Friday, 15 May 2020

Oil of Vervain & Blackcloudsummoner.

Oil of Vervain / Blackcloudsummoner – Split release – Downloadcassette – 2020.

Oil of Vervain

      1.    Strange Lights.

      2 .    Ciara.

      3.    Non-Human presence.


      1.    Hyperion.

I haven’t heard Oil of Vervain before, I have heard some of the bands Steve Larder has been in and I have heard his guitar contributions to some Blackcloudsummoner tracks. But Oil of Vervain is quiet in comparison to his other work. It has the delicate sound of guitar strummed and picked; I am not sure if other sounds are overlaid. The melody of the guitar always resonates as the lead element, some ambient sounds seem to play off in the background and the sense of space within the sound is very well emphasised. The builds in sound are beautiful as is the vocal on the second track Ciara. The guitar sound has a warmth to it, yet the mood is sombre, and this side of the release is excellent.

I am left with the question is this work perfect as it is, or does the project need to expand into a band? Either way, carry on like this and you cannot go wrong as I was surprised by this and am impressed by Oil of Vervain’s rich qualities.

I have now reviewed Blackcloudsummoner once and is one of my ‘to watch’ new noise projects, I have many releases, seen the project live and highly recommend it. Subtle noise and sometimes hostile esoteric noise are the general feel of the project, yet Hyperion is surprisingly ‘even more’ hostile than usual. There is a lot of blasting noise and scraping, arching drones that combine to make for a combative sound. Feedback builds up and is shot into the work and seems to bring on immense shifts in sound. The way this is constructed ensures that the uniqueness of the project remains intact as it still doesn’t sound like anything else out there.

The Blackcloudsummoner side has a huge sound, it is the darkest, most forceful and intense work that I have heard so far in the discography. The question I am left with is, is this Blackcloudsummoner’s best work so far? I can’t tell and can’t stop listening to it.

Both projects give excellent performances on this cassette making it one of my favourite releases so far, this year.

Nevis Kretini 2020.

Wednesday, 13 May 2020

Blackcloudsummoner - Four Breaths

Blackcloudsummoner – Four Breaths – Download/CDr – 2020

  1. Ultraheaven Crawling Fortress.
  2.  Indoor Nebula.
  3. You, Me + the Rocks.
  4. Old Painless.

Blackcloudsummoner is one of those obscure projects that I hit upon a while back, a friend mentioned the project in passing so I enquired and found out more and bought some releases. The work grabbed me immediately which led to me buying more and more albums. Live, there has been tours with Nacht und Nebel and Luxury Mollusc as well as many other performances around the UK. Part of the beauty of Blackcloudsummoner is its obscurity, this project is always somewhere in the background occurring and developing, it isn’t in any cliques, it isn’t shamelessly pushed around on the web, it just exists and finds you – that’s how I feel in regards to my discovery of this work.

The sound is unique, it has a certain quietness to it, there is real variance in the tracks as there is continual, varied, odd experimentation occurring throughout the release. There are some strong combinations with guitar noise (Steve Larder) with the drones which really builds up and resonated strongly. The gentler noise sounds are beautiful, and they too build up and really throb the speakers on occasions as if sparkling and glowing in the bright light.

In contrast, hostility does exist within parts of the sound, it isn’t all sparkling light. You, Me + the Rock is a key example of this, digital frequency abuse pulsates at me. The slightest rise in sound or break from the quiet spaciousness raises the intensity and can easily shift the mood of the work.There are crackles pops and antagonistic drones that resonate darkness – the dark/light contrast that exists in the sound is constant. 

Pulling back to the experimentation, I cannot work out how the tracks on Four Breaths tie together, there is so much going on as if a lot of work was carefully worked through and eventually selected. This is all strong work and its quirkiness is impressive. It does tie in together, I just cannot explain how, but I can’t explain a lot about this project and that is what has kept me coming back. This is a strong release.

Nevis Kretini 2020. 

Saturday, 2 May 2020

Rotat- Hussy Rescue.

Rotat – Hussy Rescue – CD – Obsessive Fundamental Realism – OFR 2019 – 2019.

Rotat is a Finland based Power Electronics project that has been actively releasing since 2014. Described on discogs as having a Smell and Quim based sense of absurd humour, I find this to be way more extreme; this is the harder, grittier end of Power Electronics. It has released works on a lot of the hard-hitting Power Electronics labels over the years.

The sound of the album functions like Harsh Noise but with a pissed off, very antagonistic attitude. The samples are urgent, desperate and irate, the noise starts, and it wants to fight you. You do not just marvel at the shifts, contrasts and extreme frequencies within the sound, this goes way beyond that.

I had brief contact with the creator behind this project, I wanted to have a fight with him, I could not stand him. His attitude is reflected in the noise that is created on Hussy Rescue. But that does not make for a bad album. The samples that open the album at first, seem like a normal conversation, but the noise is held down in the background, it rises and eventually eclipses the dialogue revealing violent walls of noise, sharp frequency outbursts and blasts of distortion. The Power Electronics used are Harsh, cut up and violent in their delivery. I review and listen to a lot of Harsh Noise, but when that isn’t cutting it, I do come to this album. There is a lot of humour tied into the album, in the sounds, the samples and how they are cut into and eclipsed with the noise. At times, the use of noise is funny to bad taste comedic, but always accurate in its sharp delivery.

At times there is such density and overcrowding in the sound, it is hard to break it down to different elements, you are assaulted by a mass wall of noise with some elements being clearer than others. It changes frequently as to what noises are the most prominent creating constant shift and change within the sound. Samples and vocals emerge from the depths of the sound only to be drowned again by the noise. Tone and frequency abuse are constant throughout the work, this cuts into the main mass of noise and the samples. The sound does seem to outdo itself in how extreme it can get. Tracks break themselves up only to come back more amplified and explosive. The primitive, raw elements of the sound are excellent throughout the album.

Good Work.

Spogmould Kersley, 2020.

Men With Mallets - Nephilim.

Men with Mallets – Nephilim – CD – Sonic Entrails - 2020.

     1.    Watchers.
     2.    Taken.
     3.    The Judgement.
     4.    Banished.

The work of Men with Mallets has always been fascinating for me, I was extremely impressed by their last album Leviathan. This stand-alone EP provides me with more to marvel at. As always Men with Mallets is John Shapter and Blind Johnny Smoke.

Slow churning sounds build up to deep rumblings and drones to create the opener Watchers. I like the deep, floating dream like state of the work. The addition of suspenseful sounds makes for an impressive Ambient introduction to Nephilim.

I feel as if I am by the Sea when Taken begins, deep arching drones cut across the sea like sounds, the beauty of the work intensifies here. The drone noises seem to pull my imagination across a landscape. Due to this there is this mental pull between land and sea. Another form of drone enters the picture and feels as if it represents the sky, the listener is then taken to an even fuller landscape of sound.

I’m pulled back into an intense dreamlike state for The Judgement which has gradual build-up of singing bowl sounds that seem to continually multiply and grow. This bares similarities of sound to the other tracks yet has an individual mood and argumentative feel of its own as various drones play off each other until things die off.

We are left with a desolate landscape for Banished, quiet sounds and subtle noises combine to do this. There is a gradual, subtle rise in sound that pulls things to the forefront with a lesser intensity than the previous tracks. This still ties into the rest of the EP, yet it is also different to all the other tracks as it is a lot bleaker, but it winds Nephlim down to an end.

I had quoted the last album as one of my highlights of 2019, this, for me, is a high point of 2020. It feels like an album stripped down to its most relevant, strongest tracks to make for a perfect work. The rich textures and subtle variation in the work combines to make an excellent EP.

Nevis Kretini 2020.

God Pussy - Análise do Princípio Informativo.

God Pussy - Análise do Princípio Informativo – 4CDr/Download – 2020.

God Pussy is a Brazil based Experimental Harsh Noise Project; it is the work of Jhones Silva from Rio de Janeiro in Brazil. The project has been releasing since 2009 and in over 11 years there has been a prolific amount of work released under the God Pussy name. Análise do Princípio Informativo is the latest release by the project, it spreads over self-released 4 Cdrs and is also available as a download.

The album demonstrates a good Harsh Noise Assault with a choppy, violent use of noise. Constant shifts are present in the sound so that it does not stay in the same place for too long. The trebly, high pitched assault is effective. This is a good album, nice work.

Nevis Kretini 2020.

Friday, 1 May 2020


HOMExINVASION – Anita X – Cassette/Download – Lost Notes Media- 2020 – LNM-051.

      1.       Anita X

I have previously reviewed HOMExINVASION on here last year and was impressed. This UK HNW project has released around 25 recordings since it began in 2018, this is project is now a leading light amongst UK artists working within the HNW genre.

Anita X is a singular 20-minute track that starts out with a low Bass roar, very much singular and focussed. The small crackles in the wall of distortion do make an impact on the sound. These are the two prominent elements to Anita X.  As the Bass tone shifts this creates a complete change in the sound, despite the continuity of noise the several shifts in tone are distinct and make for different movements within Anita X. As well as the tone of the bass, there are changes in how the bass is projected, at times it has a blast and others more of a hum.

I like this subtle work, the shifts are strong, yet they are woven in smoothly to the sound. The bass textures are gorgeous and rich. The work has shifted to another thematic branch beyond the grimier side of UK life which at first was the project’s main heritage. As a work this is strong, the conceptual aspect is clear visually and the cassette looks good. It can be purchases at either of the links above.

Nevis Kretini 2020.

Thursday, 30 April 2020

Hostile Surgery - The Day Called X.

Hostile Surgery – The Day Called X. – Digital Release – 2020.

1. The Day Called X, Part 1: Storm Born.
2. The Day Called X, Part 2: Waking Room.
3. The Day Called X, Part 3: Bleed Out.
4. The Day Called X, Part 4: Incoming Whispers.

Life turned itself into an incessant storm.
The world's defense protocols are activated.
The sky turns into the most terrible beauty.
Under a bleak, droning, dark and haunting soundscapes, everything leads to a lesser burning sun.

I feel I am doing my bit for the COVID-19 Virus by reviewing releases that tie in as a soundtrack for these strange times of isolation and social distancing.  My thoughts are with everyone. This one came through the Inbox last week and it did not hit me as being a Copy and Paste chancer. Hostile Surgery is a new project that is based in Switzerland and it is the work of Kieran Pavel. The Day Called X is the debut release by the project.

This release comes in four parts, the first act, Storm Born serves as a good introduction to the album. It is built out of low-level drones and samples that interact with each other respectfully and carefully. The drones grow as they pulsate increasingly as the lead sound which sounds like thick tape being ripped off a roll as it cracks and rips. There is a good sense of space surrounding the elements of sound, it creates a bleak sound collage.

Waking room uses similar interactions, but a crackling distortion takes the lead and is more woven into the drones that surround it; this creates a thicker texture and density to the work. The breaking down of the space between sounds builds tension as things are now forced to work together or play off each other. The rises and changes in waves of the pulsations create a moving wall of sound that is ever shifting within the limits of its own confines.

The sense of darkness intensifies on Bleed Out as the sound elements intensify and build hostility.  Bleed Out radiates and pulsates more, it is less dense than Waking Room, but the sounds seem to have a bigger scope and depth and really push outward. This all makes for the best passage of sound on the album, the underlying sadness of this bleak landscape really lingers.

The simmering Incoming Whispers is the album’s finale. It feels as if it is made from singing bowls and blistering distortion, the two simple elements make for a rich combination. There is a less hostile ambient depth to this part, it shifts from more dreamlike to that feeling of the sun’s rays shining in your eyes when waking up on a summer morning.

The Day Called X is a dark, yet ultimately beautiful journey. It serves as a good debut for Hostile Surgery and hints towards great things in the future.

Nevis Kretini 2020. 

Sunday, 12 April 2020

Hydra - Power

Hydra – Power - CDR – Bloodlust – B!111 – 2008.

     1.   “Force.”
     2.   “Death’s Dimension.”
     3.   “Past Life Recall.”
     4.   “Gun God (Time Killer Mix)”
     5.   “Break Away.”
     6.   “Self Hatred.”
     7.   “I Don’t Exist.”
     8.   “Dead World (Excerpt)”

Greg Scott (1965-2003) is best known as one of the three members of the now classic New York Power Electronics Group Final Solution. Prior to this he was involved in the bands Beg for Eden, IDF and IDS. His work as Hydra also involved live work and mixing from his Beg for Eden bandmates Jacques Cohen and Peter Messina. Power was originally released as a cassette in 1996 on Bloodlust. This is the 2008 remastered CDR reissue. This was the projects only album, there were two split releases with Death Squad, Barrikad was also on one of them and there was a single in 2001 ‘Anal Test.’

My introduction to Scott’s work was the Final Solution recordings, I thought they were good. When I read up about them, I saw the name Hydra mentioned in related projects, so asked about them in a noise group. A friend posted some YouTube vids and I was immediately very impressed, this led me to get this album, which has been a constant part of my playlist over the months. As History has revaluated Final Solution and led to reissues and reformations, I feel people need to know about Hydra too – this led me to review this CDR from 2008. Also, one of the luxuries of blogging is that I generally review what I buy or am listening to a lot at different times.

Force seems to brood on pulsating drones and pissed off, screeching feedback. This intensifies as the bass levels increase, and Scott’s fucked off vocal begins a dialogue. This is effective as it is at first buried in the middle of the sound and gains prominence as various elements drop and it turns into shouting and screaming noise. Force is a tense build up until it explodes with rage.

Further humming bass and desolate drones form Death’s Dimension. This is a simple, yet tense play off between these two elements as they shift and resonate. A softly spoken vocal later joins the interplay, this is even more buried in the sound so that it is hard to clearly make out.

There are demonstrations of sharper, screeching electronics on Past Life Recall. This functions in a similar way to Death’s Dimension.  Two high pitched (instead of low) elements play off each other and abuse the listener. Whilst this is happening, the shouts emerge pushed right to the back of the sound, only surfacing occasionally.

A torturous use of sample repetition forms Gun God. Gunfire and explosions form an intense backing noise repeatedly repeating to create sonic warfare. I am unsure if this is a brainwashing or mocking gun culture, ‘The Gun is Good’ is the repeated message.

Tracks 5-8 were recorded live at The Red Room in New York in 1995 - a quarter of a century ago. Break Away follows through perfectly as it uses revving noise that is like the gunfire of Gun God. A High-pitched sharp feedback jumps in with the shots and intensifies as the sound moves. Vocals yell in bursts at the audience. The shouting intensifies as if focussed on someone or the self. It like the studio recordings is still partially buried in the sound and rarely shoved to the forefront, forcing concentration. The tension in this performance can be felt, even the between song banter does nothing to diffuse it.

The next live track Self-Hatred is oddly one second off the exact length of Break Away. This churns more with deep noise and broken sounds as synthesisers resonate. The vocal again screams abusively at the audience, I wonder if the live performance was as confrontational as it was tense? Self-Hatred severely abuses low frequencies for added effect.

I Don’t Exist is by far the most explosive track. The noise is faster and the vocal seems to eventually erupt with the noise to form a dual attack. Like a lot of Power’s tracks its use of noise is simple and highly effective.

Dead World is from the Spastik Soniks sessions, which I assume was the recordings done for the releases with Death Squad. This really abuses the lower frequencies; it pulsates against feedback and hum. This minimal use of noise slows the attack down and the work meditates on the coming end.

Hydra was an extremely stripped back project. The sound would really meditate on simple, minimal combinations of noise for long periods of time. Tracks tortured the listener with repetition or by hitting the listener hard with concentrated high or low frequencies. Shorter tracks are like direct hits in contrast as they are more explosive in their delivery. The vocals were pained and often buried in the noise, which makes you focus in and listen more. Even if the vocals are not fully coherent, the emotions are very clear and concise in how they are presented which this compensates for the quality of the live recordings. Powers tracks are linked well and follow through fluidly. The lyrics aren’t crass or attempts to shock, but appear to be deliveries of states of being, perhaps meditations on the self and  anticipates how particular cohorts of artists in Power Electronics would operate today, 25 years later.

Nevis Kretini 2020.

SsmKOSK - Pajser In Mleko

SsmKOSK  - Pajser In Mleko - CD – 2019 – Zvocni Prepihi.

     1.       O Vsem Kar Cveti Avgusta In Potem Nikoli Več
     2.       V Birtiji Smo Si Blažili Ostrino Časa
     3.       Intimen Spomin Na Modri Kot
     4.       Na Balatonu So Odojke Loml Skoz Ceu Let
     5.       Nebo Nad Ilirijo
     6.       Yt Kuzla Party
     7.       Ruralni Cvet Napeljave
     8.       Sla Po Življenju

Little is known about the project SsmKOSK, I am guessing that SsmKOSK may be based in Slovenia as the label is. Pajser In Mleko is the sixth release by the project.

I like Pajser In Mleko’s immediate quirky experimental quality. At first you are hit by a bombast of the Breaks of noise that assault the listener, but the passages of instrumentation that are sometimes looped or played clean are impressive as they work in conjunction with the noise that populates the album. The crazed juxtapositions of the CD’s artwork reflect the nature of its sound.  Film/TV dialogue samples and voice samples form an ongoing abstract conversation throughout parts of the album.

In other areas vocal samples are allowed, the lead whilst being warped and tweaked as their dialogue plays out alongside classical guitar these moments of clarity and beauty are strong. Sometimes the classical guitar is cut into with sound treatments, yet it still shines through. The use of electronics is random and aggressive, when this is the sole element, I feel a gap in the sound is left as the combinations of instruments, samples, dialogue and electronics are where the project is at its most impressive. Saying this, dialogues cut up and mixed do work well. 

The fluid, eclectic mass of tracks tie in well together through repeated elements of sound such as beats, cut-ups, noise, samples and instrumentation. The artwork compliments the sound, to make for a fun and quirky release. I do like eclectic projects like this that use a variety of sources and samples to make such bold experimental recordings. Check the link and see what you think, because I was won over.

Nevis Kretini 2020. 

Friday, 10 April 2020

Cremation Lily – More Songs About Drowning

Cremation Lily – More Songs About Drowning – Cassette/Download – Strange Rules – 2020.
This will be released on April 21st 2020.

     1.       Don’t Drown.
     2.       Water Dries on Our Skin ft. Wicca Phase Springs Eternal.
     3.       Sinking, Alright ft. doves.
     4.       An Outline of How We Might Feel.
     5.       Evenings Cast Away.
     6.       Light Gathers in the Corners of the Room Pt 1 & Pt 2 ft.             Geoffrey Rickly.

Someone taught me a valuable lesson with noise, they told don’t waste time paying excessive homage to the past, acts that are long gone or decades past their best work, look at what is happening now. I paid attention to this and began to look closely at newer acts early on with my noise listening and this led me to Cremation Lily. I have seen the project play live around four times and was able to get many releases as they came out.  Last time I saw the project live was a collaboration with Knifedoutofexistence I witnessed a massive change, massive. Beats, harmonies and melodies had crashed into the sound, I just sat down at the front and absorbed everything.

More Songs About Drowning is the physical presentation of that progression, it is exactly as I remember the set. There are beautifully sung vocals buried in rich ambient atmospheres, harmonies and beats, it is if that gig is happening again. There is a constant use of noise that is woven into the work like a tapestry, it rises and falls in the work repeatedly. There has been along development of sound to the project, Lines of Light (2014) and Sea Spray Perfumes (2015) and Zen Zsigo’s Winter Orbit were the last CL and related purchases I made. I feel this album encapsulates the qualities of all those releases and is the most complete presentation of the beauty that has radiated with in the work of Cremation Lily since its reception.

I can’t believe what I just heard, even in these troubled times, the now can be simply beautiful. Thank you.

Nevis Kretini 2020.

Climax Denial - The Sorry Dream of Being.

Climax Denial – The Sorry Dream of Being – Cassette/Download – 2020 – Total Black – Total Black143.

A. Still Life With Clitoris.
B. Self Portrait With Bottle.

One artist that I have begun to collect seriously in the last year is Alex Kmet’s work as Climax Denial. Climax Denial has been actively playing and releasing recordings since 2005. I was made aware of the project from an interview in As Loud as Possible magazine back in 2010. My first were Sexuality is a Curse (IDES Recordings 2006) and All of my Loves are Like Dreams (Assembly of Hatred 2010). This was back in 2010, but a recent session of repeated listening to those releases was the moment when I finally got the project, I understood what it was all about. The Sorry Dream of Being is the latest release by the project on Total Black, it contains two tracks that are both just under 10 minutes.

Still Life with Clitoris immediately radiates coldness, it pulsates and throbs. It seems to be an ambient take on Death Industrial, pulling things back to cold atmospheres. The slightest change in the pulsations of the drones seems to make massive waves and shifts in the work as it evolves any change in sound has clear impact. The core drone is massive and that is the part that resonates, it functions in a similar way to good wall noise in that thee are two key sounds that combine to make the main drone and slight shift in either drags the listeners focus with it. The smaller sounds play around this and form a constant language that constantly converses and adjusts the mental picture that the work creates.

Sharper atmospherics are present on Self Portrait With Bottle, the main drone has more of a splatter in contrast to the radiation of the early drones, it also uses sharper, obvious shifts. What were smaller sounds on the first track take a more prominent role here they seem to dictate the entire sound even as the drone rises and interrupts, it is as if there is a battle for dominance between the two elements. A wider vocabulary of noises gradually enters the picture and it fills the sound nicely, I feel that the coldness shifts into something of a more suspenseful aura that radiates anxiety. I felt spooked afterwards, but this made a perfect soundtrack to my day of isolation.

The Sorry Dream of Being ties in with the ever-shifting narrative that spreads across the work of Climax Denial. There are many different sonic narratives occurring in the project, the bleak minimalism of this release is a dominant theme. The journey continues as does my devotion.

Nevis Kretini 2020.

Wednesday, 8 April 2020

Knifedoutofexistence - Fragility.

Knifedoutofexistence – Fragility – Cassette/Download – Outsider Art – OA040 – 2020.

Outsider Art Bandcamp:
Outsider Art Bigcartel:
Knifedoutofexistence Bandcamp:

     1.       Work In Progress.
     2.       Better to be Broken than to be Hardened.
     3.       Water Drains Between Stones.
     4.       Joy Rendered Bittersweet.
     5.       Roots Torn and Exposed.

Sound recordings of birds singing, seagulls and water flowing with mild electronics simmering in the background slowly form Work in Progress; it is as if we are being introduced to the artists environment. I don’t want to break this down too much to a track by track review, but there is a lot of Field recordings coupled with muted, broken electronics happening throughout Fragility.

I have seen the project explode live, whilst still really restraining what goes off, there is a tension created to the work that resonates the sound more, here the noise is mostly pushed down a lot, whilst repeated keyboard loops of broken melodies play out. On some occasions the noise is given a bit more room to breathe whereas other times it has far less space to move. However, there is a brief explosion of Power Electronics on Joy Rendered Bittersweet, it isn’t something that is even built up to, it just happens from a build-up of wavering distortion, feedback and echoes into a brief but glorious tantrum.

Bleak, mournful electronics finish the album off. A slow melody with Field Recordings, distortion and echoed vocals reflect further on existence, which Fragility seems to do a lot. This ties the EP together perfectly.

Knifetoutofexistence has now reached full maturity, the last few recordings are the best, there has been consistent improvement and growth. The bar has now been set very high, I believe we will now see real greatness. This is an excellent recording that will be out on April 15th in limited and regular edition.

Nevis Kretini 2020.

Thursday, 2 April 2020

Gen 26 – Altered Gene Expression

Gen 26 – Altered Gene Expression – Debila Records - #157 - 3”CDR – 2019. Limited Release of 42 copies.

     1.       Altered Gene Expression of Evolutionary Innovation. (Recorded on 03.09.2019)
     2.       Live @ GT22 04.09.2019.

Gen 26 is a Matjaž Galičič project that has been active since 2002. Altered Gene Expression is part of a batch of 2019 releases by Gen 26 on Debila Records.

As you will all know, from my adventures reviewing releases on Inner Demons Records, I am a huge fan of Harsh Noise on the 3”CDR format. So, to receive this, made me happy.

Altered Gene Expression presents two passages of Harsh Noise, one studio recorded and the other is a live performance from the next day at GT22, a small multi-disciplinary arts venue in Maribor in Slovenia which is described as a Transnational Guerilla Arts School. This performance was part of the Zasavje Noisefest International 2019.

The first track Altered Gene Expression of Evolutionary Innovation starts of as low rumble wall noise, a warm rumble with a slight sharp crackle alongside and around it, this is a two levelled deep wall of noise. This is the shorter piece of the two featured on the disc. Feedback rises briefly to break the continuity of the wall, the work continues to blast and resonate until it fades out.

The live performance at GT22 has a sharper blast of sound, this has a more aggressive shifts and is speedier in pace, this is a fast-moving piece of Harsh Noise Wall work. The sound is violent, solid and well-paced - this is a good recording of the said performance.

This brief intro to the work of Gen 26 has been a pleasant journey, this is a good recording and the venue looked beautiful. Excellent.

Nevis Kretini 2020. 

Sist En 343 / Fall into Dry Lungs – Harsh Noise Burger Party

Sist En 343 / Fall into Dry Lungs – Harsh Noise Burger Party – Debila Records #166 – Cassette – 2019.

A1. Sist En 343 – 838-HN
A2. Fall into Dry Lungs – Unripe Spelt Grain.
B1 – Sist En 343 – 606-BP.
B2 – Fall into Dry Lungs – Rainbow Crossing.
B3 – Fall into Dry Lungs – Snow by the Grill.

Sist En 343 is from Slovenia and is Matjaz Galicic and Miha Novek, they have been releasing since 2001. Fall into Dry Lungs is from Austria and is Christoph F and Petar S, they have been active as a collaboration since 2015 playing either as Harsh Noise or a drums and noise duo.

My current love of the work Hydra (RIP) has made me a lover of noise that exists purely as sonic abuse, particularly when artists use long passages of sharp feedback for their work, Sist En 343 uses this as other noises dance around it, but the sharp feedback serves as the line cut into the work , the central focus of 838 -HN. As this track progresses the feedback begins to resonate in different ways with lower frequencies of noise and throbs as it does this as the distortion comes, it never manages to smother the sharpness a sound fight builds and builds. This is very horrible, good work, nasty Slovenian maniacs battering my ears.

Fall into Dry Lungs seem to follow suit with further Noise abuse with Unripe Spelt Grain as sharp frequencies form bursts of noise whilst crackling and scraping occur around it, the central sharpness remains the core of the work. Other unpleasant noises fire off and join the cacophony. Unripe Spelt Grain seems to favour rapid shifts of sound that collage together to make an uneasy whole. Cuts and chops of noise play over a wall of distortion, new sharp frequencies become the new core for periods of time. …Grain is good, horrid, Harsh Noise that gets nastier and more broken as the track unfolds.

Sist En 343 takes a darker turn for 606 – BP which seems to begin as a passage of percussive abuse that echoes and resonates menacingly. As scraping noise joins in and the percussion echoes further, the work intensifies massively, the work roars and screams through noise – simultaneously. As things melt into a wall of sharp abuse 606 goes through another period of Harsh intensity, the work never seems to let up as it identifies as a massive, sonic explosion. This is an excellent, nasty piece of work, both contributions by Sist are good, but the shift from Darkness to a vortex of sharp, sonic abuse is impressive as. Even as this exhausts itself back to the darkness towards the end, it is amazing to listen to.  All I can say is I am converted; I am a fan.

The tapes hiss intensifies into shifting distortion as Fall into Dry Lungs deliver the party’s last two tracks. Rainbow Crossing begins to judder and stutter more before it goes into shifts and changes of sound, the clarity appears to get muffles as sharp digital noises pull things into focus, this happens repeatedly as new noises cut into the work, making for intensified unpleasantries to occur. Even as it falters more dramatically, sharper noises cut in and take over, the continuing shift and power battles of sound make for constant, exciting change. Like Sist’s work, the breakdowns and collapses in sound seem to increase the danger, like a wounded animal. The finale is their ‘Snow by The Grill’ track, this pulsates violently from the offset and appears to have a more obvious digital assault, only its’ intensity ties it in fluidly with the other work, this could have been a different artist, but the shifts in sound and clarity make it identifiable as Fall into Dry Lungs. Harsh Feedback intervenes and allows for mini shifts to occur within the track. You then get lots of mini low-level experiments going off at different times as sounds communicate and bounce off each other. Although things wind down, lots of information is jammed into the finale as if to intensify it from a different angle. As far as Fall into Dry Lungs goes, I was blown away by their release on Harsh Noise London in 2019, this is more excellent work by them.

Both artists, when you compare tracks seem to work on parallel levels of high abusiveness and try to outdo each other for the title of ‘champion, horrible noise duo’. The playful artwork and fun title of this tape is deceptive, this is very strong, well executed sharp noise release and the intensity of every track presented here makes Harsh Noise Burger Party an excellent album.

Nevis Kretini 2020.