Pages

Wednesday 21 February 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.

Sunday 18 February 2024

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 4th 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.

Saturday 20 January 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.

Sunday 7 January 2024

Entre Vifs - Art of Noises - 110th Anniversary

 

Entre Vifs – Art of Noises – 110th 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 4th 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.

Wednesday 1 November 2023

Threatening Reflections - Mosquito Larve in the Birdbath.

 

Threatening Reflections – Mosquito Larvae in the Birdbath – Cassette, C20 – Virtues – VTUL010 – 2023

https://www.virtueslabel.com/



I’ve bought many releases on Alex Kmet’s Virtues label since it began in 2020. There have been impressive works by Doll, Corporate Park, Jon Mueller, SV8, Fog of Joy, Kate Rissiek and Climax Denial amongst others in that time. I like the presentation and the wide range of work by artists that the label puts out.

This is the second ever appearance by the Climax Denial side project Threatening Reflection, the first was in a split release with Climax Denial on Violent Whatever in 2007 – two sides of the same artist. I like the 16-year gap between releases and this is the first stand-alone release by Threatening Reflections.

The cassette is printed and presented in a pard clouded, part clear cassette case. The inner card folds out and there are images of mysteriously dead animals printed in colour with a shot of a Mosquito larvae with trees and long grass in the background on the inside cover. The artwork clearly and beautifully sets the theme to the work. I say this, as each of the images are like works of art in themselves, with the front cover images seen as either staged scenarios or natural accidents captured within a landscape.

The untitled work becomes a landscape of sound, initially formed through drones that remind me of the work of Angus MacLise or La Monte Young. This quickly moves into its own territory through the dragging vocal sounds, subtle glitch sounds and noises that seem to reference bad weather, each running through the sound at different times. I feel as if I am lost in an American rural landscape that shifts from plaguing me with fear, to overwhelming with natural beauty as I try to navigate it. These aspects cause the release to live up to the threatening part of the name, but it is also serves as a strangely seductive reflection at the same time.

One of my favourite Climax Denial releases is the Sexuality Is a Curse release on the short-lived IDES Recordings label in 2006. To me that recording is Climax Denial presented as something other than the genres that are frequently tied to the project. This release also does that and easily matches Sexuality Is a Curse in terms of how good and how unique it is.  Mosquito Larve in the Birdbath is a short but very strong release that demonstrates the different facets of beauty that Alex Kmet can create in his recordings.  

One and one alone, 2023.

Monday 8 May 2023

Worth - Hamper.

Worth – Hamper – Aussaat – CD – 2023 – Aussaat23

https://naggecontent.blogspot.com/

https://www.facebook.com/Aussaatundernte/

White Centipede Noise Interview - https://www.youtube.com/watch?v=X8nrprR6ERs

1.    Pomander and Globular Glass.

2.    Black Oleoresin Motif on Teenaged Lucifer.

3.    Penetralia.

4.    Refraction Poison (Mirrored by Presage).

5.    Necrotechnology.



Worth is a USA based project that has been releasing since 2014. The creator of this project was also responsible for Weak Sisters, a project that goes back to 2006 and was active until 2011. Other projects include Other People’s Children, 3 Headed Monster and Experiments in American Music. He has been making Harsh Noise since he was 15 years old. There have been extensive interviews recently in Special Interests Magazine and White Centipede Noise Podcast.

I remember playing this to check it out as I was totally new to Worth’s work when Aussaat sent me this to review. Even by Harsh Noise standards and my familiarity with the genre, I found this to be very Harsh, way beyond what I am used to. Playing Pomander and Globular Glass I am impressed by how harsh this is. I am, I recently realised way ignorant of Japanese Noise that I read about and this being an important development, I wonder if it is as harsh as this? I know there is a slight stream of consciousness thing happening here, but I am having a year 0 moment with Hamper. This seems like digital noise and metal abuse combined to make attack, the approach is, to be amongst the most extreme that I have heard.

Swotting up on the project and artist prior to review, Stabat Mors was mentioned in Special Interests, that is another project I discovered recently as Steve Underwood mentioned I should check them out. I obtained a lot of recordings and have been blown away. Listening there are tones of similar bleakness spread across the work, not in a cloney way, just an undertone that is there, Black Oleoresin Motif on Teenaged Lucifer seems to resonate that undertone. The shift from the Harshness of the previous track to pure bleakness is impressive, even more so as the violent sound returns like a war and the kicks in with aggressive explosions of noise. The noise sounds vocal, a vocal in torment, the other noises range from savage to disturbingly playful.

Bleak landscapes of sound return on Penetralia, this hisses and grinds slowly. Drilling noise takes over, forming a wall of blast, thicker, deep elements then rush in and build the sound up. Thick, churning distortion begins to splatter everywhere and dominate the sound completely, it feels like you are staring face first at the Gates of Mordor, the sound is immense. The work takes a massive shift as other blasts of noise take over and the work accelerates into a bombastic hyperdrive. As the work nearly faulters out and crashes, this furthers a hasty rebuild of sound to continue the high paced noise collision. When the work splutters to single toned drones and whistling feedback, the elements play off each other, as if in conversation until the thicker depths of sound try to return to speed the track to its end.

Steady paced wall distortion and feedback combine with each element flaring alongside the other. Sharper sounds radiate urgency and cut into this, Vocal noise and shrieking feedback take over, this is the sound of Refraction Poison (Mirrored by Presage). I like the frequent shifts the noise makes as if to race through different territories, roaring through a mental landscape at high speed.

Feedbacks and drones take turns to pipe up, distortion and deep drones kick in to build chaos to the track gradually. I like the deep dominating drone that goes off, this would usually be used behind a dense array of noise, but with only a sprinkling of sounds on it, it resonates beautifully. As the sound roars, it is only for short times so other sounds can poke in, it is like muscles flexing and loosening continually. Necrotechnology has skilled control of a set of well curated sounds, the control over the sound is very prominent on the finale. The die-off towards the end is magnificent.

Noise is a personal thing; we all have different definitions of which artists are great. To be completely honest the magazines and podcasts were right Worth; I stand converted to Worth. This is the strongest album from 2023 that I have heard so far.

Army of One, no cliques, no falsehoods, only myself – the struggle is real.  2023.

Saturday 6 May 2023

Climax Denial #3

Climax Denial – Indolence – CD/Download – Abhorrent A.D. - AAD69

https://abhorrentafterdeath.bandcamp.com/album/climax-denial-indolence

https://www.virtueslabel.com/ (Still available from)

1.   Strong Nude Exhausts A Landscape.

2.   Clogged Drain.

3.   III (Mental)

4.   Shell In Muscle Fantastic Passion.

5.   Last Chance.

Indolence – An inclination to laziness.

Online dictionary definition. (merriam – webster)



I collect this project; I get everything that I can, but I have only reviewed him twice on here - my bad. Since 2005’s Little Wood Rose for Little Love Knife the discography of Climax Denial has steadily grown, as has the project’s reputation. Past interviews in As Loud as Possible and more recently in Special Interests have cemented the projects reputation. The image is a photo of a man with Lymphatic disease.

Harsh noise that feels like it is recorded with real metal and contact microphones explodes to create Strong Nude Exhausts A Landscape. Metal clangs throughout the roaring distortion, things stop, kick off and generally explode. This is release follows Asexual Electricity as a real foray into Harsh Noise. This has always been a part of Climax Denial’s many approaches, but these last two releases truly dive full into the genre. Blasts of electronics fuse into the physical sounds of metal clattering throughout the savagery of the piece.

Hissing goes off, we have Clogged Drain as sounds echo in the distance. This short track makes way for the burst of Power Electronics Harshness that is III (Mental), jarring feedback and distortion collide, the aggression is faster than the previous tracks. The throb of bass underneath the sound begins to pulsate and control how the other elements work on the track. This gets also develops a level of fucky digital noise as the sounds reach full explosion, the layering of elements is also impressive, giving a strong attention to finer detail of sound.

Menacing drones, shouting, cluttering and speech samples drop us into the dronier, bleak side of Climax Denial as demonstrated in 2015’s Dehumanizing Environments, this reminds us how nasty and cold the project can get. Last Track, Last Chance, an explosion of distortion throwing out an array of noises revs onwards. This track dies off with a drop in sound to reinvigorate with explosions of metal being hit and roaring distortion. Everything goes into hyperdrive until the die off, end.

The two shorter tracks delve into strange territories that remind us of the oddness of Climax Denial, it reminds us of who we are listening to. This isn’t the typical American Power Electronics, macho ex-metal guy who found PE through Relapse Records, this is the real weirdo oddball who came into Industrial Music and kicked off. The quest continues with new work and new sides to the sound emerging at different times. Great album, I can’t say enough great things about this project.

Army of One, 2023.

Monday 1 May 2023

The RITA/OVMN

 

The RITA/OVMN – LP – Input Error – 2023 – IE-12.

https://input-error.co.uk/music

https://bakurita.blogspot.com/

https://therita.bandcamp.com/

https://www.discogs.com/artist/127868-OVMN

1.    The RITA  - Salmon Pink Crotch on the Chevelle SS Seat.

2.    OVMN – Head on Collision (Deadly Wreckage)



I am familiar with both artists on this split; I have reviewed the Rita a few times on here and recently bought OVMN’s Land of the Zombies release on Mother Savage Productions. OVMN is Joseph Roemer and Rodger Stella, they have been releasing since 1996 – both of whom also come from Macronympha and run Mother Savage Productions, no pressure here then. The RITA as you will all know is Sam McKinlay, so even more no pressure here then. A bit of Heavyweight reviewing going on here at 1208 North Fuller Avenue.

I was impressed that Input Error sent me this on vinyl, it was very clear to me that the label puts a lot of pride into their releases, judging by the quality of this and the Drug Age CD that I was sent, so maximum kudos to London’s Input Error.

Side One – The RITA’s track Salmon Pink Crotch on the Chevelle SS Seat uses a broken, crackle that abrasively drags along, it has a very real tension to its sound because of this. It drags at its own pace, constantly resisting itself, tearing and ripping on its own stutter. This also causes a slight bounciness to the sound as it jitters and moves around, giving it a slight playfulness. Towards the end the breaks in the static become more dominant, this signifies the sound is dying off, adding a strong compositional factor to the work. The title, when tied into the work makes you think of contact microphones attached between the Chevelle SS seat and the salmon pink crotch as it moves around during driving whilst sat down, is this symbolic of the friction of movements between crotch and seat? Also, with The RITA’s past work about Nylons, does nylon friction come into play? The title, cover art, other RITA obsessions really make the mind race as this work drags onwards. On the other hand, the choking, dragging sounds gives you a feel of imminent disaster or death, which leads us onto the next track.

Side Two - OVMN – Head on Collision (Deadly Wreckage.) OVMN stands for Optimum Volume Maximum Noise whom I have recently familiarised myself with and their Land of Zombies release. The sound of Head on Collision (Deadly Wreckage) has a deep bass roar in the background that is overlaid with a well textured crackle, it feels like an earthquake, cracking the earth’s crust like a biscuit. It feels like the ground disintegrating.  The speed of the sound from the back-roar makes it feel like an accelerating car, driving at a very high speed. The crackle feels like something slowly crushing under impact. Both elements are relentless so it feels like you are caught in a suspended state of acceleration and impact. The density of the sound seems to intensify gradually throughout the 18+ minutes, with the crackle getting more savoury and the bass roar really thickening up, both elements seem more combative towards each other more near the end of the track, they collide.

Conceptually this demonstrates true strength, as well as well thought out, mature, concisely executed work. Each track works with the title and artwork perfectly, it made me think and make associations between all the elements. Top work.

Army of One – focus, the war in the head is real, don’t be distracted. 2023.

Sunday 30 April 2023

Spiteful Womb - Interior Castle

 

Spiteful Womb – Interior Castle – LP – Cipher Productions - 2023 – (sic150)

https://spitefulwomb.bandcamp.com/

http://www.iheartnoise.com/cipherproductions/

https://cipherproductions.storenvy.com/

1.    First Mansion.

2.    Second Mansion.

3.    Third Mansion.

4.    Fourth Mansion.

5.    Fifth Mansion.

6.    Sixth Mansion.

7.    Seventh Mansion.

 


I’ve been listening to Spiteful Womb for ages. I own a few releases on tape, a bunch of downloads, but I have never reviewed the project on here - it is time to rectify that.

Spiteful Womb is Nora Egloff. The debut release was Postpenitent in 2014, there have been many releases since then, but Interior Castle is the debut vinyl LP by Spiteful Womb. The album comes on heavy vinyl, it has a colour sleeve with inserts.

Side One - Flies buzz and sounds click with a low under drone, sounds go off, it is hard to gauge what is going to happen, this causes immediate tension to the listener; it feels like fragments of memories from the past floating around a space. Buried lyrics flow through dense atmospheres, the noises fill the space, the drones are pushed forwards more so the sound has a thickness that is being continually compressed to give off tension, this forces the different sounds together to become a new form. It is like when you become someone else in a dream or a side of yourself that you aren’t aware of. I like the shift in the third mansion, keyboards melody and drones form the main sound. There is a delicacy to the sound, a minimalism and very successful combination of the different elements. Third Mansion is a break away from the noise and an impressive burst of musicianship across the Interior Castle – that isn’t to detract from the other interiors, but this sudden shift hits the listener.

Side Two – Texture builds within the sound until deep radiating synths pulsate across the sound to make way for the vocal to curse across the work. This has a Power Electronics urgency that heightens the darkness of the work, it is as if the work has taken a step forward at the listener to get in their face. The Fifth Mansion drops back into hostile subconscious territory. Inaudible vocals that play out in the background, high pitched synthesizer sounds wail over the work and the fluidity of the work makes it feel as if the sounds are being pumped through the body – this has a physicality to it that is very prevalent in the work. The sound begins to accelerate and become nosier, falling into PE territory again. The last two mansions descend into dream-like ambient territory that returns partly to the feel of the third mansion and leads us to the end of the album's journey.

I have read Spiteful Womb interviews, where the inner self and obsessions becoming the work is discussed. I feel Interior Castle achieves this and is a perfect representation of Spiteful Womb as a project. The images on the cover, inserts, sparse labelling on the heavy vinyl make for a beautiful, well-presented object. The sound is like a nightmare with fleeting moments of beauty, consistent depth and a sharp attention to detail. I have always liked the work, but this, to me, is Spiteful Womb’s best release so far.

Army of One, 2023.

Tuesday 25 April 2023

Abrasion Addict - Death Gives Life to Science.

 

Abrasion Addict – Death Gives Life to Science – Cassette/download – 2023

https://abrasionaddict.bandcamp.com/

1.    Death Gives Life to Science.

2.    Anatomy Ornamented.

3.    The Pathologisation of Dissection.

4.    Foetal Maceration.



Death Gives Life to Science is the second of three releases by Blackpool, UK based project Abrasion Addict.

The title track opens the release, this clangs and splutters gagging noise at me. I like the broken sound, this tries for a long time to be fluid, but is really hacked into by screaming feedback. Bass hums through the shards of noise occasionally as they begin to sound like an agonised dogfight – the sound is truly brutal. The sound builds more body through the bass whilst maintaining the screeching qualities it built. As the bass begins to rev into the sound a thick density reinforces and radiates the sound powerfully.

Pulsating digital repetition is Anatomy Ornamented, fractured voices and crunching form a busier sound as all battle for dominance. The sound of this track varies massively from the first. Different noise sounds weave in and out of the work forcing it to change continuously. Sounds with varying degrees of intensity come into the sound and dominate for periods of time. The noise chatter argues with a marching, pulsating, melted noise sound for a long period of time until the relentless march crushes everything.

The album ups its intensity further with The Pathologisation of Dissection, this reaches a full sound immediately, it is like a detailed wall with clarity focussed on all its aspects. It roars and hisses massively. The depth drops to allow less noise to work its static magic with less background noise interfering. The sound chokes and gasps towards its end, rebirthing with a full sound, continually hacking itself into less.

The finale of this release is Foetal Maceration is the shortest track, the noises here sound like screaming buried in static roaring and crunching distortion. The continual shift is impressive, making an epic end to Death Gives Life to Science.

Bold, savage, modern-day Harsh Noise. Keep up the solid work my Blackpool Friends.

Army of One 2023.