- Tune Up (1.02)
- Vigil/Scenario (a medley) (2.12)
- Dreamsleep (6.28)
- Feel The Backlash (3.49)
- Into The Waves (4.28)
- Cold Genius (3.56)
- A Girl Called Harmony (estranged) (5.26)
- Which Hand? (3.37)
- I Am (4.11)
- A’dam & Eva (refrain) (3.38)
- Cold Genius (sans vox) (3.33)
- Fate Is Smiling (4.32)
- Fusillade I (8.06)
a classical excursion into the depths of the ATTRITION soul . . .
|Polish Import| After fifteen years of releasing albums, the initial explorations of viola on 1986’s 3 arms & a dead cert led to only one possible conclusion: the recording of a completely classical album. Working in collaboration with Franck Dematteis, a long time admirer of the band and a member of the orchestra of the Paris Opera, Étude was given the life that was for so long only a dream . . . it is a collection of past ATTRITION pieces completely reworked and rearranged for viola, violin, cello, organ, percussion and voice, plus a cover version of Purcell’s “Cold Genius” to complete a very special work . . . album number ten (if you count everything . . .)
A review from Alternative Press Magazine
Subtitled “interpretations in a classical form,” these adaptations of Attrition’s repertoire are scored for string trio plus organ, percussion and occasional voice. They’re the result of classical violist Frank Dematteis’ enthusiasm for Attrition, which first led to his collabaration with the group on last year’s Three Arms and A Dead Cert. Attrition’s own work over the course of 13 years and 10 albums can be loosely characterized as melodic, rhythmic industrial with a gothic edge, in the mode of Coil, SPK and Legendary Pink Dots. Superficially, it seems that much might be lost in the translation to classical chamber music – the dancefloor rhythms, the various electronic effects and founder Martin Bowe’ cretive sampling. But Dematteis, who also performs with the orchestra of the Paris Opera, highlights both the quasi-operatic vocals of Julia Waller (who is the other half of Attrition) and the group’s mysterious, somewhat mournful minor-key sensibility. This translates into simple elegant music of a baroque and even medieval cast. The connection between the contemporary gothic subculture and the neo-gothic chamber music on this CD is intriguing, as there are common intimations of melancholy, mortality and quiet dread.
A review from The Haven Magazine
Attrition never were your normal band. Dancey yet experimental, ethereal yet industrial, operatic yet psychotic, their brillant music always had an unsettlingedge to it – as if something disturbed was trying to shed its skin right before your eyes. Étude is somewhat a novelty in the sense that most of the material is previously released, but all are classically orchestrated remixes of their former selves. Where once were foghorn-like keyboards there are now cellos and violins. This is not a John L. Williams tribute – the arrangements are recorded with more of a chamber quartet than a ballroom filled with Stradavariuses. The vague Romanian feel to this CD is also a major attraction, and in true Attrition style, the instruments always sound slightly out of tune to keep you from totally relaxing. All-around, its one hell of an album – but then again, they have yet to put out a bad one.