Attrition helped to line the experimental industrial market of the early ‘80s, thus establishing themselves, alongside pioneers Coil, and The Legendary Pink Dots. Framed by a gothic appeal with their classical infusions, Attrition created albums that were, in their vastly experimental and avant-garde nature, unique musical blends of post-punk,electronica, and classical music. Admittedly, Attrition is not for everyone.
Martin Bowes, who beget the band in 1980, has, over the years, paid close attention to his back catalogue. Not long ago, Bowes began his own label, Two Gods, and started remastering and reissuing his collection of albums and EPs. In addition to cleaning up the tapes, he has reissued with new art, and, as in the case of The Eternity LP, combined some separate releases. The newly christened The Eternity LP is the combination of the Projekt-released 4-track The Eternity EP (1997), and the 5-track Kissing a virtual angel EP (1999) (Ars Benevola Mater label), both OOP (out of print) titles.
The Eternity EP was a remixing of older songs, mostly from the band’s Etude album. The songs were enhanced with violins and viola from Franck Dematteis of the Paris Opera, adding a beauty and charm that is especially exemplified on the EP’s track, “At the Fiftieth Gate (a slight return),” from the album of the same title sans the parenthetical addition. The riveting “Feel the Backlash” is an extraordinary tune, enchanting and gorgeous in its classicism.
The Kissing a virtual angel EP begins with “Prelude,” reworked from the Dematteis composition found on 3 Arms and a Dead Cert, rich in its stringed instrumentation. “A Virtual Angel” is a remixed extraction from Jeopardy Maze. The remaining tracks are unreleased pieces.
Clearly, it is the expert composition work of Bowes and his suffused violin and viola of Dematteis blends that make this collection of songs so peacefully refreshing. As we’ve come to expect, Martin Bowes does not disappoint.