Tuesday, 28 August 2018


KNIFEDOUTOFEXISTENCE – immaturity of movement – LP - (2014). Inhibitors – Cassette – (2017).


Side A.
1.   Document #8 and being late.
2.   Demons.
Side B.
3.   Immaturity of movement.


1.   Creation for Creations Sake.
2.   Cradle to Grave.
3.   Battling the Silence.
4.   Damaged Children.

I saw KNIFEDOUTOFEXISTENCE play live in Nottingham last week, all I had to compare was a live show around 4 years ago with Cremation Lily and a couple of other noise acts. Last week it was clear the project had now matured and developed considerably since then. On the strength of that, I bought these two releases and chose to investigate further.

Immaturity of Movement radiates urgency and anxiety immediately with the opening track Document #8 and being late. Demons in comparison simmers in the slower, quieter regions using feedback as a piercing weapon to poke the works intensity into higher regions as shouting vocals kick things off into a fit of rage and further stabs of feedback with a failing wall off hiss. The vocals go mental in conjunction with the feedback kickstarting electronic urgency into override.

The walls aren’t failing on the title track until wonky, repetitive instrumentation suddenly dominates. Distant vocals go off as noise punctuates the warped note patterns. My first thoughts on Knifed live all those years ago was that the project was derivative; this recording doesn’t say that. He does favour raw experimentation over a lot of methods to the point where it is unique and consistently interesting.

Immaturity of Movement is daily life and memory assaulted with noise and sound towards a sense of victory. This album is a one man fight club until failure dies. The lack of control of daily life is recorded and defeated. I can’t make out if Immaturity of Movement is a permanent, imagined or temporary victory. Either way it’s victory as a recording through the acts documented in the record whilst standing out as an act of subversion against PE conservatism.

The comparisons and influences listed on the Bandcamp statement are irrelevant, this is something else completely.

For as long as I can remember, the set up in my mind has been myself, a tape recorder and a fictional third party. When I am not answering their questions, I am rehearsing the answers for questions that may arise. The material presented here is both the answers to these questions and the subject of them.

Quote from Inhibitors booklet.

Inhibitors was recorded three years later, it slowly emerges with impressive juxtapositions of noise, distortion and vocals. The balance and delivery are direct and focussed. The use of noise is sometimes rhythmic and chopped into for full effect. The delivery of vocals rises to the forefront and is at times simultaneously reinforced and abstracted by the surrounding noise.

The experimental qualities woven into the work, again give it a uniqueness. Piano and noise combine over a recorded sample until pulsating distortion wipes this away. This breaks the album up and stops it becoming too formulaic.

There is a personal, emotive quality that forms the conceptual basis of the recording. Snippets of text cover the collaged artwork. Fragments of dialogue form a fractured whole.
In comparison to Immaturity of Movement, Inhibitors is way more stripped back, it uses a more minimal range of sound to better effect. It is a tidier, sharper recording. I’d argue Inhibitors also way angrier than Immaturity; more explosive, even when it pulls back, it’s still punishing. It is harder to listen to; the intensity is higher. Good progression and a strong release.

Choppy Noodles 2018

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