Review by UnhinderedbyTalent for Author & Punisher - Krüller (2022)

In niche sub-genres such as drone metal and industrial metal the ideal scenario for me is to have a go-to artist I can really rely on.  I cannot say that I listen to much of anyone else in either genre and so the assured and emotional consistency of Tristan Shone's output in Author & Punisher is a real bonus for me in a world of thousands of artists and much less time than needed to fully explore many of them.  As time has gone on I have discovered two main themes in his work.  Firstly, he gets better with every release.  The maturity he is now able to exhibit on Krüller is just so confident that it is obvious in every track on the album; his experience over each passing year and release simply makes him better.  Secondly, as time has gone by I have ceased to be astonished by just his incredible ability to make all manner of alien and horrifically atmospheric noises from whatever ungodly bit of tech he has made with his bare hands.  I am now just as astonished by the emotional tautness of his output that stirs responses in me that I had not thought possible with this type of music.

At this point in his career, Shone is untouchable in terms of not needing to rely solely on the harsh, abrasive and heavy aspects of his music to get his message across.  If there is anyone using textures better than he does on tracks like Incinerator then I damn well demand a recount!  This track in particular is a rollercoaster that goes from broody and sultry onto anger and sadness before giving way to mental torture.  Listen to this album through a couple of times and you will understand that Shone is able operate on multiple levels and can hammer home his message without the need for blunt force every time.  Centurion relies on a subtle yet ever-present urgency to press home its threat.  Maiden Star operates meanwhile in a whole separate stratosphere with dreamy melodies and blatant rock guitars as its main ingredients.

Whereas previous A&P releases lacked range, on Krüller this is not a problem that is even on the horizon.  Without having to go avant-garde or just plain old wacky, album number nine just delivers on every level.  The drone elements are stable without being excessive and the industrial elements play as influences (albeit big influences) that do not rule the roost as such yet the album is still so very industrial at its core but feels so open and varied without disrupting the sense of balance that permeates the record.  The cover of Glorybox by Portishead feels like a huge moment for the album and indeed Shone's career itself.  Taking the elements that make it such a brilliant piece of dreamy trip-hop in the first place, A&P manages to elevate this with his trademark droning, industrial intensity whilst still capturing the heartfelt message at the centre of the track.

Krüller is Tristan Shone at his best and is far and away his finest hour.  Able to command enough respect at this stage to have Tool's Justin Chancellor and Danny Carey guest on the album, Shone can use his ever-growing confidence to allow his vocals to shine more as he (consciously) removed much of the trademark distortion that layered them in the past in favour of what to me is a more personal connection.  One of the best finds of 2022 so far.