Now this lost gem is finally given its first official release, finding a home on Erik Skodvin's entirely appropriate Miasmah imprint. Juv create a stunning sound of desolation - not so much melancholy, but more a sinister, oppressive undertone. It seems to communicate some form of approaching menace, via transmissions (or warning signals perhaps), from another bleak dimension. A combination of instruments were used, treated and mutated from their former recognizable sounds, added to which were excerpts from hours of field recordings made throughout Europe, completing the body of the work. The pieces were recorded with a multi tracker and sampler, mixed down straight to tape, with little in the way of additional finessing.
Sombre tones flow like lifeblood through Juv's work; underlying squeals of pain, abrasive bursts of metallic guitar drones, atonal lo-fi meanderings, the occasional cosmic-chant, all blurred by a rumbling dirge of noise. The coldness of the recordings do indeed recall the approaches of Norway's most controversial musical export, black metal. Other reference points brought to mind (which Juv's work either predates, ignores, or at least without acknowledgement, runs in parallel with), might be the New York no wave noise of Carlos Giffoni's solo outbursts, the guitar mangling of GOWN (Sunburned / Bark Haze), the experimentation of Sunn O))), and as always, the suitably understated musical narrative, which flows throughout the Miasmah releases to date. The stark front cover image of a mountain on the Lofoten islands in the far north of Norway, in the process of being eclipsed by another mountain, conveys the weight and perhaps the intent of Juv in creating these tracks.
Given part of the album was recorded on location here, the music certainly seems reflective of this environment - monolithic and enshrouded in black. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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