“if you don’t hate me now, you certainly will…” So states the bio for Bristol artist DIS, whose debut album is as challenging a listen as such a statement would indicate. Clearly drawing more from the avant-garde and ritual magick end of the industrial spectrum, Fragments presents seven tracks whose lo-fi production qualities may add a particular charm and an appropriately ominous atmosphere to the proceedings; everything about this album sounds as if it was recorded from a distance through a metal tube, as if the listener is a quiet spectator to some sinister rite. As such, words and lyrics are rendered indeterminate and mostly indecipherable, with only a few key phrases making themselves more apparent when the need arises. For example, on the track “DEATH,” a groaning, almost braying sound plays in constant repetition, somehow recalling the vast deserted spaces of an ancient world or something out of an Alejandro Jodorowsky movie. Steadily, the voices appear, culminating in the line “To push and squeeze you out,” at which point the main vocal breathes and howls in unison with the braying rhythm, making the whole track seem like a ritualistic ceremonious embrace of the great oblivion. Unfortunately, the track fades out, which renders it somewhat impotent… and that’s a shame because it’s one of the better pieces on Fragments. Sadly, this writer has the same complaint for every track, for none seem to end very powerfully, usually continuing long past the point of climax and dissipating into a nothingness that just feels empty and unsatisfying. However, it could be that this was DIS’ intent as the opening “IBECOMEAHYENA” is apparently the artist’s antifascist call for queer rebellion, every element of the song seemingly out-of-sync with each other to instill a sense of unease, while COIL fans may delight in “Tutuguri – le Rite Du Soleil Noir,” which quotes the work of Antonin Artaud. As a drag queen and “genderfuck,” it’s fair to say that DIS is not only familiar with but also revels in confrontation, and Fragments is the kind of album that is almost an affront to musical convention, even within the realms of experimental and proto-industrial noise. You may not like DIS after hearing Fragments, but like a good punch in the gut, you’ll certainly remember the pain.