XAL Spirit Breaking.

 

XAL – Spirit Breaking – Cassette/Download - Cloister Recordings – 2024

https://cloisterrecordingsus.bandcamp.com/album/spirit-breaking

https://cloisterrecordingsus.bigcartel.com/

https://xinjiangdocumentation.sites.olt.ubc.ca/files/2020/12/Darren-Byler-Spirit-Breaking-Uyghur-Dispossession-Culture-Work-and-Terror-Capitalism-in-a-Chinese-Global-City.pdf

https://www.bbc.co.uk/news/world-asia-china-55794071

https://www.bbc.co.uk/news/world-asia-china-56986057

        1.    Spirit Watching.

        2.    Seven City Blocks.

        3.    New Dominion Pioneer Corps.

        4.    The Three Evils.

        5.    Terror Capital.

        6.    Dispossessor.

        7.    Disappear.

        8.    Behind The Black Gate.

        9.    God Is Dead.

        10. Takbir.

        11. Bioluminescence II : Sleeping Citadel.

        12. Dungeon Theme.

XAL is a project consisting of AM NOT, A and Mollusk King all of whom are familiar names with releases behind their belts in the UK Post Industrial scene. Spirit Breaking was created as a tribute to Darren T Byler’s thesis (Spirit Breaking: Uyghur Dispossession, Culture Work and Terror Capitalism in a Chinese Global City) which is about the Chinese government’s persecution and state war against the Uyghur Muslims and other Muslim groups within Xinjiang. This included men being arrested, women being arrested, sterilised, raped and tortured within prisons. I was aware of the issues mentioned here, but listening to this recording forced me to research further and I was disgusted and disturbed at what I found out is happening to the Uyghur. Spirit Breaking refers to the government’s process of removing the people’s culture and historical lineage by banning or restricting their religious, cultural practices and Islamic education ensuring they used only government approved religious text and schools (education centres). This ensured the continual degradation of the Uyghur, specifically through the inhumane treatment and abuse of their women. I have tried to do some research about the title tracks in relation to the text, my definitions aren't concrete and are of my own opinion. .

The album begins with a combination of Dark Ambient atmospherics and samples, this accelerates to increase its own intensity. Quirky keyboard sounds, pulsing beats and cinematic synthesizers build Seven City Blocks, this works together to form a landscape of which events play out. It refers to the seven new cities the Chinese government built during the urbanisation of Xinjiang a decade ago. The sound here pushed into a lot of post noise sound futuristic and ambitious, this works well as work. New Dominion Pioneer Corps is a short blast of huge industrial soundtrack, possible reference to the Police State and Capitalistic growth in the area. The Three Evils (A political slogan of the Peoples Republic of China – terrorism, separatism and religious extremism.) goes into a screwier use of warped noise with vocals buried into the work, to add further dynamics to the track.

We are in the thick of the situation as Terror Capital refers to the clashes between Uyghurs, State Police and Han Chinese and other incidents over the decades. The track uses restrained noises, phases of dramatic percussion and samples to start a build-up of tense sound. A voice that is either AI or a sample is used to throw facts and statistics across the noise. Rumbling and suspenseful electronics mix up on Dispossessor (someone who takes away something that belongs to someone else.) big synth sounds dominate the track. Uyghur people started being sent to jail and then re-education camps, In 2021, the BBC reported that China has imprisoned at least 630 Muslim religious figures since 2014, and over a million practitioners of Islam. This is soundtracked by the brief sounds of Disappear. Behind the Black Gates refers to the entrance of a detention camp in Xinjiang, this uses eerier atmospherics, muffled voices and shuffling noises in combination to build a picture of the location. The pace of these elements accelerates to intensify the track as if to voice domination and control – the noises progress to become more attacking in their sound.

God Is Dead could refer to the repression of the Islamic Religion through the government specifically the Uyghur, or feeling as if God is dead when imprisoned in any of the many prisons in Xinjiang. The bleakness the track projects is intense as drones and clashing waves of discord repeat. Takbir (God Is Greater), contrasts the previous track through simple melodic, repetitive instrumentation and sampled conversations playing out in the background. Musically this contrasts the previous methods of making tracks beautifully. Sinister electronics and whisperings make Bioluminescence II: Sleeping Citadel, as this dies off a pulsing beat is all that remains. Dungeon Theme ends the album on a dark note with big build ups and moody beats.

Is this a good album? Yes. XAL is unafraid to tackle complex political, humanitarian issues, it is forward thinking, progressive in how it uses sound and could lead to great things. Spirit Breaking is a step forward into a new territory and is backed up by strong context like all good art should be. Watch this space.

Nothing and Nobody 2024.

Kevlar - Criteria

 

Kevlar – Criteria – Cassette/LP/DVDr/Pal – Unrest33 - 2015.

https://kampfunrest.bandcamp.com/music

https://www.facebook.com/people/Kevlar/100063614945240/

https://soundcloud.com/kevlar-unit

Criteria A :

        I.      Milieu Control.

        II.     Mystical Manipulation.

        III.   The Demand for Purity.

        IV.   Confession.

Criteria B:

        V.    Sacred Science.

        VI.   Loading The Language.

        VII.                Doctrine Over Person.

        VIII.               Dispensing Of Existence.

Kevlar is a very tough synthetic fibre used in the making of bulletproof vests; it is also the name of this present-day UK based Power Electronics project. One of the members also did the project Kontinent for a time. Kevlar was a duo and is now one person, they have done 5 releases over the years on Unrest since their formation in 2010.  Kevlar played three of the four United Forces of Industrial that Unrest hosted in London as well as gigs around the UK and Europe. Criteria was their 2nd release after Alpha Strife in 2014.

The first side of Criteria rumbles into action as glitching, hissing distortion and muffled field recordings build the sound of Milieu Control, this rumbles away in the background for a time until Mystical Manipulation barges in with rumbling bass, various drones, waves of distortion and humming weave together to make a tense, compressed sound. Restrained feedback screeches into this before the vocal kicks in, the sound intensifies into a heavy Power Electronics assault. The battering that is caused by the choppy distortion is impressive feeling like a Jetstream of sound being continually cut into, bashed metal also adds to the overall choppiness.

Low, pulsing drones move into The Demand for Purity, the sound repeats itself as another drone moves across it creating two opposing sounds. Both noises seem to do their thing and ignore each other, creating a strong tension until only one of them is left. Small sounds of electronics seem to fiddle around, until a deep bass drone is hit upon, this forms the core sound of Confession. Distortion crackles across the drone as others enter the sound periodically. Each sound has its own movement and all of them move along together providing subtle shifts of texture within the track. A clear electronic pulsation ends the track.

The second side of Criteria takes an instantly aggressive tone as wall like noise is punctuated with howling blasts and possibly religious vocal samples sound desperate as they are buried within the storm of rumbling noise that is Sacred Science. Death like drones bark out the base of Loading the Language, dense, overdriving bass builds thick waves to back the drones. The tension becomes warfare as each sound changes their prominence in the full sound, different shifts in the mix make massive movements within each track.

Things drop right down as small noises interact for Doctrine Over Person raising the sound levels as each element of the sound begins to find its feet. A vocal joins in to take charge, it is warbled through effects making it a voice noise. The bass deepens, making the sound’s brutality clearer through the slow simmering rage. Dispensing of Existence starts off as gloomy atmospherics cut into through fractured crackling, a vocal is buried within the mix as the cracking noises and eerie sounds fight it out. The vocal shout emerges and sinks in a continual cycle through and into the noise. Lines of feedback cut into the work, chopping it into collaged sections, very disruptive stuff.

Criteria very effectively holds noise back to intensify it, using the mix to do this. As the tension is released slightly it makes the sound shout out. In my opinion, Unrest released a lot of pissed off, simmering Industrial and Power Electronics that brooded at and menaced the listener, using a variety of different ways to create and exploit tensions of sound. Shift, Soft Option Killing and Kevlar do this best. My online wheeler dealing led me to Criteria last month and I am glad I got this. Another Unrest gem unearthed and a great project becomes more apparent.

Nothing and Nobody 2024.

Soft Option Killing #2

 

Soft Option Killing – Cassette – Hospital Productions – 2010 – HOS-296.

        1.    Untitled.

        2.    Untitled.

https://phosphorusburning.bandcamp.com/music

There were six Soft Option Killing cassettes released between 2007 to 2010. Three were self-released, Three on labels. Two (Rogue State and Every Brutal Act a Service) were on Unrest Productions and this self-titled release was released on Hospital Productions and Abrasive Records, I believe Abrasive was the artists own label, so it was also self-released. The project was based in the UK, supported many well-known names within Power Electronics circles and now makes work as Phosphorus Burning.

Vocal dialogue samples and rumbling drones fill the sound as the first side starts. An undercurrent of distortion wavers under the main noise, becoming increasingly prominent over time. Vicious drones kick in and hum menacingly whilst waves of distortion start to hit this and howling, echoing noise makes the listener feel lost in a nightmare of sound. It’s mastered and controlled well in that the storm of noise is busy but not at ear splitting displays of high volume, space is kept within the sound. An aggressive blast of distortion then screams over echoing, rumbling bass. The distortive blasts eventually serve to repeatedly cut across the deep rumble – this has a higher level of aggression in the delivery than the earlier part of the tape. This all dies off allowing the rumble to come across as a passage of ambient storm with a lower hissing distortion shooting across it as sampled dialogue plays out to add further layers of depth to the work. The ambient sounds drift through to the next part of the piece. Vocal roar and distortion soon dominate the sound, the vocal is buried within the noise, occasionally resurfacing for short periods of time. This soon dies off into overlaps of subtle, quiet noise to bring an end to the first side.

Side two’s untitled track begins with distant voices cut into by wavering distortions that continue the ambient sounds explored on the first track. High pitched electronics soon wail over this, but they eventually drop slightly so they blend more into the sound. This all forms a layered, bleak Industrial landscape. The varieties of returning feedback are the noise, it isn’t intended in a Harsh Noise context as they are often too isolated, as it wails over echoing, chugging electronics, you realise it is meant to scream across the sound in a Power Electronics way (as were the vocals that briefly appeared.)  through how it accurately intensifies in tone to force the listeners attention. As this part dies out, a busier passage of echoing noise and sharp distortion collide to make a choppier passage of the track. The rise of angrier sound through throbbing sound sources, echo and distortion can be felt very much here. The way this continually drifts into dark ambient territory and is yanked out with subtle and sometimes hostile use of noise is impressive.

Each side seems to have four passages of sound that together, form one track. All are very effective and well considered in their use of sound. Another excellent Soft Option Kill work reveals itself.

Nothing and Nobody 2024.

Fleshlicker, Insatiable Wound, Sword of Democles, Pale World, EOP. Centrala, Birmingham, 16.04.24

Live Review –

Fleshlicker, Insatiable Wound, Sword of Damocles, Pale World, EOP.

Centrala, Birmingham, 16.04.24. (All photos by the author)

https://centrala-space.org.uk/

https://fleshlicker.bandcamp.com/merch

https://paleworld.bandcamp.com/music

https://slowmurder.bandcamp.com/music

It is always a treat to come to Centrala for a noise gig. Many of my most memorable gigs have been there. Tonight, the event was held downstairs, the last one that I went to was Knifedoutofexistence which was held in the upstairs gallery.

The first act on was EOP which was two people: a drummer and a guy making noise through machines and pedals. They sparked off each other very well during a long piece that was kept interesting through changes bought by the improvision. The drummer was very good at what he did and completely mesmerising to watch.

I was excited to see Pale World and had high expectations of the project. Sadly my pictures were too dark to use here. However, I’ve reviewed his work on here before, seen him live and my expectations were very high. His set consisted of electronics and contact Microphoned steel sheets. His set started off subtly with slight sounds going off and built up to explosive levels of intense, claustrophobic noise though metal sheets that were hit, scratched and slapped. I am sure there were other electronics involved too. Joe Parkes who organised the gig and does Pale World seemed like an intense guy to talk to - this came through in his set with ease. Melodic instrumentation could eventually be heard and the noise built up again and intertwined with the melody, this made a strong contrast to the explosive, earlier part of the set. Pale World’s set ensured that this is presently one of my favourite UK projects.

I had only heard of Sword of Damocles by name in the past. This set was the technical set out of the lot as he was using a lot of intricate cut-up technique over Harsh Noise, melodic drones and samples in his work. All these elements were continually spliced together and broken up to allow other combinations of the sound to occur. His techniques were rapid so there was a lot of fast movement to his work, this was done very effectively with a lot going off in one set.

Next up was Insatiable Wound, which is another project by Jo of Slow Murder. This set will forever be named ‘Grooving in Green’ in my head, Jo wore all green, had green hair and worked under green light. Despite the March Violets reference, this was pure energetic, top tier harsh noise. There was a lot of Contact Mic, Sandpaper, a bit of head wound and it was very loud. The set was very short, this made it work perfectly, allowed for the high energy and left me wanting more Insatiable Wound and even more Slow Murder. An amazing blast of a set.

I knew nothing of Fleshlicker other than he is otherwise known as UK mastering maestro and distro Foul Prey. My ignorance made the show even better. The strength of the support acts made for a hard line up to follow, this had to be at least good. The lights went off in the venue, all went quiet too, I was unsure what was happening as no one was in the performing area. Suddenly I heard retching sounds and a topless Foul Prey appears dribbling everywhere, stretching out as if he was an undead person from 28 Days later, staring at people, retching, staggering around. “Ugh, Ugh, UGGGGGH!!” was all he did until he staggers up to a huge amplifier and Harsh Noise Wall blasts out and he continues staggering, contorting his body and retching. This was a Mike Dando or Michael 9 level noise performance; I was seriously impressed. This could easily get too samey if repeated too often, so Fleshlicker needs to keep up the progression and conceptualisation to stay this great and keep me this blown away. An outstanding finale.

I couldn’t fault this line up if I tried. These are new times with new champions.

Nothing and Nobody 2024.

Insatiable Wound - pain seeking behaviour

 

Insatiable Wound – pain-seeking behaviour – Cassette – self released – 2024

side a – pain-seeking behaviour. (recorded summer 2023).

side b – live recording. (Bristol 20/06/2023).

https://slowmurder.bandcamp.com/album/pain-seeking-behaviour

https://slowmurder.bandcamp.com/music

Insatiable Wound is a project by Jo Sheehy who also does Slow Murder. I saw them live at Birmingham Centrala recently and I was impressed enough to buy this cassette after the gig. I was also completely thrilled to meet Jo as I love the work of Slow Murder. The cover and free sandpaper strip also demonstrate their commitment to the colour green; Jo had green hair and was completely dressed in green for the show. I believe the sandpaper can optionally be used to administer pain to oneself while listening to the work.

The studio recording begins with contact mic sounds that are fed through distortion; feedback goes off at the same time. Both elements begin to accelerate into a faster paced sound, the feedback begins to wail as the distortion becomes increasingly abrasive and louder. The sound starts to get cut into to allow each element a short, shifting solo. The distortion becomes a woofing bass roar that is periodically cut into by the feedback, which is now a cutting, shouting sound, yelling out at the listener. A hum of drone stops everything so the sound can begin again, muffled bass goes off, the drone cuts in again, the feedback wails at the drone to signify the sudden end of the recording.

Live in Bristol begins as screaming feedback and a banging cacophony, this sounds way more energised than the recording as the shifts in noise come rapidly before anything can settle. Constant changes to the feedback and contact mics provide the movement of sound. I am sure I witnessed a combination of Jo, sandpaper and a contact mic to make noise, resulting in a head wound, when I saw the project play live – I am convinced that happens here. The distortion progresses to a roaring void that battles with the screaming of the feedback until it cuts out and ends.

A very good recording available from the links above.

Nothing and Nobody 2024.

Lover's Leap - As Purity Dissolves Through Fingertips.

Lover’s Leap – As Purity Dissolves Through Fingertips – Digital Release – 2024

https://loversleap33.bandcamp.com/album/as-purity-dissolves-through-fingertips

        1.    As Purity Dissolves Through Fingertips.

Lover’s Leap is a new project based in London and they have done four releases since 2022.

As Purity Dissolves begins with echoing creaking, muffled banging and scraping, all 3 interact for a time. This is then taken over by hissing static and further scraping made through contact mic abuse. Static is slowly complimented by a wall of distortion that is compressed so it isn’t allowed to dominate the proceedings, the vocal enters complimented by warped electronics. It all feels restrained, caged. The electronics throb within the murk of the static noise bulging and resonating until things die off to quiet electronics, this isn’t for long, things slowly begin to build up again and change into a passage of mournful synthesiser melody – this has more clarity and is allowed to roam free.

Interesting release worthy of your time and money.

Nothing and Nobody. 2024.

Soft Option Killing - Every Brutal Act A Service.

Soft Option Killing – Every Brutal Act A Service – Cassette – Unrest Production – Unrest 23 – 2007.

1. – Fajr.

2. - Isha’a.

Soft Option Killing was an industrial project based in Nottingham UK. Two cassettes were released on Unrest Productions, Rouge State (2007) and Every Brutal Act A Service (2010). There was a self-titled cassette put out on Hospital Productions & Abrasive Records in 2010, in addition to this there were three self-released cassettes. The person behind Soft Option Killing was also involved in the project Front Towards Enemy/Bear Faced Boy. Soft Option Killing stopped releasing around 2010.

Side 1, Fajr (the time when the first of the five daily prayers of Islam is performed), the track opens with samples of fighter pilots discussing targets, ending in ‘do not engage the mosque.’ Deep bass noises go off as if to mimic bombs exploding. All of this goes off over a subtle droning sound that changes tone gradually throughout Fajr. The drones begin to take further depth as the time moves on, turning into deep rumbles as the atmosphere intensifies. The shift from wavering wind sounds to distorted code comes in with the changes of the drones, both elements co-exist uneasily. In part the deep rumbling depths that Soft Option Killing engages in reminds me of the slower rumblings that could happen in the work of label mates Shift.

Side 2 – Isha’a. (Second prayer of the day, occurring in the darkness of night.) Thick synthesiser resonations seem to pull this track into murkier, territory than Fajr. The drones are ominous and threatening throughout the track. The synthesisers become more death-like further into the work whilst a holing distortion sounds off over this intermittently. I’d argue there was a clear policy in Unrest acts where synthesisers are pushed to maximum effect or to the forefront of the sound. Soft Option Killing was clearly unafraid to do this and dive into Death Industrial territory, a few acts on the label revelled in that for passages of time, S.T.A.B. Electronics lives it. The murkier Isha’a gets, the more it intensifies and steps up to the mark. It wails and gives deep horn like drones at the peak of the track – the sound becomes massive.

The missing in action status of Soft Option Killing adds mystery to the work. The sound of this tape adds credibility and integrity to the name. There are some heavyweight acts on Unrest and this easily holds its own amongst them. 6 tapes released in three years, if ever something should be reissued and known about, it is this work.

Nothing and Nobody 2023.

Inner Demons #23

Inner Demons #23

https://innerdemonsrecords.bandcamp.com/

FAIL – Unfortunate Things – 3”CDR/Download – [IND170] – 2024.

          1.       Tallypractice.

          2.       Unadequacy.

Fail is the project of Dan Fox; I always expect great things from this project.

Tallypractice glitches around until it lands in the middle of a conversation made up of slowed down voices and sped up voices that overlap to form an unintelligible community of sound. Huge, distorted drones flood the voices and cascade with others to build up the depth of the sound. As waves of distortion wade in to smother the remaining voices, the density can be felt. Blasts of noise cut into this, until the drones come back, rumblings and glitches can be heard throughout it. The aggressive noise returns to beat these proceedings up, it is as if the noise is created by pushing the sound into an accelerated hyperdrive. This is an explosive collision of Industrial and Harsh Noise.

Unadequacy: Pulsating humming and crackling distortion fill my headphones; a keyboard melody plays but becomes a melody of distortion as it rises in volume. The death hum that backs this, impresses me greatly. As things change speed, the contrasts dart and change around Unadequacy at a rapid pace towards its end.

This is excellent work.

Platonoff – Evil Smells Oil – CDR/Download – [IND169} – 2024.

https://platonoff.bandcamp.com/album/uno-lump

Russian project Platonoff from Saint Petersburg has been active since 2020. Evil Smells Oil is their 4^th release for Inner Demons Records.

The title track uses a slow, farty sound that is backed by a beat’s low rhythm. As the track begins to fully form, noise overlap the proceedings, building like a whirlwind over the rhythm. As the distortion dies off, we are left with slow noise and rhythm which progresses to the sound of emptiness. Slow trumping drones return to introduce ‘Looming Shadows of the Past’, this uses some impressive synth humming and drones to deliver a stronger sound. The rhythm reemerges to clash over the deep bass which sounds ancient and slow as if representing the Looming Shadows of the past. An interesting release.

RDKPL- Herr Pes Trinch – CDr/Download – [IND168] – 2024.

https://rdkpl.bandcamp.com/

         1.       231022_03

         2.       231022_04

RDKPL is Radek Kopel and comes from Most in Czechia. This prolific project has been releasing recordings since 2021. Kopel goes right back to 1994 with a range of different projects.

Funeral noise sounds off to introduce 231022_03, I like the combination of keyboard and hissing, glitching sounds. Low deep, distortion passes underneath this and is revealed fully whenever the sound stops as if giving a brief pause to the noise. The main noise that leads the track fills out into a combination of warped psychedelic wavering keyboards and deep underrunning bass; the combination of both elements thrusts the sound forwards. The two elements break up so you get short, sharp blasts of each at the end of the track. Further glitching sounds, albeit more fractured explode, the sound is faltered lots making the track a series of high-speed cut ups. 231022_04 is a fractured collage of noise spread across 10 minutes. A good release, but the first track was by far my favourite.

Jon Watkins & Fail – Reflections on Art and A.I. – 3”CDr/Download – [IND162] – 2024

https://jonwatkins86.bandcamp.com/

https://thirtyfive.bandcamp.com/

          1.       You Were Warned…

          2.       …And Now It’s Too Late.

You Were Warned…, displays a combination of guitar melody and noise that complement each other perfectly. The guitar is untreated as if just played straight into an amplifier and the noise builds a murky atmosphere around the melody. There isn’t a lot to say other than how beautiful this track is. In contrast to this …And Now It’s Too Late, allows the drones of FAIL to take the leas and the guitar is a bit noisier this time, less melodic. The atmosphere is edgier to this track, but each artist compliments the other perfectly. I think this is a gorgeous release, both artists have worked together to make an awesome collaboration.

Nothing and Nobody 2024.

SONA NYL - Chroniques de vampires, Vourdalaks et autres non-morts.

 

SONA NYL – Chroniques de vampires, Vourdalaks et autres non-morts – cassette/download – DMP – 2023.

https://dialatedmusicproductions.bandcamp.com/album/chroniques-de-vampires-vourdalaks-et-autres-non-morts

https://www.facebook.com/ludoviclepretre677

https://soundcloud.com/sona-nihil

Ruelle creaks Chroniques de vampires, Vourdalaks et autres non-morts into life before drones build into melodies that pace across the work until a synth pattern evolves to form a futuristic piece of music that plays through beautifully. A more ambient passage of sound with drones thrown across it forms Cynthia. Eventually melody sprinkles across it, the combined elements are more abstract than the previous track. Skull is a more sinister, slow dungeon passage of organ like synthesiser.  Pulsing beat and electronics form a Mirage, it darkens as the melody arrives, everything seems controlled by the intensity of the beat as it changes. Jeux d’enfants uses a jollier pattern of electronics and beat to make a luscious piece of pop instrumental music. Le Pouvoir initially sounds sinister in line with the previous tracks but has a lighter melody and use of noise that is sunnier. As the synth melody begins to play the sound just erupts beauty.

Sombre Resurrection returns to the twilight zone of moody melody as if serving as the prelude to bad events in a horror film. Retour Chex les Vourdalaks proves that there was nothing to worry about, sophisticated layers of melody and rhythm demonstrate golden brilliance. Devenir un dieu shifts things as if serving as a sullen intro to the darkness of Nous sommes une legende – the darker side of SONA NYL is still as rich and complex as its lighter side. Introspective piano and deep organ melody are Elzbieta which leads to the outro Quand le monde s’agenoullera devant toi.

This is a beautiful recording that I thoroughly enjoyed hearing. A pleasure to review.

Nevis Kretini 2024

There is no clique here, no network, one I and I alone. As Lee once said, this is a long, lonely road.

Entre Vifs - Art of Noises - 110th Anniversary

 

Entre Vifs – Art of Noises – 110^th Anniversary – Vinyl LP – Aussaat – Aussaat 30 – 2023

https://entrevifs.bandcamp.com/music 

                Side 1 – Session 57A -1

                Side 2 – Session 57A – 2

I’ve become increasingly familiar with the works of Entre Vifs through continual reviews for the label Aussaat.  Each of their sessions are recorded at the project’s Noisecraft Workshop, in the Maisons Alfort suburb of Paris, these particular sessions were recorded in November 2019. The theme of this lp is Luigi Russolo’s 1913 Book ‘The Art of Noises.’ I found the first essay in the booklet by Zorin on Noise to be exciting, I liked how he talks about the context of Entre Vifs “Joy Through Noise”. Zorin was active in Le Syndicat since around 1982 so in the booklet he also talks about his reaction to SPK and Throbbing Gristle. The whole booklet could have been this essay expanded as I started to want to know more about the history and present of Industrial Music in France, you know all that stuff Tape Mag site publishes! The text and featured artwork also made me think how I approach my own painting in relation to all this music. The second essay Lyrical Brutalism as Cognitive Art contextualises the work of Entre Vifs beautifully. When releases come with essays, I can be dismissive as I’m not often convinced, but here, I am glad I read through the booklet that comes with the album

Session 57A – 1, scrapes, clangs and sonically barks into life. The wailing of Entre Vif’s homemade instruments is like the sound of a familiar friend as they begin their fractured dialogue. The metallic resonations and clanging echo ricochet around as under-drones hum underneath the work for short time and disappear as if they are a rug pulled from underneath the feet of the main body of noise, leaving a raw, honest rhapsody of noises. That leads to other noises entering and starting to thicken the texture of the session as it shifts into a busier overload of violent joy. As with any piece by Entre Vifs, the movement of the track shifts between fractured and fluid and a wide range of sounds seem to come out of each instrument, they wail and feedback against other noises as if pushed way beyond their own limits. The noises do sound like voices wailing and arguing at times.

The sound on the second side Session 57A 2 is immediately textured, not as densely as the first side, but in away that allows space between all the sounds that are being made. As I have often said the sophistication of what’s happening is evident as new noise language comes into the work, it shifts the flow of the session into other directions. As it breaks off into less noises and eventually one noise wailing off, the shift in density from busy to solo is an impressive contrast to the earlier busier combustion of the session. The work does sound dark at times, without even trying too hard, it doesn’t need any imagery to do that, the instruments shift mood a lot from pained to joyful and anywhere between within a move.

As ever, Entre Vifs has never made a bad album. This vinyl debut is beautifully presented by the cover and large booklet, the sound is sophisticated and outstanding. To be honest I wouldn’t expect any less.

Army of One 2024.

Inner Demons #22

 

Inner Demons #22

https://innerdemonsrecords.bandcamp.com/

Sick System – I Was. I Am. I Will Be. (Homage to Rosa Luxemburg) – 2023 – CDr/Download – [IND151]

https://innerdemonsrecords.bandcamp.com/album/i-was-i-am-i-will-be-homage-to-rosa-luxemburg-ind151

https://www.rosalux.de/en

https://www.discogs.com/artist/11482655-Sick-System

     1.       I Was. I Am. I Will Be. (Homage to Rosa Luxemburg) 1.

     2.       I Was. I Am. I Will Be. (Homage to Rosa Luxemburg) 2.

     3.       I Was. I Am. I Will Be. (Homage to Rosa Luxemburg) 3.

Homage to Rosa Luxemburg begins with a reading from Rosa Luxemburg’s writings delivered with a clear, concise voice. The wall kicks in, I am immediately impressed by the shift from introduction to sonic chaos. The wall blasts distortion over creaking, dragging sounds as drones go off in the background. The feel of the wall is a rustic haunted with an aged timbre that is emphasized through the continual creaking buried within the distortion.

The second movement is higher pitched, with faster movement and cuts through with sharper noise a lot. The main sound becomes something that lies between the noise equivalent of a solo and the sound trying to be vocal as it jitters its chaotic dialogue out. As part 2 progresses, it becomes choppier, faltering, allowing sounds to pause while the others take prominence for a time.

A howling, wailing, distorted blast becomes the 4^th movement. I like the looped wail of the sound that is added to this part, the distortion is subtle on this, the pain of the sound is prominent here. Individual sounds drop back subtly to allow for the isolation of particular (howling) sounds to emphasise the agonised aspects of the track. A reading of Luxemburg’s writings ends the work.

There’s often a lot of online discussion about good and bad harsh noise, with an emphasis on crap Bandcamp projects. This is good Harsh Noise bolstered by the backing of an excellent label and a physical release.

Infelix – Abyssal Despondency – 5” CDr/Download – 2023 – [IND150F]

https://infelix.bandcamp.com/

1.       I. Murmurs Ov The Tormented.

2.       II. The Stagnant Nausea Ov Existence.

3.       III. E_R_D.

4.       IV. Ecstasy ov Null.

5.       V. Stench ov Death.

6.       VI. Sepulchral Occupation.

7.       VII. Burdened by Ash.

8.       VIII. Endless Rotting Sky.

INFELIX has musical roots in 80s and 90s industrial music, blackened dystopian ambience, nightmarish death industrial, depressive black metal, and doomed power electronics. Philosophically INFELIX navigates depression, environmental collapse, anti-capitalism, anti-fascism, animal rights, existential dread, cosmic pessimism, misanthropy, and metaphysical nihilism. Quote from the Infelix Bandcamp

I am familiar with the work of Infelix from a previous Inner Demons batch. The project has been around since 1998. The creative mastermind behind the project is Jason M. Stevens who is also does the project Lapsed.

Murmurs Ov the Tormented begins the sounds moving through ambient landscapes, created by drones that gently evolve via shifts of tone and mists of distortion. Thudding, roaring distortion and vocals deep inside the mix resonate The Stagnant Nausea of Existence – the sound is big.

E_R_D demonstrates effective repetition and a noisier approach to the sound, this carries through to Ecstasy ov Null the layering is impressive here, sounds weave through each other and bounce off each other beautifully. Stench ov Death utilises effective electronics that perk my interest further. The churning sound that begins to dominate the sound is strong. Sepulchral Occupation is the album in full stride, the beat is slow and acts like a pillar for the noise to explode around slowly. I am often averse to beats in noise and take a lot of persuading of their validity, here I am persuaded. The track gets deeper and thicker as it goes on. Burdened by Ash is the perfect balance of noise, melodic synth as if soundtracking something in a sci fi film. Endless Rotting Sky allows some diseased drone to infect vocal samples and spread the noise rot and a melodic, dramatic end.

The majestic, large sound resonates across this album with its cinematic ambition. The Blackened Death Industrial factor is there, the darkness of the tracks is also consistent throughout the album.

Jettenbach – A Meditation on Procrastination – CDr/Download – 2023 – [IND149]

https://innerdemonsrecords.bandcamp.com/album/a-meditation-on-procrastination-ind149

www.jettenbach.bandcamp.com

 

      1.   One Simply Can’t Sustain This Level of Gear Acquisition. But I Might Get Another Reverb.

      2.  I Have Come to Accept That I Will never Have as Many Pedals as Dan and That’s OK.

This is one of those releases that grips me immediately. It begins with a new age ambient feel on One Simply Can’t Sustain…. The sound has consistent gradual shift and change, within the grand scope of its landscape of sound. Jettenbach uses drones and synthesiser sounds as the main sources to evoke a subtle darkness punctuated by rays of light through synth key notes until it begins to glitch out and comes to an end.

A synthesiser noise tries to take off but it can’t, the sound is rephrased through pops and drones that slowly evolve into the even bigger sound of I Have Come to Accept... There is also a clearer air of suspense to this track with a feeling that the sounds are repeatedly coming at the listener like waves in the ocean – soundwaves.

Despite the humorous, carefree titles, A Meditation on Procrastination presented here is complex and very well executed. I like the whole body of work of this release, the small quirks and glitches work well to add character to the expansive lushness this artist continually produces. A futuristic gem of a release.

CHEFKIRK – A Non-technical Introduction – CDr/Download – 2023 – [IND148]

https://innerdemonsrecords.bandcamp.com/album/a-non-technical-introduction-ind148

https://chefkirk.bandcamp.com/music

https://cementimental.bandcamp.com/

     1.       Accidental Birds.

Accidental Birds pulsates into life, CHEFKIRK controls the pulsations whilst warped waveform noises play with those pulsations as they morph into glitches of sound. I like the fresh, original use of noise that combines with other sounds as if to add a bumpiness to the movement of sound, I’d describe it as having a deliberate multi-layered, rough texture. At times it falls into cacophony of psychedelic science fiction sound effects as if in a film from the 60s or early 70s. It has a lot in common with the work of Tim Drage’s Cementimental project and I would advise working together. This sound seems to occasionally push overload on itself and run excitedly towards a meltdown. This is a strong release, well worthy of purchase.

One and alone 2024.