Reinhold Friedl-led electroacoustic ensemble Zeitkratzer keeps on venturing in the revamping and reinterpretation of miliar stones of noise and industrial culture; after the amazing remake of Lou Reed's "Metal Machine Music" and the likewise fascinating remake of some stuff by William Bennet's Whitehouse, Zeitkratzer retrace the sound of the Berlin-based post-industrial collective Column One, the brainchild of Rene Lamp and Robert Schalinski, whose challenging sound, which often deranged sonic contemporary cliches to feed thought-provoking pills by means of really interesting dadaist collages (think about outputs like "Classic Chill Out Rhythms 2" and "Doubt" on Moloko+,"Cannibalism" and "Dream Time" on 90% Wasser or the more experimental/esotheric injections such as "Unrealizer", one of their masterpieces in my opinion, on Marco Koch's imprint Stateart), should not be considered as a merely fanciful deviant. I'd rather say that many sonic outputs by Column One are more like somehow benevolent viruses that try to contaminate the already sick cells of contemporary western culture, where the final outcome (health or death) is uncertain... The title of this revamping by Zeitkratzer seems to link the nihilistic idea of entropy, the medical condition in which eyelids fold inward known as entropion and "Introitum" (a Latin word which also refers to an entrance fee or a gain for companies), the title of a suite that Column One recorded at DIe SIBIRIScHe Zelle in Berlin in 2004 (released by Drone Records in 2013) by assembling the sound of Schalinski's saw together with the obsessive tapping on a "salad bowl" by drummer and percussionist Peter Hollinger, which could be matched to the typical electroacoustic improvisations by Zeitkratzer, whose path already intersected in the past as Schalinski already gave many chamber-noise compositions inputs to the ensemble. The most interesting aspect of this transplantation into an electroacoutic dimension is the fact that Friedl and partners-in-art wisely transected a wider sonic register by tuning different inputs in one-single session: the decadent and extremely cacophonous sonic debris of "Sol", that followed the scary brief introduction "Panthera", flows into "Vide Navareseke", the sinister and painful flaying of Column One's "Berta Navarseke 1919", while the twelve minutes of the fourth part "Haendhilse" manages to twirl tape-music nuances, chamber music and claustrophobic industrial churning, which could let you imagine a group of dangerous felonious psychopaths grouped together for an ensemble after killing some sadistic nurses of a crumbling mental hospital. Animal longings and shrill noises from found objects got melted in the final dissonances of "Lade".