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Wednesday 31 October 2018

Nekrofellatio overview


Nekrofellatio – Dead Inside Me - 2012, 
Pesadilla En Una Noche Sin Estrellas - 2014.

Dead Inside Me (2012)

Dissection Time.
Ti Ho Visto Morire.
Father’s Day.
Un Arcolris Manchado De Sangre.
Corpse Party.
Fuck Factory.
Noi Siamo La Morte.
Nothing To Do.
Victims (Peter Sotos Cover)
Dead Inside Me.
Anal fuck Before Death.

Pesadilla En Una Noche Sin Estrellas – 2014.

Sex Electronic Poison.
Unidos Por La Sangre.
Pesadilla En Una Noche Sin Estrellas.
Muneco De Came
Disgusted by Humans.
Come Back Home When You Are Dead.
Demoni.
Sete Di Sangue.
Reanimated Flesh.
Amore Sporco.



Nekrofellatio’s Dead Inside Me was the debut CD release for the Belgian Death Continues Records label in 2012. The label went on to release a strength of material from some impressive acts. These included In Search of Death, Sutcliffe Judgend, Femeheim, Autopsia and Skull:Axis. Nekrofellatio I had reviewed for another site on the release of Dead Inside Me. Upon hearing this release it was evident Nekrofellatio was a prime example of great Death Industrial.  The man responsible for Nekrofellatio was Leonardo Carballo Canto, the project seems to have ended sometime in 2017. My Shamanic hope from this review is to spark further interest, ideally more new work.

The first album Dead Inside Me, uses simple juxtapositions to create a dialogue of sound through around 4 different sources. Most tracks are unsettling through the nature of the sounds used and unexpected increases in volume. Canto seems to come through the electronic noises, it is if he is manipulating the dialogue used in each track, his persona embodied through the noise. Sickness and anxiety is depicted through the noises via nauseous violent repetition. Dead Inside me is chock full of abstract collages of horrible sickness, with Canto’s consistent noise commentary. The album later blurs into deeper abstractions of sounds and samples furthermore as it progresses.

It was only recently upon returning to Facebook after a long absence I thought of Leonardo’s work and set on buying the second album from Hagshadow which I had originally missed out on. This was released in 2014 and called Pesadilla En Una Noche Sin Estrellas. It had been received positively in Noise Receptor, but I was keen to hear what came after the impressive debut.

I am not sure if it is the mass of beer I have had tonight to celebrate the end of dry October but Pesadilla En Una Noche Sin Estrellas immediately radiates more sickness and suffering from the outset. The album seems to continue where the murkier end of Dead Inside Me left off, it is more complex and swampier in the overall sound. It is as if Canto has entrenched himself further into the wider sound of Nekrofellatio. The drones and samples of Sex Electronic Poison are unified together well. Father’s day uses violently relentless, repetition of sick noise sounds to check in with the projects core roots. It functions like wall noise yet with synth repetition replacing the walls of distortion, things go off in the background continually. The dominance of Italian language titles this time rounds only serves to add mystery and intrigue to the work. By mentioning this, I am aware of the development into deeper ambient/abstract territory, this lacks the shock elements of the first album, it is less traditionally Death Industrial; drifting elsewhere to it’s own territory.

With a lot of recent British Power Electronics stuff I have been hearing, there has been a shift into lower, murkier, deep regions of sound: this is a fucking earlier, strong example of someone doing that. Nekrofellatio warps his own work beyond belief to the point where it’s nearly unrecognisable; There’s been a massive shift between albums. As a side note  Pesadilla En Una Noche Sin Estrellas goes bonkers and ‘elsewhere’ as it ends.

I can only conclude this review bluntly, Nekrofellatio was fucking brilliant, both albums were brilliant shit. From an anonymous blog spot, internet and futuristic point of view my advice is this: “ Leonardo, continue your project, take it where it needs to go, this work is too good to be a footnote in some book or zine’s future history, go now, do it, find labels, make your own, we await for fucks sake!” End of review.

Choppy Noodles 2018



Saturday 20 October 2018

Spermula Tribute - VOMIR, PUTA MALARIA, I, ETERNAL, 45.7872313, 9.4287895


Spermula Tribute -  VOMIR, PUTA MALARIA, I, ETERNAL,  45.7872313, 9.4287895 – 2018 – Skitnaste, Sept, 2018 – mp3 release 

1.       VOMIR – Spermula Split.
2.       Puta Malaria – Seed of the 70s.
3.       Puta Malaria – Retarded Jism Attack.
4.       Puta Malaria – Spunk Crush Blues.
5.       Puta Malaria – Get Down With the Semen.
6.       I,Eternal - Ce Sentiment Est Nouveau Pour Toi?
7.       45.7872313, 9.4287895 -Machinery 1.
8.       45.7872313, 9.4287895 – Machinery 2.
9.       45.7872313, 9.4287895 – Machinery 3.



As I was doing the pre-listening for this review, I felt slightly guilty; I listened to it without a black plastic bag on my head whilst VOMIR was playing. I hope this doesn’t make for an inaccurate review. I remember seeing VOMIR years ago in the UK and the audience were handed black plastic bags to wear on their heads during his set, whilst he stood in a corner, bag on head facing the wall. Whether he had some secret way of making noise or it was pre-recorded, I don’t know. On here the VOMIR wall is double functioning, one deep wall of distortion whilst a sharper mass of distortion bobs up and around it throughout. Dense and hypnotising.

The Puta Malaria tracks are violent, immediate and harsh. They come in four, short, sharp bursts; it is as if you are violent attacked in succession. They seem part industrial in background and violent Power Electronics upfront – a combo team of noise. There appears to be some sort of more savage up front noise which I am unsure if it is vocal based. All 4 tracks are insanely violent, different and very well delivered.

The I’Eternal track samples the film and is almost like a nightmare ambient passage made by failing noise that won’t stop trying. The track is brooding and nasty, it allows ambient qualities to pulsate for periods of time between attacks of sharp, nagging, abusive noise. The emergence of funky background soundtrack is amusing and admirable. I believe this may have been recorded as the film played, this is menacing and violent yet fun and quirky at the same time. 45.7872313, 9.4287895’s tracks are of a similar Industrial backed theme to Puta Malaria but do seem to have a more junk noise aesthetic showing through with a far less digital assault. They achieve similar levels of violence across 3 tracks intensified by some aggressive repetition.

The four mystery artists differ greatly, the work is tied together by coming from various factions of noise all themed to the Spermula film. Essentially Spermula tribute is all strong, making it a consistently good sex themed listen paying tribute to a forgotten masterpiece.

Choppy Noodles. 2018

https://skitnaste.bandcamp.com/


Wednesday 17 October 2018

Zoloft Evra


Zoloft Evra – Wounds of No Return – October 2018 – CD – Italy – Liquid Death Records – 013.


1.    Hooks Through Your Flesh.
2.    Last Injection Kiss.
3.    Wrapped and Killed.
4.    Wounds of No Return.
5.    Life Ending Razor.
6.    Death Trance Ritual.



I admit to not having heard Zoloft Evra before, I am listening afresh to their work. They are linked to MMM whom I did review in a past Facebook Group Review. There appear to be four members who as well as MMM are from other Industrial projects such as Deathwalk Demonologists and Nocturnal Degrade. Wounds of No Return is their 5th physical release and third full album.

From looking at the cover I thought I was going to be listening to a typical Woman mutilation/torture themed Death Industrial type recording; but this work has a very esoteric feel. There are some intense layered builds of differing feedback and samples, these are slightly harsher than the subtle, distant ambient sounds that form most of the album. The contrast adds diversity of sound. This does lead me to think about the connection between the titles of the tracks and the sounds themselves. I question if the shock elements that tie to traditional Industrial/PE themes really need to be here as they do fade as the work develops? Sometimes the titles need not be there as the sound of Wounds of No Return depart massively from the ugliness that cropped up in the earlier Zoloft material - it eclipses its themes. There is a lot of beauty contained within Wounds, is it torturous horror made to appear appealing? Wounds is a Negative Beauty, across the board this is a rich, evocative and sonically powerful album.

Choppy Noodles 2018.



Sunday 7 October 2018

ANTIchildLEAGUE - Infect Your Gut, Infect Your Thoughts.


ANTIchildLEAGUE – Infect Your Gut Infect Your Thoughts. 2018. Cassette. Bacteria Field. Bacteria Field 061.

 Track Listing.

A1. Infect Your Gut.
A2. Breath in Breath Out.
A3. Infect Your Thoughts.
A4. Resilience.
B1. Spineless Class War.
B2. Your Truth Won’t Make Me Free.
B3. Human Symbolism.
B4. Resilience (Baby Rats Mix).



I discovered the work of ANTIchildLEAGUE years ago via a blog. By then the project had done a demo, batch of singles and it’s first CD album. I’ve been a fan ever since and done a round up of the whole discography here there and everywhere. I liked the first demo a lot, the singles were great, and the album showed a lot of development. The eventual trilogy of albums was strong: The Father, The Son and The Holy Ghost.

What’s followed over the last three years is even better -a batch of Cassettes – Holy Spirit, Bruises and Bites (split w Cronaca Nera) a split with The Rita and this album Infect Your Gut, Infect Your Thoughts. Throughout these recordings, the project has begun to mutate and form into something a lot nastier. It is as if a label says “Hi Gaya we want to release a cassette of your work, can you do something for us?” and Gaya says “Oh, cassette, brilliant, I’ll go even more apeshit than I do on CD, make my vocals into raw noise and I can really lose my shit big time!”

That’s exactly what’s happened, one of the angriest, most tortured, torturous ACL releases yet. It has traditional industrial elements that serve as the base for the horrid vocals and noise to kick in. The use of noise as urgency is stronger and more alarming throughout the album. There are times when the tracks seem to go on too long, however this technique makes the repetition and noise more punishing as if forcing the work to do its work better – making it work harder until it is exhausted and finally ready to die. There are bits of spoken more coherent dialogue, but it’s the abstraction of voice where the voice is strongest. You can hear ACL straining at its limits as a project across Infect; this adds manic tension.

There was recently a gig in New York, what was it like? Was it as good as this? Seeing acts like this is so hard and rare in the UK, it’s like a release when you do. Performances or Shows become urgent, explosive actions – violent acting out. If it doesn’t work to this effect, it tends to serve as an excuse to go home early. That’s what makes Power Electronics so taboo here in the UK, so underground and still unique. So, part of this review is a call to action.

Along with Hellworm and The RITA split this is the strongest ACL work to date.

Choppy Noodles 2018.

Saturday 6 October 2018

A Day at the Facebook Groups, review assault #1



I’ve been listening to noise with growing interest since the early 90s, this led me to review for other sites for periods of time until I landed here on my own blog. I often review acts that fall into the different noise categories. Sometimes they are shared out by the label or artist and it creates a wider audience. Most of the time I am reviewing what I buy, and I feel like I am making that extra effort in this mpfree day and age of music listening. However, a balance of obscure and popular is often needed within the blog as it grows. I created a Facebook profile purely to promote this blog and then artists started contacting me to do reviews, which I liked as I hadn’t heard of many of them before.

I was reading the latest Special Interests magazine I had purchased from Unrest and there was an interview with the artist Wince and they spoke about how different golden eras of US noise have been come and gone. Being presently far from any Golden Era of noise, I figured my own way to document the underground and build a wider knowledge of what’s happening worldwide via individual tours of the Facebook Noise Groups where artists and labels seem to advertise their available work. I wanted it to function as a glimpse into today’s underground artists. They release, many play live and they are out there doing it.

For this tour, I will skim through the recent postings in one of the many the Facebook Noise groups: it is called Power Electronics/ DeathIndustrial/ Harsh Noise/ Dark Ambient. The group features artists that link to all or a few of the genres in the title.

Clipping Teeth – Enamel Shrapnel.

Clipping Teeth – Over the Lips, Past the Gums.
Label/Collective - Men Behind the Sun  - mp3 release – 2018.



Clipping Teeth is a collaboration with the guys behind the Men Behind the Sun collective and Paul Byrn who does some very good ambient and progressive music worth checking out. Clipping Teeth’s Enamel Shrapnel revels in a harsh American Digital noise assault, so it is very choppy and chaotic. Throwing out a mass of tangled feedback that begins to die until reinforced by pulsating bass and then it’s cut into by screams. A shifting journey spread across two minutes.

Over the Lips, Past the Gums, centres around vocal samples of a narrative describing Toe Nail Clipper Teeth Clipping. This, at first is more restrained than Enamel Shrapnel, until it explodes halfway through into a wall like mass of noise with distinct clear elements doing different shifts of domination. For a noise side project, Clipping Teeth delivered two interesting, refreshing, textured cuts of pure noise that will soon need a longer physical release.

Mai 12.   - La Nuit Qui Tombe - Split release September 2018.


Mai 12 – Does Soil Get Old?
La Nuit Qui Tombe – The Wind In The Ruin.



I keep seeing Mai 12 releases in the groups, based in Thessaloniki, Greece they are Karl Grümpe and Rene p.g. They release gorgeously packaged tapes and cdrs truly enhanced with visual flair via their Bandcamp page. Their split release with La Nuit Qui Tombe looked so nice, I bought it before I heard it, I hope it’s good.

This is a two-track tape in a unique mesh and car cover, one long track by each artist, each around the 43-minute mark. Mai 12’s piece is ‘Does Soil Get Old?’ it begins with warm bass like distorted crackle wall as things creak and groan in the background. The background sounds increase as the piece progresses - I would describe this as a warm and creaky wall of noise that is solid and consistent. It has a purposeful obscurity and stands as a document of a period in Mai 12’s existence.

A Douglas P interview sample begins La Nuit Qui Tombe’s – The Wind in the Ruin whilst a cocky sense of Avant Garde gradually steps in. My mind drifts away from DIJ towards the act Somewhere in Europe’s earlier bleak yet playful material. Things progress into juxtaposed blasts of foggy noise and dark, ominous ambient soundscapes form. A sense of past times permeates the recording which seems to hang over all Qui Tombe releases. This builds into a dense, ambient wall of sadness that moves into a closing sermon.
Both tracks do contrast against each other yet do tie in together via differing walls. A strong and very well presented split.


Analfabetism -   Kniven Sitter Kvar I Bonden - 2018

1.   De som dräpa och som dräpas skall.
2.   Av daga tagas.
3.   Fördärv.
4.   Där svinhugg går igen.



Sweden’s Analfabetism is the solo project of Fredrik Djurfeldt active in many other projects.

De som dräpa och som dräpas skall is ambient bleakness that uses repetition and drones to build the sound whilst blasts of distorted vocal rage move in and break things up continually. Pulsating beats back the Power Electronics blasts of noise. The depressive Av Daga Tagas builds deep drone ambience whilst being repeatedly interrupted by aggressive crashes of distortion. Fördärv drags through further landscapes of bleakness hitting more blasts of aggression throughout its journey. This forms a combination of Ambient textures and noise throughout the album. The tracks have a fluidity through repeated sounds and technique. Select hypnotic repetition often forms the base to each track and its sonic performance. Där svinhugg går igen follows Fordarv’s example but allows for more noise chaos during its gradual build up. The finale Kniven djupt begravd i bonden slows things down and pulls right back to allow rich synth work to wash over everything, gorgeous repeated melody and sirens wail to briefly shift the context of the works state to a drop. Chaos returns, and things explode to a climatic end.

Analfabetism is a strong album documenting a rich journey that I was glad to be taken on.




I’d had a good dose of Ambient lushness today and needed something harder as I was battling with my subconscious after too much deep intense listening. I then discovered some reassuring noise horror via Throne of Bael’s Bandcamp page. Throne of Bael seem to post regularly in the group and their releases are frequently horrible in subject matter and visuals. So, I dove in –



Scott Lawler’s Spank Hookers – Disturbing Deeds of a Dominatrix  is a recently released digital only album. It is immediately expansive with a large sound that continually reaches outwards. Each release was named after extreme fetishist acts that are conducted to submissive clients by the central hooker characters of the album. The themes covered include -Tit Milking, Diapers, Bonded Rubber Pants and Water Bondage. The sound stands as an intense juxtaposition of Harsh Noise, Wall Noise and Dark Ambient all at once to produce an impressive wide, ambitious sound. However, I couldn’t help but think is this project for real, is it someone just playing with extreme subject matter that has been revelled in time and time again? I have a very 50/50 take on the project and question if it is Lawler’s darker side or Noise for Noise’s sake, Does Spank Hookers need to be Spank Hookers? But I can’t say this is bad release or project as it is sonically impressive too as is the other material on Lawler’s BandCamp.



I then find I was Killer’s or Killer – A Day of Play. This is a digital only single track that incorporates a huge list of themes. I was Killer’s or Killer is a highly prolific project possibly based in South Africa. A Day of Play is instantly deprived it appears to be a duo. It is massively warped and abstracted beyond recognition, I can’t tell if the vocals are babble or have a narrative. This is impressive guitar formed scum sound that is incredibly random and energetic whilst maintaining a unique sense of mystery and originality. All I can say is that I am excited about this impressive; an incendiary, shitspew of abstract greatness.






RRR is Sébastien Bach  and Bruising Pattern is Petar S. . France’s RRR have been active since 2012 and Austria’s Bruising Pattern since 2017.

The Bruising pattern side is multiple layers of hiss and shifting, faltering crackle overlaid on each other. It is backed by drones. The drones become more apparent and intense as you drift into the distortion which drags and pulls along; you are pulled to and from both as your concentration shifts.

RRR is a different project, as if it is an ever-emerging loop. The work here is in the details woven into the merciless repetition. As a result, RRR deliver the most punishing, torturous side of the two in an early NON way. Compared to other RRR works on the Bandcamp, this is more varied and broken up which opens the work up to other possibilities.

This is an agonising release that was pure head torture, which isn’t a bad experimental thing. I found different qualities in each project with a wealth of new work to explore.

Destruktionstalt - Døds​-​hymner. MP3 release September 2018.


Per Najbjerg Odderskov is based in Denmark has been active since the late 90s and releasing since 2000. Destruktionstalt is describes as ‘back to basics Death Industrial with atmospheric psychedelic overlays.’ The latest offering from September 2018 is Døds​-​hymner.

This uses vocal samples and noise to create rich atmosphere. There are some impressive svnth drone and arching noise passages, particularly on infection where a few elements are used to create ambitious soundscapes. As an album this does shift into different ideas across the tracks, they’re strong.  But I do question if it needs a strong vocal presence in the mix to top things off. Minor criticism aside, a very strong album that I have played through happily a few times.

Choppy Noodles 2018