Regler                                                             regel #8 (Metal)

Immediately before the start of the concert ask members of the
audience to play their favourite tracks of different genres of metal
(Heavy Metal, Thrash Metal and Black Metal)
from their mobiles and MP3 players.
Connect them to the mixer.
Ask somebody to mix them live while you
play your interpretation of these musical genres.

Metal Tour:

Heavy Metal
live mix by Andy Bolus
Recorded 10 December 2015,
Sonic Protest, Instant Chavirés, Paris

Thrash Metal
live mix by Arnaud Rivière
Recorded 11 December 2015,
Forma Festival, L’étincelle, Angers

Black Metal
live mix by Ivan Kocev
Recorded 12 December 2015
MKC, Skopje

At War With False Noise

A new record by Anders Bryngelsson and Mattin's exploratory project Regler, and where else could they release "Metal" but through At War?! Regler is all about musical reductionism: taking the bare elements of what constitutes a genre and decompartmentalising in what initially seems to be a pretty esoteric whole.

This chapter sees the guys taking on metal. I remember reading an interview with Masami Akita where he said he loved rock music but his favourite bit was at the end of performances where there was loads of feedback and noise and stuff getting wrecked, and that's what drove him to make "noise". This is a kinda vague variation on that.

"Heavy Metal" starts off with thundering drums that could be the intro to any stadium metal tune, but they keep going. And going. Over this is a wail of feedback and grandiose riffing, total heavy metal thunder. It changes pace, starts to chug along. It's heavy metal, but not as we know it.

"Thrash Metal" is an altogether more abstract affair, but the snippets we hear probably bear more resemblance to the genre than the previous tune. It sounds like a thrash band are powering away in a sound-proof rehearsal space and somebody's standing at the door, opening it for a couple of seconds at a time to record whatever madness is going on inside. For a form of music that's characterised by jagged, sharp guitar work, this succeeds in at least the respect that the short, sharp blasts of noise could cut glass. Things soon get going and the affair becomes an avant free-for-all, percussion being abused and Flying V strings being torn asunder. Top notch.

The band's take on "Black Metal" is a bizarre one (course it is), sounding a bit like Marduk playing while faling down a flight of incredibly high stairs. It bears little resemblance to the genre, though the drums are fast with plenty of hi-hat. There might be vocals in there, but I think they're from a black metal recording being mixed in with the psychedelic free-form aural battery being created by the duo. It's got quite an industrial sound, with the drums absolutely unrelenting and metallic clanging, scraping and a hazy fog of dissonant horrible noise pervading every moment of its 30 minute plus run time. It's far from easy listening, but then black metal seldom is.

Radio plays:

WFMU Medium Airplay September 2016

HAROLD BUDD - Perhaps (Root Strata)
SPRAY PAINT - Feel the Clamps (Goner)
DURAND JONES & THE INDICATIONS - Durand Jones & The Indications (Colemine)
DEERHOOF - The Magic (Polyvinyl)
THE REPLACEMENTS - The Early Mats (Dogbreath)
PSYCHIC ILLS - Inner Journey Out (Sacred Bones)
CRAP DETECTORS - Media the Victim (Brain Transplant)
ANDREW TUTTLE - Fantasy League (Self Released)
MUSHROOM - Psychedelic Soul on Wax (Little Mafia)
ALICJA-POP - Rats (Certified PR)
VARIOUS - Mainstream Modern Soul 1969-1976 (Kent Soul)
VARIOUS - Vanity Case Reality Tunnel Volume Three (Vanity Case)
MOURN - Ha, Ha, He. (Captured Tracks)
ERIOKA CON ANIMAC PLANETICO - Hi-Speed (Creativeman Disc)
THE GOTOBEDS - Blood // Sugar // Secs // Traffic (Sub Pop)
TASHI DORJI - VDSQ Solo Acoustic Vol. 13 (VDSQ)
EFFETTO JOULE - Mechanic Soldier (Medical )
FRANCOIS HARDY - L' Amite (Future Days / Light in the Attic)
MICHAEL CHAPMAN - VDSQ Solo Acoustic Vol. 11: Homages (VDSQ)
LIZZY MERCIER DESCLOUX - Zulu Rock (Light In the Attic )
SEVERED HEADS - Stretcher (Medical)
PAT TODD & THE RANKOUTSIDERS - Blood & Treasure (Hound Gawd)
SPECTRUM - Live Chronicles Volume 1 (Space Age Recordings)
VARIOUS - Greg Belson's Divine Disco: American Gospel Disco 1974-1984 (Cultures of Soul)
MOGWAI - Soundtrack: Atomic (Temporary Residence Ltd.)
THE RAMONES - Judy Is A Punk (1975 Demo) (Norton)
RAZZ - No Time (Warm Wet)
GONZO - Dies Irae (Discrepant)
TESTPATTERN - Apres-Midi (Yen)
THE MAD - Mask / Eyeball / Devil (Brain Transplant)
HEAVY TIMES - Dancer (Randy)
MORRICONE YOUTH - The Adventures of Prince Achmed (Country Club)
ZACH COOPER - The Sentence (U.S. Recs)
BRITTA PHILLIPS - Luck or Magic (Double Feature)
RUSALNAIA - Rusalnaia (Feeding Tube)
VARIOUS - Bluesin' by the Bayou (Ace)
XENO & OAKLANDER - Topiary (Ghostly International)
GLENN BRANCA - Symphony No. 13: Hallucination City for 100 Guitars (Atavistic)
GUIDED BY VOICES - Please Be Honest (Guided By Voices Inc.)
NITE JEWEL - Liquid Cool (Gloriette)
HASHISH - A Product of Hashish (Subliminal Sounds)
ERIK FRIEDLANDER - Rings (Skipstone)
WOODS / ULTIMATE PAINTING - Split 7 (Trouble In Mind)
TACKLE - Benzedrine (Another Dark Age)
THE COURETTES - Boom! Dynamite (Bachelor )
VARIOUS - Twisted Tales From the Vinyl Wasteland Vol. 1 (Trailer Park)
THE HIGH CURBS - Marcelo Cleveland (Sick)
FUJIYA & MIYAGI - Fujiya & Miyagi (Impossible Objects of Desire)
KONSTRUKTIVISTS - A Dissembly (Dark Entries)
ROBERT WOOD AND WOODLANDS - Live at Lons le Saulnier, 1974 (Monster Melodies)
BLOOD STEREO / HAIR & TREASURE - Split LP (Discrepant)
THE MONKEES - Good Times (Rhino)
LEVITATION ROOM - Ethos (Burger)
SAVAK - Best of Luck In Future Endeavors (Comedy Minus One)
SHREDDED NERVE - In the Shadow of What Never Was (Chrondritic Sound)
HONEY RADAR - Ignore The Bells (Chunklet Industries)
SUICIDE - Dream Baby Dream (Superior Viaduct)
MESSAGES - Mirage (Root Strata)
VARIOUS - Modernism (Kent / Ace)
VARIOUS - Heavy Psych Sounds (Heavy Psych Sounds)
KONDI BAND - Belle Wahallah (Strut)
TYLL - Sexphonie (Mental Experience)
MALE GAZE - King Leer (Castle Face)
HOWARD WERTH - Obsolete (Munster / Dangerhouse)
GIORGIO MURDERER - Holographic Vietnam War (Pelican Pow Wow)
FRANCISCO LOPEZ - Untitled #300 (Taiga)
TIGUE - Peaks (New Amsterdam)
DERIVATIVES - Forwards, Futures, and Options (Medical Records)
BUN E. CARLOS - Greetings from Bunezuela! (E One)
BOB DYLAN - Fallen Angels (Columbia)
RHYS CHATHAM - Pythagorean Dream (FOOM)
PALE COCOON - 青空の実験室 / Secret Sounds (Pafe)
ROUGH KIDS - Rough Kids (Sorry State)
CONNIE ACHER - For Giving (Golden Lab)
ULAAN PASSERINE - Light In Dust (Worstward)
CURRENT 93 - Swastikas for Noddy (The Spheres)
ALMENDRA - Singles + Album (Being Weird Isn't Enough)
CONNECTIONS - Midnight Run (Anyway)
URBAN SAX - Urban Sax 1 (Wah Wah)
BATTLE TRANCE - Blade of Love (New Amsterdam)
VARIOUS - The Ruptured Sessions, Vol. 4 (Ruptured)
CELLULAR CHAOS - Diamond Teeth Clenched (Skin Graft)
CHROME REVERSE - You Say You Love Me (Bachelor )
MARCOS BALTER / GREG SAUNIER - Dal Niente / Deerhoof (New Amsterdam)
RITUAL HUMOR - In the Forests of the Night (No Label)
KILLING JOKE - Pylon (Spinefarm)
MATT 'MV' VALENTINE - Blazing Grace (Time-Lag)
B-BALL JOINTS - Untitled (Dog In The Night)
BKGD AUDIO - Round One (BKGD Audio)
PELUQUERíA CANINA - Jovenes Promesas (Going Underground)
VARIOUS - Iron Fists Chronicles: Episode 1 Deep Soul (Universal/Stax)
REGLER - Regel #8 (Metal) (At War With False Noise)
SISSY SPACEK - First Four (Helicopter)
KING GOBLIN - Cryptozoology (Bonten)
BLACKHOUSE - Ignite Blackhouse Youth (No Emb Blanc)
TRACY BRYANT - Subterranean (Burger)
THE EVERYMEN - These Mad Dogs Need Heroes (Self Released)
DEATH FACTORY - Noctural Dimension (Prison Tatt)
EMPTY AIRSPACE - Tomorrow Already Forgotten (RBM)
DOCTOR NOD - Doctor Nod (Clean Nice Quiet)
BACHIKABURI - Bachikaburi (Nagomu)
TROLLER - Graphic (Crucial Blast)
THE BIBS - From the Fish Houses (Soft Abuse)
THE GEROGERIGEGEGE - Moenai Hai (Eskimo)
TENNISCOATS - Tokinouta (テニスコーツ* ‎– ときのうた) (Majikick)
MACHO MAN RANDY SAVAGE - Macho Madness: Savage on the Stick (Loki)
TWIN PEAKS - Down in Heaven (Grand Jury)


Vital Weekly
number 1034
week 22

The conceptual masterminds of Regler return, this time with their opus numero eight, discussing 'metal'
music this time. Anders Bryngelsson on drums and Mattin on guitar did a tour this time, of three concerts,
in Paris, Angers and Skopje. The instruction reads as follows: "immediately before the start of the concert
ask members of the audience to play their favourite of different genres of metal (heavy metal, trash metal
and black metal) from their mobiles and mp3 players. Connect them to the mixer. Ask somebody to mix
them live while you play your interpretation of these musical genres". That is concept art at work, but I
must say it also works quite well when you listen to the results. If there is any 'real' metal mixed in here,
than I surely wouldn't have recognized it. There are recordings from all three nights, with the one from
Paris ('heavy metal') working as a solid block of metal music, erecting a fine wall of sound, while the
next night in Angers they worked on the notion of 'trash metal', which is all about starts and stops
apparently and has in its twenty-five minutes quite a tormented sound; it is not an easy to digest piece
of music, but one got to love the consistency with which all of this performed, ending a great furious
coda. 'Black Metal' from Skopje, actually the night after Angers, is another wall of sound approach and
one that also works quite well. It seems less solid than 'Heavy Metal', but it is meaner and dirtier than
the first night. Maybe they tour went well, and Regler decided to take more risks? For someone like me,
whose intake of metal music is very limited, and thus also knowledge on the subject, I can see I quite
enjoyed these three conceptual approaches to the world of metal music a lot. This is another great
project by Regler and it makes more and more curious about what they will come up next. (FdW)

Idwal Fisher

Regler - regel #8 [metal]
At War With False Noise. CD
300 copies.

Regler are the reductionist duo of drummer Anders Bryngelsson and guitarist Mattin. The last time we met on these pages I had failed to see how a release of theirs containing little but silence was anything other than a waste of plastic, card and valuable drinking time. The release in question was their interpretation of a Fluxus like instruction to set up their equipment before going to sleep under the powerful glare of an industrial lamp.

Being upstanding gentlemen Bryngelsson and Mattin got in touch to say that they were absolutely positive that if they sent me another expression of their work I would definitely, honest to God like it, double promise, fingers crossed with a cherry on top. Which is an attitude I admire in a person [or persons]. If only more people had such guts and were willing to give someone a second chance. So I said yeah go on then, send me something else. So they did and thus ‘Regel #8 [metal]’. A 'Metal' inspired release and there's me and 'Metal' being about as close as Donald Trump and the Brighton LGBT community. The omens weren't good.

I gave up on Heavy Metal after I realising the genre wasn't much more than the diminishing returns of Black Sabbath’s back catalogue. Its fans did nothing for me either; leather wristbands, t-shirts with unreadable band names, the undying devotion to the sound of an amplified electric guitar riff and they are like sooooo alternative man, like real outsiders, like we have upside down crosses and drink goats blood out of skulls and can listen to the loudest music ever and nobody likes Metal more than me. Once ‘Metal’ had morphed into bands playing nothing but the same chord for an hour I knew that the lunatics had taken over and that it was only a matter of time before we’d gone full circle and the kids were buying reissued Blue Cheer albums and scribbling band names on to the backs of their cut off denim jackets.

Regel #8 [Metal] contains three live tracks as recorded on a short tour at the back end of 2015, in which Regler asked the audience to play Metal tracks of varying genres through their personal devices [mobile phone, tablet, ghetto blaster the size of a suitcase, wind up gramophone housed in a Victorian bassinet] which Regler then improvised over with someone mixing the results into what we have here; ‘Heavy Metal’, 'Thrash Metal’ and ‘Black Metal’.

What happens next depends on how keen you are on 'Metal', music of an experimental nature and the mixing of the two. I get the feeling that Metal diehards may find Regler's work hard to digest seeing as how this is Metal in a hard to recognise form, shorn of structure, lyrics, recognisable riffs or eye squeezing solos. Seeing as how I’m leaning more towards the experimental side of things I did find myself coming away from the ensuing melee with an appreciative nod which on more liquid days could have turned in to a headbang. Especially during the last track ‘Black Metal’ which is basically half an hours worth of chugging drum pummel with everything from noise, disjointed riffs and those growly vocals so beloved of Norwegian church burners chucked in along its length. The way Regler and the mixer [in this instance Ivan Kocev] have transformed Black Metal by basically buggering about with it makes it more than listenable for me. A result of sorts. If I’d have been at the gig in Skopje I dare say I’d have hooked my thumbs in to my belt loops and swung my head from side to side in a no nonsense head down mindless boogie kind of way. Its what they would have wanted.

'Heavy Metal’ was mixed by Andy Bolus at a gig in Paris and is in the more traditional groove with an intro that just keeps on keeping on. ‘Thrash Metal’ at 25 minutes is a disjointed affair with bits of Thrash coming at you in rapid two and three second bursts, all this with high pitched squeals and random bursts of guitar noise and as such gets a Ceaser like non committal wavering sideways thumb gesture.

Still, the omens are good. There’s enough here to convince me that 'Metal' is ripe for experimentation and by that I don’t mean de-tuning your Les Paul a semitone and going ‘thrummmm’ for an hour. 

At War With False Noise



Creaig Dunton

Following up the concept of their most recent works, the duo of noise artist Mattin and Brainbombs member Anders Bryngelsson have again chosen to subvert two niche genres of music and attempt to recreate them in their own, deconstructed noise rock style.  In this case, one album of Harsh Noise Walls, and the other three lengthy treatments of various subgenres of heavy metal.  Unsurprisingly, the duo's reconstruction of this music ends up being less about imitation and more of a study and critique of what is expected by those specific styles.

Rapid Moment/At War with False Noise/Decimation Sociale/Pilgrim Talk

Harsh Noise Wall, or HNW, is a relatively specific offshoot of what is generally labeled noise.  Its main practitioners are known for their monochromatic audacity (Vomir, who's Romain Perrot runs the Decimation Sociale label) or approach that borders on personal obsession (The Rita).  As a consequence of this, often less emphasis is placed on the actual sound, to the point of it being an almost tongue-in-cheek self-awareness that many styles lack.  Mattin and Bryngelsson chose to attack the genre via a guitar and drum duo arrangement, each using their respective instruments to mimic the immobile white noise monolithic sound.

Unsurprisingly, the actual output ends up being dissimilar to actual HNW via the rapid-fire erratic beats and shrill, metallic tinged guitar assaults.  Try as they might, they cannot fully replicate that dull roar for the album’s nearly 30 minute duration.  Instead though, it sounds more like the detritus of a grindcore demo tape, or the most dissonant moments of a multigeneration heavy metal show bootleg.  It also rejects the notion that all HNW style noise sounds the same, or that it is entirely simplistic and unchanging (the best stuff has never been).



On Metal, however, the duo took a more audience participation approach on the three pieces contained.  Each were recorded live at a different venue, with audience members playing Mattin and Bryngelsson a metal song they had never heard off of the audience member’s phone or mp3 player.  From this, the duo tried to recreate, or at least improvise based upon what they heard.  "Heavy Metal" begins with some bleed through of the audience member’s chosen song as Regler slowly get themselves going.  At first it sounds like nothing in particular, but after around three minutes the performance fully locks in, with a truly heavy metal sound to it (albeit one that is improvised and messy, as opposed to tight, riff heavy arrangements), ending on an almost progressive rock note.

For "Thrash Metal", the duo chose to replicate the taut guitar riffs and drum passages in a more abstract manner, via a jerky stop/start erratic structure to the earlier parts of the piece.  Those dramatic breakdowns become tense pairings of noise and silence, never locking into a comfortable pattern.  The final work, "Black Metal" is perhaps the closest reading of the genre the two performers do.  It is fully appropriate that, when mimicking a genre that is so focused on low production values, the result is shrill feedback and a dull roar of noise.  The piece has the two mostly creating a dull roar (not unlike the HNW album), but allowing some more conventional metal moments through, even at times allowing the piece to approach some sort of approximated punk/thrash sound.

Like HNW, Metal features Regler playing with the accepted tropes of a genre, but subverting them into an entirely different sound, while simultaneously addressing the criticism that metal (like noise) is a simplistic genre “anyone” can do.  By attempting to improvise what they heard, the creation is something entirely different and one that finally bears little resemblance to what they were attempting to imitate.  Both albums are excellent, if at times intentionally difficult listening, but Metal stands out a little more as being a more diverse suite of music, but also one that is conceptually strong and still not afraid to bring in a bit of levity in an otherwise dour genre.


Le son du grisli

Je baisse toujours le volume au minimum quand je lance un CD de Regler (Anders Bryngelsson & Mattin) et puis je l’augmente de seconde en seconde. C’est ma technique. Car on n’est jamais trop prudent d’autant que celui-ci stipule entre parenthèses : metal. Heavy ou Trash ou Black dans lequel le duo aurait bien aimé donner mais ce dont il se sentait incapable finalement… 

Mais Regler, c’est aussi une façon de tester les limites (celles de la technique de Mattin & Bryngelsson comme celles de leurs auditeurs). Sur ces trois morceaux captés en concerts, j’imagine bien nos deux garçons profiter de la situation pour arriver quand même à leurs fins = en mettre plein les oreilles au public présent aux Instants Chavirés (10 décembre 2015), à L’étincelle d’Angers (11 décembre 2015) et au MKC de Skopje (12 décembre 2015) et non pas au KFC de Cholet où je les ai attendus pendant deux heures au moins. 

Nous sommes donc en présence d’une mini tournée. Et aussi d’une batterie qui tape avec une vigueur qui n’a d’égale que sa persévérance et d’une guitare qui vrombit et vous paralyse presque sur le champ / soit sur la longueur soit en rafales d’appropriations (Locrian dit la capture d’écran d’un tweet) ou de cut-up. Allez-y, après ça, trouver les mots pour décrire le disque. J’ai à peine décollé ma deuxième oreille de l’enceinte que je ne me souviens plus de rien, si ce n’est que c’était fort… & fort bon. 


Regler – Regel #8 (Metal) (2016)
Noise band failing ridiculously at metal. How are hipsters who can’t grasp what makes metal metal trying and failing to poorly play metal experimental? This is like a monkey not knowing how tortillas work using them to wipe it’s ass.

Regler | Regel #8 (Metal) (At War With False Noise)

Илья Белоруков
11:55, 09 ноября 201689

Вновь тролли от экспериментальной музыки радуют ухо: Mattin и Андерс Брингельссон (Anders Bryngelsson) играются в метал. Это музыка детства многих нынешних сорокалетних, но вряд ли кто из ортодоксальных поклонников тяжеляка рискнет послушать сие творение, уж не говоря о любви к нему. Нет, деятельность Regler направлена поклонникам концептуальных идей, любителям необычного и в хорошем смысле стремного. Что они придумали на этот раз?

Прямо перед началом концерта они попросили аудиторию выбрать любимые метал-треки из айподов и телефонов, подключили к основному микшеру. Далее вновь попросили кого-то из зрителей микшировать треки. Музыканты интерпретировали слышимое в реальном времени. На диске в итоге имеем три трека: хэви-метал, трэш-метал и блэк-метал.

Да, многие из нас знают, что Маттин берет идеи из перформансов, из других видов искусства. Музыка до сих пор является весьма и весьма закрытым полем для внедрения чего-то нового. Концерты строятся по схеме, отработанной веками: зрители — музыканты, начало — конец. Подразумевается, что связь со зрителем происходит где-то в области высших сфер, что, конечно, не лишено смысла. Но некоторые из музыкантов все же ищут и другие способы взаимодействия, и это как раз то, что я нашел в этой работе наиболее любопытным.

Не думаю, что запись передает адекватно «веселье» (именно в кавычках, потому что это для всех означает разные вещи), вероятно творившееся на концертах. Классно то, что зритель был задействован в концерте напрямую, это слышно, например, в начале второго трека. Раздающийся смех, обрывки Metallica, интерепретированные партии Regler: звук един, все равны, но пока нет ясности к чему это приведет. Спустя несколько минут все уже чрезвычайно серьезно. Важно то, что чувствуется этот общий нерв, привлекающий внимание аудитории. Вспомните, как часто мы нынче видим на выступлениях множество людей, которые сконцентрированы не на исполняемой музыке, а на печатании смайликов в социальных сетях? Сам грешу, не скрою. И эта простейшая интерактивность со зрителем, придуманная Regler, работает в первую очередь на то, чтобы завладеть вниманием зрителя.

Но есть и обратная сторона: получающаяся из этого музыка уже не несет в себе той самодостаточности, которая обычно присуща этому виду искусства. Впрочем, это можно заметить разве что на записи: я уверен, что живьем все работает как надо. Вывод такой: все чаще и чаще музыканты думают о сиюминутном, нежели о последующем. Импровизационная музыка славится именно этим «здесь и сейчас», что, кстати, идет из глубины веков, когда люди слушали музыку только во время исполнения живьем. Пора бы и нам начать слушать, а не присутствовать.

2016 At War With False Noise CD

Илья Белоруков, ноябрь 2016