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"NADA!"

by

Death In June

 
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"NADA!"
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Avg: 4.0 (43 ratings)

The birth of industrial folk.

  • We Say...

    Review by Peter Parrish

    In attempting to destroy the boundaries of taste some groups will go to any lengths, driven, presumably, by a gnawing desire to shock and disgust. At least, that’s hopefully the way Death in June would seek to excuse an otherwise disappointing flirtation with Nazi imagery (rearing its head here in the form of “C’Est Un Reve,” an ode to Klaus Barbie). Mind you, it’s hardly a massive leap from “Behind the Rose (Fields of Rape)” and “The Torture Garden” to namechecking notorious war criminals. With such horrific subject matter as a base, it might come as surprise to learn that the album makes extensive use of acoustic guitars. Yes, they’re drenched in reverb and generally twinned with baritone chanting or eerie samples, but it’s still a little unexpected. Consistently unnerving, packed with ominous beats and forging an experimental path with disquieting synth effects, NADA! shows that Death in June are talented enough to produce a record which overcomes their "edgy" baggage. Industrial-folk is born.

  • They Say...

    Review by Rolf Semprebon, All Music Guide

    Nada! was the breakthrough record where Death in June abandoned the mix of industrial noise, punk, and Joy Division-styled mayhem to embark on a new style of apocalyptical folk, and though Current 93, Death in June spin-off bands like Sixth Comm and Sol Invictus, and countless other groups on World Serpent followed that path, Death in June was one of the pioneers. Acoustic guitars feature heavily on "The Honour of Silence," the short "Leper Lord," "(Behind the Rose) Fields of Rape," and "She Said Destroy," most of them co-written with David Tibet of Current 93. In fact "Fields of Rape" has some of the same lyrics as the piece of the same name on Current 93's nightmarish Dogs Blood Rising, but instead of mixing nursery rhyme and distorted screams with industrial noises, the Death in June version turns the piece into a rather catchy folk song, though one imbued to the core with gloom and decay. The rest of the album traverses similar territory, despair and torture, death and war, utter bleakness. A few of the tracks revert to the earlier Death in June of mechanical rhythms and strange sound effects, and "Crush My Love" offers strange repeated keyboard textures and droning vocals with some weird effects at the end. Except for the stupid "C'Est un Reve," a piece about Nazi war criminal Klaus Barbie, Nada! is excellent stuff.

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