You’re just left to imagine what it would’ve looked like.
Disquiet isn’t a film, though maybe it should have been. The Disquiet soundtrack, the soundtrack to the imaginary film that is, features Russian artist Old Komm and California rabble-rousers German Army, and together they perpetuate the bleakness of a term like “disquiet” (synonyms: unrest, uneasiness, concern, worry, anxiety, foreboding, alarm; antonym: calmness) with their deeply, erm, foreboding sonics. (I think I used up a lot of the vocabulary I’m gonna need just there.) The idea behind the “film”? Post-apocalypse. Children born into wasteland existence. Men killing and eating men for sustenance.
Tarkovsky’s Stalker keeps coming to mind, but that may be tame compared with whatever was in the Disquiet filmmakers’ heads!
Anyway, the mood is wonderfully bleak the whole time. Old Komm’s pieces hit like dense liquid metal, their doom ambience interspersed with “dialogue,” which comes off as spoken-word soliloquy in the thundering blankness. German Army totally GeAr up and apply their proto-industrial tribalism to the dusty harsh-lit landscape. The juxtaposition of the two artists makes for an incredible reading of Disquiet, a seesawing effect that, regardless, never lets up on the idea that you’re plowing through the end of the end of humanity. If Old Komm and German Army consistently made music together, they would churn out something akin to Godspeed You! Black Emperor, but without all the orchestral trappings. Because who need those in the Disquiet future? You just gotta eat, gotta survive at that point. Politics is history.
And yeah, in the end, we just imagine all this. Maybe it’s for the best – I can “cover my eyes” and NOT imagine all the gruesome aspects of this kind of existence.
There’s only ONE LP left from Discrepant. (I mean, it came out in 2016). Get it, quick!