NEYSLUTRANS (2020) - ALBUM REVIEW

Neyslutrans (Consumption Trance in English) is the first full-length record from Icelandic anti-capitalist concept artists Hatari. The group consists of vocalist and lyricist Matthías Haraldsson, vocalist and composer Klemens Hannigan, and drummer and producer Einar Stefánsson. The group formed in 2015, and released their first EP Neysluvara (Consumer Product) in 2017.

Hatari are not afraid to experiment. They revel in defying the audience’s expectations, and this makes them a very intriguing group to follow.

It is very difficult to place a precise genre for Neyslutrans, as it is such a mixed bag of sounds. At the very least, it can be tied to the genre of electro-industrial, or more specifically aggrotech. However, influences from many other genres such as futurepop, hip-hop and avant-garde music can be found on the album too.

Overall, the atmosphere Neyslutrans projects is very dark and dystopian. The world of the album is corrupt and twisted and oppressive. I find the sound very dense as well - I like to describe this image the album creates as an “iron dystopia.”

The album is primarily made up from thick and acidic-sounding synths, with a mixture of electronic and acoustic drums and percussion to drive the tracks along. These electronic tracks have a very techno-like structure, and the production is kept minimal. Each track conveys a dark and heavy tone – contributing to that dystopian feeling I mentioned earlier.

There are some remarkably different instruments and sounds scattered throughout the album though. A violin is present in a couple of tracks (with Spectavisti Mi Mori Op. 8 being an entire avant-garde violin solo, performed by Pétur Björnsson). Nunquam Iterum Op. 12 primarily features a choir. There are also a couple of tracks starring rappers; those being Hlauptu (Run) featuring CYBER, and Helvíti (Hell) featuring Svartí Laxness.

The most prominent thing a listener will notice when playing the album for the first time is the vastly different voices of the two vocalists. One of the biggest aspects of Hatari’s artistry is playing with contrast. Matthías and Klemens play very different characters in their songs, and use these differences to tell stories. This is also reflected in the way they sing. Matthías plays a very rough character, so his voice is harsh and grating. Klemens, on the other hand, plays a much softer character, so his voice is very sweet and melodic. The differences between their characters are even more apparent onstage and in their music videos.

Neyslutrans consists of many self-contained narratives and themes, but all come together to portray the dark side of humanity and human emotion. Some themes explored within the album’s runtime include: the end of the world, toxic relationships, hellscapes, sadomasochism, and society under capitalism, just to name a few.

Metaphors are used extensively throughout Hatari’s songs and imagery, which makes their work all the more interesting to delve into. I think the best example of this on Neyslutrans has to be the track Klámstrákur (Porn Boy). I’ve heard numerous interpretations of this song (and it's video), and each offers something different to be discussed.

Personally, I favour two particular tracks on this album.

With themes in mind, I am captivated by Þræll (Slave). This song is sung purely by Klemens, and is about him in a master/slave relationship. What really impresses me about this song is its double meaning, which is conveyed very subtly. Klemens sings lustfully about submission, but a clever twist halfway through the song has the listener questioning who is actually the “slave” in this story. Klemens himself, or in fact, the listener? This presents two different meanings for the song, which coexist marvellously. The song could be detailing a warped sexual relationship, or it could be a metaphor for society’s submission to the cruel master that is capitalism. Whichever the listener chooses.

In terms of sound and feeling though, Ógleði (Nausea) strikes me most. This song is sung mainly by Klemens again, with Matthías in to deliver the final verse. This song describes Klemens trapped under tremendous, crushing guilt, and he has been this way for so long that he feels he cannot recover. All the elements of this song contribute to instilling a sense of sorrow in the listener; the synths drag you down, the strings drag you down, Klemens’s voice drags you down, and Matthías’s voice keeps you down. Any sense of hope the song creates is crumbled seconds later, which really brings the listener to Klemens’s depths of sadness. The song is absolutely relentless in its execution, and has a huge emotional impact.

In conclusion, Neyslutrans is a very interesting and enjoyable listen. It goes by quickly, only clocking in at about fifty minutes, but it conveys a lot in that time. It’s a joy to listen to casually, and there is plenty to delve into for listeners who wish to explore the album deeper.

Listen to the album and watch it's music videos here:

https://www.youtube.com/playlist?list=OLAK5uy_m8c2hsqmhso2O1dmAqNZSqFV4zaTpMGG8

ISL