CD, self-released, 2007
Schultz presents a set of fairly nondescript harsh industrial rhythms on his first full-length release, “BioMekanikal.” Expectations are high following the ambience of the introductory track, “Willkommen,” but this promise is sadly not fulfilled. By the fourth track, you are having an enormous bout of déjà vu, wondering if you haven’t already heard what is playing. The repetitiveness of Schultz’s music is its greatest letdown – the percussion is tight, aggressive and eminently danceable, perfectly exhibiting the varied influences Schultz has emulated from the Ant-Zen, Hands and Hymen record labels, but the manipulated sounds layered on top are indecisive, uninspired and all start to sound the same with alarming rapidity.
This is probably an unfortunate side effect of the live nature of Schultz’s musical experience – laying down backing noise for the stage shows of fetish artist Vdrey. In that context the overall spectacle would perfectly suit the hypnotic droning Schultz generates, but this effect is totally lost on ten tracks of the same drums, instruments and filters – all without the visual accompaniment of live erotic painting.
The remixes included on the CD (from fellow underground noise merchants such as the intriguingly-named Dataraper) outshine the original edits of the tracks. They’re fuller, meaner and more dynamic, with great listening appeal. The remainder of the album would, as individual elements, work adequately within any industrial DJ’s set, but as a unit it fails to impress. Overall the album is a fair first effort, but terribly naïve. Schultz has his work cut out for him in developing the basis he has established into something more complex and aurally exciting for a second release.
— David vander Merwe