Friday, 25 October 2019
Inner Demons Records #7 – Synths, Walls and Pits.
Lyke Wake + Praying for Oblivion- 3”CDR/Download – Inner Demons Records – 2019.
Stefano Di Serio aka Lyke Wake dates right back to 1984 with many releases on Aseptic Noise and many other labels. Praying for Oblivion is Andrew Seal which stretches back 20 years.
With any mass Inner Demons Records review, I don’t ever know what to expect, there is always some sort of surprise waiting. So playing Lyke Wake I’m confronted by what appears to be a deconstructed take on Wall Noise as I am overwhelmed by a massive vortex of sound with synth sounds going off in the background, the synths become more apparent as Putrefaction progresses. This is a simple and effective shift from noise into Keyboard harmonies. Rebirth is dominated by ambient drones with noise wavering in the background, both tracks contrast each other and are good.
This release is a typical Inner Demons gem of which I was left feeling that I would have loved to have heard even more of this collaboration - Great work.
Tab In/Tab Out – Always Wrong, Never Right - 3”CDR/Download - Inner Demons Records – ING063 – 2019.
1. Always Wrong.
2. Never Right.
Inner Demons other speciality is HNW – Walls of noise and the delivery of many variations on the Wall. Tab In/Tab Out is the Portland based project of Tim Burkland and has been prolifically releasing since 2018.
Always Wrong is the first wall, this contrasts a deep background roar with a sharp frontal crackle. Both swap between background, and foreground; this is done by narrowing the sharper crackles range and expanding that of the back roar. The conversation between the two elements is continuous. The second Wall ‘Never Right’ is a restrained, lower end wall with a deep background roar and a low frontal crackle. The overall atmosphere of this track is desolate, adding bleakness to the release.
This Is What I Hear When You Talk – I Want Brett To Like This Too – 2 x 3”CDR/Download – 2019 – IND065D.
Disc 1. [CLUSTERFU(K->GCPRO->OCT-1->INSANE->E616II_LOFI->OCT-1->(RUPTURE->ENO_RVB)->BLACK_RAT->DD600]+[NPG->DAME->HOLYWAR->OBSCURA] 00:00 / 22:00
Disc 2. (VOLCA_BEATS->GC_PRO->FX57->DISTORTION_WAVE_SHAPER_FILTER->FX86->HOLY_WAR_->INSANE->DD600)+(HADRON COLLIDER->DAME->TM300->BEQ700->OBSCURA)
Inner Demon Records house project This Is What I Hear When You Talk is prone to building epic and odd walls - this is what it does best. A wavering distortion plays out as urgent, pulsating drones resonate in the background, this is less about the details interplay and more about combinations making a sonic whole. You have the urgency of the drones and the slow movement of the crackle; that make for a unique sound.
Disc 2 is a speedier, urgent wall that is very thick in sound. Yet a humming resonates in the background, it’s buried in comparison to the drone on the first disc, less urgent, but still there. Other background noises come into the picture and add to the sound. This detail keeps things constantly shifting.
I don’t know how Brett feels about this project, but it does resonate well to me, great work again.
This Is What I Hear When You Talk – Death Pit – 2 x 3”CDR/Download – 2019 – IND070D.
Disc 1 – Death Pit I.
Disc 2 – Death Pit II.
The first Death Pit disc seems to take the drones of the first Brett disc and go with it as the focus. There is a slight crackle that could be a reference to the walls that the project usually dives into, but it is not dominant enough for this to be considered a wall; the pulsating drones are the key sound. This is a 23-minute indulgence of Death drones. These don’t have the urgency of ‘I Want Brett..’ they are low down, they distort slightly. The concept of Pit is interesting as the words Void or Wall are the ones that usually come up a lot, this seems to work hard to be a pit instead. The Drones have a Death Industrial feel to them, they are abused through the relentless repetition - a soundscape that seems to go on forever.
Pit II returns to a bit of a more recognisable wall with a creaky low end and bass roar with crackle being partial like the first Death Pit. The prominent low end seems to nod to Mai 12, but again I feel the pit is still what is aspired to here. Pit I is the most successful Pit of the two.
This release brings further surprises and contrasts from This Is What I Hear When You Talk. I do feel these discs along with the Brett discs should be played together to compliment each other as they both tie together to form an entire work. Either way, I am endlessly supportive of this project and this amazing label.
Nevis Kretini 2019.