey (Rapoon) and Diey, out now via Soleilmoon.
Mark Weddle

To the present reviewer, the name Andy Diey was entirely new when his 'Tales of the Black Magheddo' CD arrived as the first solo artist release on the French label HTZ a couple of years back. Performing under the monicker of The Seven Sages of Mesopotamia, Diey beguiled with an accomplished work of Mideastern inflected ambient dub soundscaping.

Since then, Andy Diey is becoming a household name around here, albeit always under different noms-de-musique. A recent double CD collaboration with his more well-known fellow traveller Rapoon under the name New Cult of the Sun Moon has been receiving regular rotation, as has an album of nominal remixes of music Diey has created as Black Faction.

I use the term "nominal" because although the original intent was to allow a handful of musicians to remix work from Black Faction's previous CD, 'Internal Dissent Part I', it seems that he could not resist the impulse to get very hands-on himself, and quite a lot of the music features new touches by Diey, even going so far as to add sounds or remix the remixes of the remixers.

Joining Diey (masquerading as Black Faction, Foreign Terrain, Seven Sages and maybe even "Unknown") is an all-star cast of outsider electronicians, including John Hudak, Rapoon, Keith Fullerton Whitman (aka Hrvatski), and Sutekh, plus a handful of exciting newcomers, including Nemezis from the label's home country. A purloined Muslimgauze beat also makes another guest appearnce, having already been used to fine effect by Diey on 'Tales...'. (It is said that Diey and Rapoon are at work on a tribute album to their late friend.) Dirty groove and dubby groove and ethereal drift complement one another throughout as one track blends seamlessly into the next.

'Reworked' is a multicoloured, multifaceted soundscape which nonetheless succeeds as a coherent narrative. Here we visit a darker world than on 'Tales...', but this is not typical English Industrial or dark ambient. It is almost sui generis, an uncategorizable collection of well-integrated but very different sounds and moods spread across a generous seventy-two minutes. Props to the Polish label Vivo for releasing this essential work for partisans of ambitious electronica.
Stephen Fruitman


Black Faction :: Reworked (Vivo, CD)
"...Reworked packs an impeccable mix of subterranean frequencies that could
be considered as minimal, if not listened through as a whole. But with this
assessment comes the contrasted downbeat experimentations leaving you to
piece through many musical formations and a full-length CD that you'll be
spinning at all times of the day..."

Having recorded for Soleilmoon, Plug Research, Dalriada, Imprint, and even
landing a spot on the highly elusive MASK series (Skam, UK), Andrew Diey is
a multi-talented musical sculptor and audio designer. With just a quick
glance at his discography, you can surely tell that Andrew has been very
busy over the past few years using his Black Faction and Foreign Terrain
alias' to display dark and emotive electronic formations.

With the release of Reworked, a compilation of remixes, the original
intention of this album was to feature a few remixes from the previous Black
Faction album, Iternal Dissident. With multiple email conversations taking
place amongst Black Faction and musician friends, the project developed into
this multi-genred full-length CD release on Poland based Vivo Records.

On Reworked, a culmination of minimal electronic oriented artists deliver an
expressive musical journal of downbeat experimental frequencies. You can't
really get any more diverse than some of the artists featured on this disc
including John Hudak, Universal Delux, Rapoon, Keith Fullerton Whitman,
Sutekh, Valea Djinn, Nemezis, Black Moses, Black Arc / Cclay, and Foreign
Terrain / Cclay. A brooding, almost sinister feeling evolves throughout
Reworked while a Delerium influenced soundscape manifests itself in certain
spots. There's a definite groove running throughout this remix project that
also sparks a consistent rhythmic pattern. One of the highlights is featured
on Black Faction's "Cartesian".. a saturated blend of classical production,
deep basslines and thoughtful melodies that are loosely tied to a swift
percussive beat. Old-school Meat Beat Manifesto styled beats are also
chemically nurtured on tracks like "Afghan Front Mix 3" also by Black
Faction. Rapoon produces spatial electronic ambience that casually sizzles
away into obscurity on tracks like "Odessian" and "Caligulan". Keith
Fullerton Whitman (aka Hrvatski/Reckankomplex) places his thick ambient
textures on a track entitled "Sepia Indate". Sutekh's "Oakland Concrete"
displays slippery electrical currents through his machines to create an
organically decayed minimal piece. Black Moses' hip-hop influenced
"Anti-Freeze-Props Mix" creates a sonic landscape of gritty vocal slabs and
Prefuse 73 styled rhythms. What a work-out on the ears!

Reworked packs an impeccable mix of subterranean frequencies that could be
considered as minimal, if not listened through as a whole. But with this
assessment comes the contrasted downbeat experimentations leaving you to
piece through many musical formations and a full-length CD that you'll be
spinning at all times of the day.
"Reworked" to absolutna ekstraklasa w dziedzinie elektronicznej, poszukującej muzyki. Artyści związni z tym nurtem, zmiksowali kompozycje Andy'ego Dieya, znanego twórcy muzyki elektronicznej z Manchesteru, działającego pod szyldem Black Faction, związanego także z Muslimgauze i Rapoon.

Na "Reworked" panuje mroczny, niepokojący klimat, potęgowany ambientowymi, industrialnymi i kosmicznymi "odjazdami". W kilku kompozycjach pojawiają się elementy muzyki 'trip-hop' i dub. Ciekawe, ale pomimo, że płyta ma formę składanki, wszystkie jej elementy pasują do siebie idealnie. Kompozycje płynnie się przenikają, nie ma utworów odstających poziomem od pozostałych. Warto podkreślić, że całkiem bardzo udanie zaprezentował się polski Nemezis, prezentując mroczną, trip hopowo-ambientową wersję "Window Maker".

"Reworked" to świetny materiał nie tylko dla miłośników muzycznych poszukiwań, ale także dla fanów brzmień gotyckich czy bywalców 'techno parties'.

Grzegorz Szklarek /
On s'en souvient, Black Faction est le champ d'action le plus orienté "breakbeats & bass-music" d'Andy Diey. Paru sur SoleilMoon, son album Internal Dissident avait rencontré un certain écho qui se prolonge aujourd'hui par ce recueil de remixes. L'atmosphere mid-tempo et cinématographique est particulierement bien conservée, en particulier parce qu'il y a beaucoup d'auto-remixes. Les plus significatifs étant ceux qu'il signe du nom de ses projets annexes, Foreign Terrain (une version "mystique" de "Dissidents in exile") et Seven Sages (une longue dérive groovy inédite de "Mina schoen"). Mais la richesse de ses compositions aux ambiances sombres est singulierement soulignée par John Hudak, Rapoon, Universal Delux et Sutehk qui apportent chacun une couleur, un style complémentaire aux originaux. LD
2002-11-21 - Album BLACK FACTION 'Reworked' (Vivo)
Black Faction is Andrew Diey, who has previously had one track out on Skam
under the moniker Foreign Terrain, and you can see from the pseudonyms
chosen there may be a theme to his work. This feeling is enhanced by the
track titles – 'Dissidents in Exile', 'Afghan Front Mix 3' and
'Kaftanistanabul' for example. The music certainly fits these words - darkly
gothic and intense electronica with found sounds and Eastern mystery
creating a rich whorl of background ambience. This is a collection of
remixes though from a carefully selected group of artists, although there
are a couple of autonomous tracks in there. Diey ultimately though has
ordered and touched them all up to form a fully stylised body of work. It is
an impressive result – the heavyweight remixers (Hrvatski, Sutekh and David
Storey of Zoviet France) all turn in great pieces, the Sutekh mix in
particular is grinding industrialism with chainsaw heavy rhythms. Some of
the lesser known artists also excel, Black Moses turn in a dirty, sci-fi
hip-hop beast with strafing vocal volleys and Nemezis turn 'Window Maker'
into a string laden beauty with slow springing drums tempered by ghostly
chants and a shadowy furtiveness. I still find it hard to get away from the
stranger in a strange land analogy though: hearing this transports you to a
Moroccan bazaar where strange faces are disappearing around every corner. It
is the techniques Diey uses from musique concrete that achieve that highly
organic feeling; this conveys a dark energy that many aspire to and few
obtain. Gritty and guttural electronics that come thoroughly recommended.
The artists who have joined Black Faction (a.k.a. Andrew Diey) in reworking
his darkly exotic sounds obviously share a kindred love of
music-meets-experimentation... Hear his "Internal Dissident" get variously
Reworked by like-minded pros. Cool stuff!

John Hudak's "Grains" provides a sizzly 46-second lead-in to Black Faction's
bass-led musical outing,"Cartesian"; its dominant thrumgroove and and
whispering cymbals are surrounded by ghostly musicality... so nice! Diey's
"Afghan Front Mix 3" (0:38) is a drummy, too-short piece which intros the
smoky dub styles of Universal Delux's "Kaftanistanabul".
Tantalizing instrumental wisps loop all-too-briefly through Rapoon's first
offering "Odessian, then slip and blur into longer "Caligulan", where vaguer
puffs of sound billow and throb in dark (intriguingly so) mystery. From the
similarly swirling murk of Keith Fullerton Whitman's "Sepia Indate", faint
cymbal glints break free of the heavy gravity of his droneworld.
With a ratio of 80% ephemera/20% groove, Valéa Djinn's beguiling "Artestian
Girl remix", "Modanesa", weaves her faraway feminine crooning into its
lightly rhythmic cloudstreams. Gently pattering ethnobeats top the rolling
bass contours of Black Arc's "Mina Schoen Unreleased" (13:21), closing the
disc on a lengthier immersion into sensual trance-inducement.
Other remixers of these 17 tracks (72:43) include , Sutekh, Nemezis, Black
Moses, Cclay and Foreign Terrain (another moniker of Diey).
Displaying a deep admiration of his departed friend (Bryn
Jones/Muslimgauze), Black Faction's creations combine Eastern-ish themes
with tasty rhythms and wild-yet-controlled experimentronics, even when they
get Reworked by others. A
Something nice from Poland's vivo records.
Desde Polonia, la atmósfera penetrante de Black Faction.
Black Faction, "Reworked", Vivo Records, 2002
Desde Polonia nos llega este excelente disco de remezclas del "Internal Dissident Part1" de Black Faction. Nos sorprendió el disco original con su extrana mezcla de sonidos grabados en países de Oriente Medio y rítmicas aplicadas según las convenciones musicales de estas culturas. Esas influencias que nos llevan a acercarnos a la música de Muslimgauze por ejemplo. No me gusta comparar así, dejando atrás esta pista, decir que lo expuesto en este reworked es sin duda música de calidad y especial interés para los amantes de la oscuridad y las atmósferas cargadas. Entre los nombres conocidos Rapoon, fundador de Zoviet France, Sutekh, Hrvatski y otros no conocidos pero si realmente intrigantes. Tras Black Faction se esconde Andrew Diey, nacido en Manchester. Un artista que navega en zonas tenebrosas y que para este reworked ha autorizado revisar su material por otras autoridades que dan un paso adelante en este complejo entramado de sonidos industriales. Música casi gótica, fantasmal e imprescindible.
Texto Alejandro Vidal
"Reworked" to przede wszystkim dowód, że nawet gdzieś na peryferiach krajowego undergroundu może powstać światowa produkcja, na światowym poziomie. Oto z inicjatywy niezależnej wytwórni Vivo podjęto próbę opracowania na nowo niektórych wątków twórczości manchesterskiego artysty Andy'ego Dieya, znanego przede wszystkim z dark ambientowego Black Faction, ale również ze współpracy z Muslimgauze i Rapoon. Do deformacji oryginalnej materii, oprócz samego Dieya występującego tu w różnych wcieleniach, dali się namówić wykonawcy tego formatu jak: Rapoon, John Hudak czy choćby Sutekh, by pozostać tylko przy najbardziej znanych. Efekt jaki osiągnęli pomysłodawcy, jest pod każdym względem znakomity. Mimo, że każdy z występujących tu artystów zachował w jakimś stopniu najbardziej charakterystyczne cechy własnego stylu, cały materiał rozlewa się bardzo spójnym i jednorodnym klimatem, istotnie nawiązującym do mrocznej i niepokojącej aury oryginałów. Dopiero wnikając w głąb tej delikatnej i chirurgicznie precyzyjnej elektroniki ocieramy się o całą panoramę stylów i trendów: rytualny industrial, kliki, pulsację dubu, klasyczny ambient... słowem pełne abstrakcyjnej wyobraźni elektroniczne wizjonerstwo. Ciekawe, że dość daleko od stylistyki oryginału odchodzi sam Diey. Prawdę mówiąc najlepszy to przykład, jak rożnymi środkami można osiągnąć ten sam cel. Bo jakby nie opisywać i nie wdawać się w detale tej siedemdziesięciominutowej konstrukcji, "Reworked" pozostaje płytą zawierającą przede wszystkim mroczne, ambientowe przestrzenie. Tyle, że przy okazji dająca doskonały przegląd współczesnej, poszukującej elektronki.
Black Faction are a breed apart from the average electronica outfit. Their dark, expansive soundscapes have an edge and drive that puts them firmly in the kind of lineage that stretches from the 'industrial' experiments of Zoviet France to the brutal electrofunk of Cabaret Voltaire through to the ethnodub of Muslimgauze.

Despite the music's digital origins, Black Faction's Andrew Diey infuses his material with the organic qualities of tape composition (he studied musique concrete technique) and approaches his material with a surgeon's deliberation.

Last years Internal Dissident (released on the highly individual Soleilmoon imprint) showcased Diey's skill as an engineer of atmospheres. Based loosely on Dante's Divine Comedy, much of the album's hallucinatory power derived from Diey's use of speech and 'natural' ambience (his day job is as a sound designer for radio and TV); the phrase 'invisible soundtrack' has become a bit of a cliche these days, but at its best and most abstract, Dissident was a strikingly visual, stygian work, best listened to with lights off.

Remix projects are two a penny these days. Often the remix bears little or no relationship to the original (Richard D James is rumoured to have duped curators of such projects by simply giving them some of his unused material and passing it off as a remix) and the results are patchy and incoherent. Diey has chosen his remixers for Reworked with care, adding sound design touches to many of the mixes, and has sequenced the results with his trademark narrative approach.

The outcome is an album that feels like an album rather than a compilation. The remixes (including Diey's own) reign in the occasional excesses of the originals. Universal Delux offers superbly beefy Laswellian dubhop without the flab; Rapoon (Zoviet France's Robin Storey) and Keith Fullerton Whitman (aka Hrvatski) slowburn their raw material into threatening sulphurous heat haze; Sutekh's "Oakland Concrete" is scratchy basstronics, full of earcatching abstractions. John Hudek's short granular reworks eddy the originals into beautiful powdery swirls; throughout Diey's atmospherics add rich, deep space backgrounds.

Polish duo Nemezis warp "Window Maker" into deeply opiate ambient dub, with halfspeed drums chugging under distant strings, hovering chords and keening voice samples. The Black Faction remixes add more grit and texture, with "Cartesian" particularly effective in its combination of portentous atmospherics and minimal techno matrix (imagine if Dead can Dance signed to Mille Plateaux).

If shivers down your spine are what you're after, this is prog gothic ethnoforgery electronica at its finest. Recommended.
Peter Marsh / BBC


To płyta dająca znakomity przegląd kierunków w jakich zmierza lub zmierzała
nowoczesna, poszukująca elektronika. Punktem wyjścia całego materiału są
utwory Andy'ego Dieya, manchesterskiego ekperymentatora, twórcy Black
Faction i The Seven Sages Of Mesopotamia, a także współpracownika Muslimgauze i Rapoon, opracowane na nowo przez takich tuzów elektoroniki jak Sutekh, Rapoon, czy John Hudak. Imponujące wrażenie robi jak zwykle Sutekh klikający i tnący z chirurgiczną niemal dbałością o detale, a także szlachetnie oszczędba Valea Djinn, nieco rozmiękcza atmosferę albumu. Co warto odnotować, zadziwiająco dobrze miesci się w tym zestawie warszawski duet Nemezis, który nawet w otoczeniu tak silnych osobowości potrafił zaznaczyć swoją, nieco ambientową, a nieco jeszcze industrialną odrębność.
Rzecz zdecydowanie godna uwagi.
Wojtek Wysocki / FLUID 09/02

To ciekawy pomysł. Świetnie, że w prestiżowej, międzynarodowej obsadzie zrealizowała go polska wytwórnia niezależna. Kiedyś Gusstaff wydał składankę rarytasów berlińskiego Tarwater, w oparciu o muzykę z całego świata starannie buduje swój katalog łódzki Ignis. Teraz dołącza Vivo z "Reworked". To undergroundowe wytwórnie, które nie potrzebują globalizacji by działać globalnie. Równocześnie ich działanie wprowadza w ów szerszy obieg polskich artystów.
"Reworked" przynosi rekonstrukcje muzyki Black Fraction zrealizowane przez różnorodnych artystów. Są wśród nich - legenda plemiennego postindustrialu, Rapoon; ceniony kompozytor elektroakustyczny John Hudak, dwie ważne postacie z amerykańskiej sceny laptop elektroniki, Hrvatsky i Sutekh. Są też polscy ambientowcy - Nemezis. Niestety, ich nagranie - jako żywo kojarzące się z Loop Guru - choć efektowne, jest dla mnie jednym ze słabszych punktów. Należy do tych nagrań, które wyznaczają romantyczno-etniczny biegun płyty, ciekawiej tymczasem dzieje się na biegunie abstrakcyjnym ulokowanym przemyślnie pośrodku po dubowo-beatowych smaczkach.
"Reworked" przynosi muzykę bez porównania lepszą niż oryginalny album Black Faction dla Soleilmoon. Black Faction wyrośli z kręgu dark ambientu - gatunku, który wiele zdziałał, lecz dziś wypada nazbyt oldskulowo. Na "Reworked" przeglądu owej estetyki dokonują artyści z bardzo różnych zakątków muzyki mechanicznej. Ów dialog jest kreatywny i to on sprawia, iż choć wiele takiej muzyki dookoła, na tej płycie coś iskrzy. Efekty tego słychać też w nowej, obecnej tu muzyce Black Faction. Można po prostu przyjąć ów album na zasadzie mrocznej ambientalnej elektroniki. Brzmiącej wytrawnie i frapująco, bo wyrastającej z dobrej starej szkoły muzyki elektroakustycznej i śmiało wchodzącej w dialog z epoką techno. Pewne klimatyczne aspekty dark etno ambient mogą z powodzeniem wzbudzić nawet zainteresowanie fanów gotyku. Oby tak było, bo ta płyta - w swej abstrakcyjnej części - może okazać się zaproszeniem do głębszej podróży w muzykę.
Rafał Księżyk / ANTENA KRZYKU

there's something about the works of black faction, we can't quite put our finger on it. the last album to be reviewed here, 'internal dissident pt.1' left us speechless and this, for want of a better phrase, is a remix album. the artists that have been given permission to re-interpret his work are an interesting bunch to say the least; zoviet*france founder rapoon, hrvatski and sutekh are the more recognisable names. but we are intrigued as to the identity of the unknown remixer on track thirteen....

his fusion of found eastern sounds; field recordings of his travels to middle eastern countries programmed with dense complex beat-driven pieces, occupies the same sonic spaces as artists like muslimgauze and the black dog. where the influence of melody and time signatures that come from traditional eastern musics are applied with modern technology. the process in itself is fascinating, the results are startling.

black faction's own take on 'cartesian' illustrates this process perfectly, beautifully echoed melodies are lost in a sea of clipped percussion. a brief snatch of hip-hop appears during 'afghan front mix 3' before the superb downtempo jam of 'kaftanistanabul 1' by universal delux makes its mark. we look forward to hearing to some original material from this artist. the "star" remixers; hrvatski and sutekh, both turn in impressive workouts. the former erring towards the more electro-accoustic end of the scale with an epic take. sutekh preferring to explore the micro-spaces in between the beats.

of the two rapoon pieces on offer, it's the 'caligulan' offering that stands out. a thick stew of ambience and filmic motifs smothers sub-bass tomfoolery. another effortlessly brilliant release, we await the next chapter in the black faction story with keen interest.


Jest to mój pierwszy kontakt z ukrywającym się pod nazwą BLACK FACTION
Andrew Diey'em  i chociaż "Reworked" - jak sama nazwa wskazuje, zbiór
remiksów - nie jest może zbyt typowym wprowadzeniem do czyjekolwiek
twórczości, wszystko wskazuje na to, że nie ostatnim. Również dlatego, że
wśród osób zaproszonych przez Anglika do współpracy są znani i lubiani przez
mnie RAPOON, John Hudak czy Hrvatski, a to już o czymś świadczy oraz cały
szereg mnie znanych artystów i dźwiękowców. Tak czy inaczej, na brak
urozmaicenia w tym siedemdziesięciotrzyminutowym materiale nie można
narzekać. Nawet trzy autorskie utwory Dieya to jakby kompozycje przynajmniej dwu różnych osób - "Cartesian" napędzany jest lekko junglowym beatem podczas gdy dwa pozostałe to bardziej abstrakcyjne, "inżynierskie" konstrukcje.
Generalnie jednak "Reworked" to przede wszystkim ambientalne (w szerokim
tego słowa znaczeniu, bo "delfinków" i odgłosów wody tu nie uświadczymy),
chociaż momentami nieco powichrowane pejzaże i tekstury, które momentami
przypominają bardziej dźwiękowe projekty do obrazów niż utwory rozumiane
jako wiodące w jakimś kierunku piosenki. Owszem, od czasu do czasu pojawia
się tu beat, raz dubowy, kiedy indziej etniczny, ale gros czasu zajmują
wspomniane eksploracje nie stroniące również od użycia sampli. O ile jednak
te ostatnie potrafią być na dłuższą metę nieco męczące, "Reworked"
charakteryzuje się niesamowitą nie-inwazyjnością. Pomimo maratonowego czasu i nierzadko nie najłatwiejszej konwencji cały materiał jakby sam wślizguje się w uszy - prawdziwy ambient.
| Pawel Frelik -Thrash'em All|

: Andy Diey jest kompozytorem i producentem mieszkającym w Manchesterze. Na co dzień tworzy muzykę do gier komputerowych, a w wolnych chwilach zajmuje się produkcją bardziej skomplikowanych struktur muzycznych, mieszczących się na przecięciu ambientu, world music i industrialu. Jego krążki zrealizowane pod takimi pseudonimami, jak Black Faction, Foreign Terrain i Black Arc, opublikowały tak renomowane wytwórnie, jak Soleilmoon czy Plug Research.Wydawcą jego najnowszego albumu - "Reworked" - jest polska  firma Vivo. Płyta zawiera kolekcję nagrań będących efektem współpracy Dieya z kilkoma artystami, reprezentującymi różne trendy współczesnej elektroniki.
Poszczególni produceni zdekonstruowali autorskie kompozycje Brytyjczyka i
złożyli je na nowo - każdy na własną modłę. Dzięki temu powstał dźwiękowy
kolaż stylów i gatunków, zachowujący jednak muzyczną spójność. W efekcie
na albumie można usłyszeć zdubowane techno (Sutekh), elektroakustyczny prepar (Hrvatski), etniczny ambient (Rapoon), zindustrializowany trip hop
(Universal Deluxe i Valea Djinn), a nawet wyciszone downtempo (Nemezis).
Najciekawiej wypadają jednak kompozycje autorskie Dieya - te sygnowane
nazwami Black Faction (intelligent techno) i Black Moses (podziemny hip
"Reworked" to nie kolejna składanka - wszystkie utwory są ze sobą
zmiksowane i tworzą jednorodną całość. Przesłuchanie płyty daje syntetyczną wiedzę o tym, czym jest współczesna elektronika i jakie są kierunki jej rozwoju.
(paweł gzyl  DZIENNIK POLSKI 8/10
I have to admit that it feels a little strange reviewing a retool disk when
I am equally as unfamilliar with most of the participants as the original
artist themselves. Black Faction is not a name I really know much about and
except for the generally intriguing Rapoon, it's likewise for the rest of
the participants on this VIVO release. Not knowing what to expect can be an
added bonus though since it is a simple matter to exceed expectations when
you have none to start with.
The results of this collective faction sound to my ears like an ambient
heavy analog of the "experimental" hip hop series "Electric Ladyland" except
with Alec Empire and Biochip C slid out of frame and Muslimgauze and Ambre
snapped in their place. Neither of these latter acts make an appearance here
of course but the material is nicely slotted in between their stylistic
arenas none the less. You get the minimalist, almost perfunctary techno and
electronica of the former drenched to the bones with the heat stealing
vapour of C-Drik, damp with condensation, almost crystalline at times. The
focus is pulled in tightest on the beatless elements but the continuity is
such that there are few if any rough spots to worry away at.

There are 17 tracks total on the disc, the clock cutting out at the 72
minute mark. The work project initiates with a short sound byte from John
Hudak that is subdued and short enough to just breeze by without being
bringing any attention to itself (the name of the track has more consonants
on than the 45 second peice itself). From there it is straight into two
tracks from Black Faction, the initial a tabla and piano heavy bit of
Coors-lite soundtrack electronica which fits well within the soft moodiness
of the entire disc. This is followed by another short grindcore emulation, a
tiny burst of ambience with just a title and 40 seconds to show for its
efforts. The fourth track "Afghan Front Mix 3" hauls in some meat and
suggests Universal Delux were dreaming about what God would sound like if
Broadrick was in a car accident and so couldn't interrupt the recording
session with any monotonous bellowing. Rapoon pipe up next with an ambient
take on material shared by the first few tracks, beats yielding for a rush
of classical orchestration and night shadows. Keith Fullerton Whitman
anodizes the previous reverb chamber and sets upon it with tiny little
chisels, distant scrapes echoing around the metallized halls like the clicks
of an altered reverb diffusion parameter. There is a melodic component, the
shimmer of which is rather pleasing, soothing even like floating upon water
with your eyes closed and arms splayed out. The 8th track from Sutekh points
to a calculus text and then suddenly starts dancing all over the place like
the academics were too much for them. Next we have some more soundscape
material, initially very Chaos As Shelter due to the religious overtones but
then getting melted together in a pimp's cauldron with some digitized funk
that magically avoids awkward seemingly unavoidable disaster. Black Faction
pipe up again with a shortish bit of Japanese sounding encryption, delicate
yet unyeilding noise shaping that tries hard to avoid releasing its secrets
into the open. This is seamlessly mixed into the following Nemezis track,
born-again yodelling cavorting over the lush greenery of analog pads and
juicy fretless bass loops, a poignant frolic as rodiculous as that sounds.
The molars get a workout on John Hudak's second contribution (and the
following "unknown" offering), a distant voice chewed up and spit out while
the troubled musician plays a triangle to bring some attention to what's
going down. A mischevious orchestral rise kicks in the hip hop of Black
Moses, the overt urban nature of the track accenting the previous submerged
funk quite nicely (and somewhat suprisingly I must note). Black Arc and
Cclay conspire on some deathly pallour, frosted lips and blue skin encircled
by a shrinking sphere of darkness. The disc closes with two examples
Muslimgauze worship, the first like Black Lung momentarily resting in the
holy land and the final a private conversation with veiled lover.

The fact that I rather like this collection really catches me off balance as
the electronica elements are quite overt (which normally I hate) and the
timbre is almost uplifting at times, not transgressing so far as to be
burdened with the "new age" moniker but still pleasant enough to not offend
the average office co-worker. I see "Reworked" as an appetizing plate of
comfort foods, light enough not to keep you up at night but flavourful to
bring out your grin lines. It's an album suitable for reclining back with
your feet dangling in the warm waters of a private pool, a view of city
lights twinkling through tinted glass and scented smoke

Moron /