THE MALDOROR KOLLECTIVE (TMK) is the result of over 15 years of collaboration between their musicians, based out of Italy. Originally starting out as a Black Metal band, they have evolved into more Industrial/Avant-Garde. To date the band has released five full-length albums. This latest is entitled "Knownothingism" and contains seven tracks. "Clarity, oh Open Wound" leads off the album with dulcimer and/or harp notes and ominous strings, like a fairy tale that is about to take a wrong turn. There is a delicate melody here, but it's difficult to access. When the vocals come in, an accordion accompanies the soft notes, thick with vibrato. At this point the track has segued into more of a psycho circus feel. Jazzy rhythms accompany a transition towards the latter part of the song, courtesy of electric guitar and percussion.

"An Uncontrollable Moment of High Tide" is the next track. It opens slowly, clinging like rain droplets in a cloud too premature to rain. Drumming seems to take the driver's seat in this track, as the other instruments come in support. There is more of a structure here but it remains hard to discern. "Cordyceps" is the third track. It is more atmospheric in nature, with sustained notes and despondent, spoken words. There is an air of torture to it all that is eerie. Over half way through it does settle into a rhythm, fueled by a dissonant bass guitar riff. It turns darker towards the end into minor chord progressions. In the fourth track, "Mariguanda," tympani notes give way to a more classic song structure, with an excess of cymbals. It then morphs further with the addition of saxophone and bass slapping in a jazz breakdown of sorts. "Lhasa and the Naked West" feels like a fitting song title, to a track that holds a loose vision throughout. Heavy electronica and bass guitar thunder down, making the song into a slow, plodding grind. "Nirguna" is a shorter piece that takes a little while to form. Once again there is an air of darkness, provided mostly by some quick string bursts, but it is subtly done. At times it sounds like alchemy in motion, like something out of this world is being created. They do a good job of leaving you with that impression here. Closing the album is the longest song on the album, entitled "The Ashima Complex." It builds slowly and steadily, with a myriad of different instruments, though the keyboards seem to be driving the overall sound. In contrast to some of the earlier tracks, this song had an assertive element to it. Trippy in nature, it lends itself to a more of a freethinking jam session. Overall, this is a fairly odd and eclectic collection of songs that transcend specific genre classification. Avant-garde perhaps sums it up best.  Either way, it is a fairly far path from the genre of Rock in general. Many of the songs take circuitous routes to melody and structure, which I imagine is the style here. I am unsure as to its appeal, but to each his own.
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