Friday, 18 December 2020

AntichildLeague - Entrenched Extreme.

AntichildLeague – Entrenched Extreme – Obsessive Fundamental Realism – CD- 2020

Over the last four years, ANTIchildLEAGE has become an insanely violent, desperate louder version of itself. Recent releases have demonstrated this with the choice of recent labels including Old Europa Café and Obsessive Fundamental Realism documenting the newfound, intensified extremity of the project. Since the gig promotion has stopped, the focus on the work has brought out a focussed delivery that continues to deliver amazing results.

Purge Humanity erupts and churns as clanging repetition forms a base for echoed shouting and noises to ejaculate all over the place. This is horrible noise that harks back to the project’s impressive debut Hellworm and the nastier early days of Power Electronics whilst sitting comfortably with the present-day dark side of the genre that keeps the nastiness active (see label’s roster of artists). Everything about this track resonates broken, haunted hatred, it is the artist’s sense of self made into a barrage of noise.  

Horror evoking sounds build into Death Loves You More than God, the noise uses restraint to allow different elements to take turns as the lead to make an entrance into the track’s landscape. The pulling back of sounds makes for a minimal landscape that is a type of noise ambient, any raise in sound creates walls of tension – this method is toyed with to exaustion.

When I said Insanely earlier it was for a reason, The Kiss is insane use of warped noise and vocal that makes for a disturbing track. What is noise and what is ACL’s trademark inhuman vocal is hard to make out as the noise seems to communicate and talk, this is the artist mastering the medium to perfection. The vocals and the noise seem to take turns to communicate to the listener – they are united in their purpose.

Raw, simple beat rhythms of old come back for Paranoid, we are talking RJF (early) beats to the point where they add a slight humour to the horror. The inhuman vocal starts shouting at the beats and feedback. Whenever ACL uses beats now it is to rawer effect than earlier work, making it do its’ job well. The vocal competes with itself further in the track getting nastier with time.

A serious wall presents itself on God never loved you, rich crackle runs over the back sounds, this quickly transforms into Abuse where the noise is cut up into sections as the vocal shouts orders at the noise. Abuse demonstrates a good use of raging distortion, but the added nastiness of approach makes for a threatening display of Power Electronics that keeps getting louder until it dies suddenly.

Those beats return for Negative Control, a repetition forms as the shouts return. This  hits you in the head, you can’t trance out to it, the sound hates you and is literally a form of Negative Control. There is a mid-track eruption that goes off until the reoccurring punishment returns. Brace demonstrates further negativity with a discordant display of synthesizer torture, this is a total shift in sound for more vocal terror to erupt within the nest it forms. That voice is so distinctive I know where I am straight away. The electronics here configure new ways to assault the listener, showing the diversity the album uses whilst weaving everything in together.

Splutter walls form for Entrenched Extreme, this really farts and churns into as a wall. Good textures show themselves as the subtle shifts begin to take shape, this is a good wall that in some ways pulls back offering some respite from what has just happened. Eerie feedback plays off other eerie feedbacks and the respite feels like it never happened, this is Born Again 3319. The layering of feedback increases in volume that resonate and harmonise off each other. Chaotic noise quickly takes over as Transcendental, a shifting distortion and feedback become one accelerating and speeding until in faulters and dies.

Entrenched Extreme has a strong variation of approaches amongst its’ 11 tracks. The history of the project and the person make this album what it is, these are the themes continually displayed. ACL is one of my favourite present day projects and Entrenched Extreme is easily amongst if not the projects very best work, everything that is great about ACL is displayed here and built upon. The evolution of the project continues giving us a great album along the way.

Sonicdeathwishposse 2020.

Wednesday, 2 December 2020

Premature Ejaculation - Wound of Exit . 1998

Premature Ejaculation – Wound of Exit – Hollows Hill Sound Recordings – 60004 – 2- 1998 - 2xCD.

Of late, I’ve been making frequent revisits into the past work of Rozz Williams Premature Ejaculation project. I’ve been thinking about the work a lot. Wound of Exit is the album I choose to write about for one of my classic reviews, it was the last Premature Ejaculation recording, and it was released just after Rozz Williams passing in 1998.

Talking about Premature Ejaculation, I’m often debating what is their best work. Many would argue it’s Death Cultures and the work of the Happiest Tapes on Earth era where Chuck Collison and Leo Wildes were also involved. All three members are each a separate, unique story to be told. There was also involvement in Premature Ejaculations history from Ryan Wildstar, Eric Christides, Paris Sadonis, Kris Fuller and Ron Athey, every member again has a rich, legendary creative past. Collison is the other main member of Premature Ejaculation, involved with most of their releases. He was the man that really gave depth and form to the overall sound – he improved things. In my eyes it’s the finale ‘Wound of Exit’ that is the best Premature Ejaculation work. It had input from Ryan Wildstar and Paris Sadonis, but oddly Collison was not involved.

Premature Ejaculation was the most prolific Rozz project, there were 21 known releases as well as many privately released cassettes by Rozz that are even more obscure than the Happiest Tapes on Earth releases. This album has had an odd marketplace fluctuation; for a long time around 10-8 years ago copies were rare going for around £40 when they popped up on eBay and for the last few years it has been easily available at around £10 with no reissues in 22 years since its original release in1998. I’d couple this release with the live Rozz album Accept the Gift of Sin that was recorded with David E. Williams; this was also released after the passing of Rozz.

There was an earlier recording Rozz did as Premature Ejaculation called ‘The Wound of Exit’; this was a privately released tape that wasn’t included in the Lost Recordings series. This continues the style of nightmarish passages of sound that the early recordings took. Rather than one journey, this takes the form of separate pieces like loops repeated to nauseating effect, samples of dialogue, torture and coughing warped into something beyond their original context.

Much of Premature Ejaculation’s recorded work was either crude noise, sampling or layered Dark Ambient soundscapes that functioned like long nightmares; Wound of Exit was a different approach completely. Each works 7 minutes shifts from use of urgent, repetitive, aggressive sounds to sampled records and bleak, murky noise. There are instrumental overlays such as moog synthesiser or guitar and funeral organ on the final track, this is the stand-alone album in the Premature Ejaculation discography, nothing else in there sounds like this one. Some of the Lost Recordings are primitive aggressive but Wound of Exit demonstrated a more accomplished aggression. Its lengthy nature and polished sound in my eyes make it one of the best Premature Ejaculation releases. It marks a clear change in direction for the project that shifted away from ambient nightmare soundscapes and a direct use of muddy, urgent noise and I feel that it is the wildcard amongst all of their albums.

The nature of the cover art is a polaroid photo by Cecilia A.Trevejo, it shows Williams in a deformed face mask holding a blade to his throat backed by an American Flag. The other polaroid’s show Williams in the mask, he chewed and adjusted these photos to suit his needs. The original images had a Swastika flag in the background, a frequent theme for Williams was to highlight the parallels between Nazi Germany and modern-day America.

Wound of Exit is an epic last album for Premature Ejaculation.

Zee 2020

Ryan Wildstar.

Ryan Wildstar overview.

Ryan Wildstar is a visual and musical artist. He was involved with the bands EXP and Premature Ejaculation, eventually making material under his own name. There have been two albums; A City of Brittle Stars and Give Me Your Alchemy. In relation to 1208 North Fuller Avenue, it is essential that this work is featured on this site.

A City of Brittle Stars – was the debut solo release by Wildstar in 2013. This album begins with deep spaced drones as Wildstar’s clear voice cuts through with clarity delivering spoken poetry which at other times is overlaid and contrasted against itself. The sounds are again provided by Jacen Touchstone, the sounds he provides are experimental yet clear in their presentation. Touchstone’s complex styles differ across tracks serving as a perfect soundtrack to Wildstar’s vocals. Amazing piano work keeps appearing throughout the work. The dreamlike state is the constant factor of City of Brittle Stars giving the work an other worldly feel. Some parts of the album are sung, adding melody and song to the album, as mentioned different Wildstar vocals play off each other. Overall, this is excellently performed, there is a sense of theatre to the work and it is a strong debut.

Give Me Your Alchemy – came at the end of 2013. String instrumentation creates the Overture that introduces Give Me Your Alchemy, it takes me back to the richer moments of Scott Walker. The first track with vocals is the album’s title track Give Me Your Alchemy, which features livelier industrial - dance rhythms as Wildstar’s vocal switches between spoken and sung backing vocals; I feel as if I am in the film Subway. I like the range of experimentation of the album, the music goes from upbeat Industrial Dance to almost acoustic tracks with a similar feel to that of the opening track, this is spread across the album as Piano and strings create beautiful melodies. Some of the more tribal tracks take me back to the work of Pain Teens. The musical score was written and performed by multi-instrumentalist and composer Jacen Touchstone. Wildstar’s vocal is mostly spoken poetry and sang in some parts, both works well with Touchstone’s music. Give Me Your Alchemy builds on the strengths of the debut and produces many moments of beauty across its 11 tracks.

EBV 2020

Tuesday, 1 December 2020


HOMExINVASION – Noise Wall Compendium – 6xcdr – Harsh Noise London – 2020.

Once this blog got truly focussed in theme, the pleasurable aspects of doing it emerged, they are reviewing what I buy, free stuff and most of all discovering new present-day acts – the Facebook side of it is great for that. The passion for new acts put an end to me doing the Greatest Hits reviews, e.g. reviewing bigger more established names to get more likes and views (zzzz). I honestly prefer discovering new acts that are shifting the parameters of what constitutes noise now. One of those artists I discovered is HOMExINVASION, a young British HNW project that has released his own recordings physically and online over recent years. There have been recent releases on UK based labels including Harsh Noise London and Lost Notes Media. One of the key themes of the project seems to point towards a timeless darker side of modern Britain, others include the darker side of obsession. As these themes resonate, there is almost a Tales of the Unexpected feel to some of the releases.

Noise Wall Compendium on Harsh Noise London is the project’s largest release to date spreading across six discs, each has its own unique cover.

The first disc is two tracks, Razorblade Fascination I & II. The unique sense of Bleak Britain that surrounds the project is immediately apparent in the consistent, low rumble of the sound. The sound is pure Northampton bleakness, no warmth, no light. The blade is a frequent cast member to the work of HOMExINVASION, having appeared on 2019’s Thousands of Trivial Wounds. As the sound drags itself along, I question is this the loneliness of isolation and comfort through blades sound tracked or violence? The second Razorblade fascination is a sharper affair with a more energetic rumble, this has a higher level of aggression to its’ sound.  There is a clear crackle that moves with the lower rumble to give a layered feel to the sound.

There is a sharper crackle on the second disc, this also has a more abrasive drag that pulls through the sound as if to create a shift in layers at times. There is also an energy to the back rumble that seems to spread outwards and affect the other aspects of the sound.  The second work has a richer crackle with more hiss woven into it, the back roar has a sharp intensity as the crackle bounces on the surface. The Untitled titling of both passages of sound does work and give an appropriate emptiness to the work. Emptiness isn’t easy to do as it can come across as very generic, this is the first example of HOMExINVASION doing nothingness well.

The third set of walls on disc three reflect the obsession with various aspects of a female nature, in this case two pieces based on college girl knife fights. This also relates to the violent underbelly of society, with knife crime amongst teens, particularly in gang rivalry a constant problem;  Crime frequently appears in the project’s body of work. The wall in the first knife fight has a deep bass roar and aggressive sharp crackle that resonates with the deeper sounds violently. The second wall is more aggravated with a mono like roar and little distortion, here the mono hum is the chaos, there is less distortion, only the gradual shift and rough edges of the bass.

The first wall of the fourth disc combines a deep bass roar and wall of distortion layered close to it. The subject here is Grey Sky worship 1 & 2. Grey Sky makes a frequent backdrop or in its’ entirety in many of the themes of HOMExINVASION often on the covers of his work. The bass seems pushed to the edge as if at breaking point, but the distortion acts as a protection, two become one. This combination allows the sound to step up a few levels, never breaking up. The second Grey Sky Worship is more broken and splatters its song, it is a lot looser than the first. This loosens more to intensify its’ roar.

Disc 5 has a double edge, it truly explores emptiness, with 2 studies of static purity. This goes to the core of the genre by presenting two passages of low-level hiss, the emptiness becomes the noise. This stripped back approach throws me and impresses me a lot. Both works differ, with the second having a lower hiss that does fill the space slightly more, but still little. This impressive disc is the rouge card of the pack.

The theme of emptiness continues the sixth disc, this is two studies of Reclusion. This may possibly be more tied in with the personal aspect of the project. This has a sound that has a combination of incredibly low roar and very low hiss, silence also partially occupies the sound here. The second Reclusion has a slight increase in sound producing a restrained rumble to create a wall, this Reclusion stammers and struggles with its’ sound as if unwilling or unable to communicate, this is conceptually rock-solid work.

A range of obsessions are explored, most are frequent themes in the work of HOMExINVASION. Here we are given the wider conceptual being of the project. At two to three years old this is a brave move to spread all aspects of the work across 6 discs so successfully. At times, the work is very innovative, all of it is strong and it makes for an excellent set of discs. I am very impressed with this body of work; it is available through Harsh Noise London.

Euphoric Bullshit Vibe of the Sonic Deathwish Posse 2020.

Monday, 30 November 2020

Dvosed - Prhnoba

Dvosed – Prhnoba – CD/download – 2019- Slušaj Najglasnije.

I got this cd some time ago from Matjaz who does the amazing noise project Gen26. It isn’t normally in the remit of what I review, but I have kept listening to it a lot over the last 6 months. I went on to find out that Dvosed comes from Slovenia and have done 2 albums since 2017, they are Simon Bergoč and Edo Fičor. On this release poetry and vocals are provided by Vid Sagadin Žigon.

This album seems grounded in a dark atmospheric jazz that is extremely evocative. At first it is just drums and guitar, they linger until sounds go off like fireworks in the background, this forms Nabab. I build images in my head as the album plays, I went to Croatia once and feel that area of Europe in these songs. I’d love one day to go to Slovenia and see Dvosed play one day.

Vid Sagadin Žigon’s dialogue enters Prhnoba on Micelij… Gobe, the slow lingering guitars and noises play whist Žigon’s spoken dialogue compliments this. Sampled dialogue forms … and instrumentals and noise converse in Dromedar Superstar, the same dialogue source soon comes back to work with the melody. Piano melody repeats as the noise menaces itself into a hyperdrive.

APKM Crvi, is sinister noise, spoken poetry and jazz drumming and is at once spacey and playful as the jogging drums and deep synths end up in a lone dialogue. Discordant guitar and Žigon’s spat out dialogue work together, noises fill the background create a massive shift in sound for Jebi Se Smst. Sinister, subtle jams ingulf me as speakerphone dialogue, jazz drumming, discordant guitar and noises play Cassini which feels like a tense dialogue that could have an unhappy ending if things go wrong. It doesn’t go wrong because Dvosed are brilliant.

Quacky farts are the introduction to Cioran as percussion slowly forms from wooden clicks to the kit. Dialogue eventually joins the proceedings. Those slow mournful early orning guitar twangs come back as ambient sounds form the backdrop to the luscious landscape that is Levitacija. Deeps drums and screwy noise form Gravitacija, soon warbling harmonics wash over this to form an effective instrumental, multiple harmonies resonate around each other, this is beautiful experimentation.

I genuinely love this album, it is like good dark chocolate, seductive, velvety, and smooth. Prhnoba is one of the best albums I have ever received for this blog and Dvosed, I truly thank you for making it.

EBV 2020.

Saturday, 28 November 2020

RJ Myato.

RJ Myato has been around since 2009, with many releases and projects since then. His other aliases include Last Of England, Panta Rhei and John A Dreams.  

RJ Myato – Songs – Kill Collector Culture – CDR/Download – KCC#028 - 2014

Chance meeting of randomly generated lyrics, a Dictaphone, and an electric guitar on a dissecting table.

RJ Myato 2014

Abstract songs by RJ Myato - guitars are strummed through distortion pedals with warbled, undecipherable vocals. The songs are short, with most being under a minute, some over, but never reaching the 2-minute mark.

I like this chaotic release, there is something endearing about the songs. The strumming goes from being mildly harmonic to noisy strumming and that continual change is effective and keeps your attention focused. I do believe that with a bit more care and attention, this aspect of Myato’s work would be great.

RJ Myato & Gorgonized Dorks split – CDR/Download – Enforced Existence – NX#049- 2019


I know of Gorgonized Dorks through the amazing photography of one of the two members Katz Seki, who is someone who has photographed a lot of leading Deathrock and punk bands from the 1980s and 90s to now. Katz seems to go back decades; Gorgonized Dorks began around 2005 and the members are Katz and Ben Viele. Katz also does the Humanextermination Project whilst Ben Viele owns Agromosh records and does the projects Green Terror and Mitten Spider.

Gorgonized Dorks track is just under 10 minutes and it is called ‘The Rich Exterminated with Joy.’ This pulsates along, getting tense and busier as it progresses. I have only heard the Grindcore side of Gorgonized Dorks which is ok, but this is a nasty piece of simmering noise that glowers and menaces the listener. I am usure if the voices are vocals or mangled samples. The crowded, nightmarish assault of The Rich Exterminated with Joy creates a highly effective track.

Lint Shuffler is the first RJ Myato track on the split, this does a lot at a low level, it shares a murkiness with Gorgonized Dorks that ties the work together well. 80s like beeps and buzzes converse over swampy, bubbling sounds. Scramble House Calligraphy is livelier than the opener and sounds as if it was recorded on a video recorder, but like Songs, the low fi quality of the work shines through. The intensity rises on Shaped Tents, this seems like an immediate build on the previous track. It starts to sound like junk abuse with a heavy drag making the explosive distortion of Shambling Sounts seem like a massive shift as it demonstrates brief, effective wall. The back drone that contrasts the distortion feel as if it goes on for lot longer than it does – a moment of balanced clarity that builds to another sound shift as the walls of Carapace Joy Cariburnus plays out a sharper, distorted splatter and buried drone.

Both artists present brilliant work here and tie in together well. Regarding RJ Myato’s work, this is the most effective display of noise that I have heard by him to make this an excellent split.


Panta Rhei/Thar Desert – Transmuter – CDR/Download – Enforced Existence – NX#066 – 2020.

Pantra Rhei is another RJ Myato project that has been releasing since 2017.

Mournful synthesizers introduce the project on this album, guitars soon join the procession in this mournful mini build up to the horrid raw Black Meta sounding Pantra Rei. This has that bleak rawness that helps Black Metal a lot and is mixed with low-fi aesthetic. In some ways it is good, the lo fi sound has a certain charm, but I am critical as it to me is the noise guy’s Black Metal project. However, I feel it is saved by its funny qualities, some of the quality is so raw and combined with the rhythms used it adds a humour to the work and an unintended shift from Black Metal. It has Black Metal stylings but becomes something else as there isn’t a clear aesthetic defined to the work; not a bad thing and it is unique. I’d be interested to see the project extended to a whole band to see how it would develop. But I did find Panta Rhei enjoyable.

Thar Desert’s 1st wall has a lot of crunch and movement. At a certain point, the sound seems to move faster and increase in volume: there are clear, defined shifts within the work. The second Untitled wall has noticeable restraint and a deeper texture that also changes feel further on in the track. This is good wall work with an impressive focus on its own texture and movement. It would benefit from a clear aesthetic, but it is still good work.

This is an interesting split, both artists contrast greatly. Excellent cover art too.

Euphoric Bullshit Vibe 2020.

Wednesday, 18 November 2020

Various Artists – Pattern Recognition (A benefit for collage artist Bradley Kokay)

Various Artists – Pattern Recognition (A benefit for collage artist Bradley Kokay) – Download/CDR – No Part of It – 2020.

1. GX Jupitter-Larsen – Fire Anthem 2.

2. Modelbau – Escapement.

3. Mama Baer – Mann Dada.

4. Howard Stelzer – Florida Living Room. (Featuring Arvo Zylo)

5. Justice Yeldham – Shrimp Doggy Glasses.  

6. Illusion of Safetey – The Poodle Bites.

7. – Sequence Assembly ( For B.K.)

8.  Hal McGee and Jeff Central – Dead Spider Eggs in my Head.

9. Eric Lanzillotta – Patterns of Isolation.

10. Mental Anguish – Stem.

11. Sharlyn Evertsz & Arvo Zylo – Witness Box/Wax Axxident.

12. Novasak – Complex Hydrocarbon Molecules Created.

13. Torturing Nurse – Isolation.

In September 2020, artist Bradley Kokay lost his art studio--20+ years of art and collected collage material, as well as other personal belongings, in a large-scale fire that devastated 5 towns in Oregon.

This international compilation of long-standing experimental / noise artists is a benefit to help Kokay recover art supplies and rebuild his workshop. Kokay uses mostly xerox machines and transparencies to create sometimes mural-size collages, occasionally in real time at public places as a sort of performance. He relies heavily on physical source material and doesn't use computers for his work at all. All proceeds from this release will go directly to Bradley Kokay.

No Part of It, 2020.

Pattern recognition starts off with a belting track by Haters main man GX Jupitter-Larsen, his Fire Anthem 2 is the perfect combination of noise and melody. Both dance around each other beautifully, this is an excellent start to the album.  Bleak ambient rumblings sprinkled with cosmic noises form the brief soundtrack that is Modelbau’s Escapement. The Mama Baer track is great and brought a smile to my face as it seemed like a personal ritual with the chimes and vocal that are rich and timeless. Howard Stelzer’s creaky, avant-garde experiments are like sound poetry in action. I like Stelzer’s ever-changing language of sound. The Justice Yeldham track is like farting jazz, amazingly effective in a way that seems comedic and channels Smegma as it gives off a staccato assault. I reviewed Justice Yeldham’s tape (as Lucas Abela) on Harsh Noise London, live at Café Otto and this is even better than that. Illusion of Safety offer haunted atmospherics made from everyday sounds and field recordings. Voices sound inhuman, whilst the sounds seem like a warped, busy day making for an amazing track.

Sequence Assembly (For BK) by is very impressive, it has an odd tinkering, ominous sound. Hall McGee and Jeff Central deliver a display of screwy atmospherics in Dead Spider Eggs in My Heads, this is precise, considered, mature work. Eric Lanzillotta delivers low level noise at it’s best, this works quietly and effectively, I like this a lot. Mental Anguish delivers a passage of noise that seems take spiritual journey elsewhere, great work. Stem’s beauty continues with Sharlyn Evertsz & Arvo Zylo, this combines the quiet noise of Lanzillotta and evocative beauty of Mental Anguish until it intensifies becoming a siren-like, beautiful passage of noise. Novasak delivers a brief, restrained noise burst that bounces around the space that it is given. It paves the way perfectly for Torturing Nurse’s massive noise outburst, this clangs and blasts for a long time, a perfect finale.  

This is a great compilation that delivers many gems some are subtle and some are explosive - all working together for a very worthy cause. Pattern Recognition is well worthy of purchase.

EBV 2020

Monday, 16 November 2020

Luxury Mollusc and Itching split.

Luxury Mollusc / Itching – Split – Cassette/Download – 2020.

I confess to being a new listener to Dublin’s Luxury Mollusc, (active since 2006) only hearing bits on splits with other artists. Deep feedback terrorises my headset until clangs punctuate the drones, this is Intersecting Erection. Infected feedback begins to pierce the deep drones as it distorts seeming like bright sparks of light coming off a grinder. I did not expect it to be this assaultive, this is an interesting Harsh Noise display. There is a rich communication going on between the sounds, with a few elements at a time make more with less. The work eventually delves in creeped out, sophisticated atmospherics.

Deep bass heavy pulsations form Interstitial Bodice, sharper, explosive noises seem to go off over this, as if at war creating an unbearable tension within the work. This gets more taught as it progresses.  As the sharp noises die off for a time, the tension remains in the deep drones, it feels as if the artist is showing off by maintain the works intensity whilst stripping its’ elements down to the core. As the sounds rebuild, the sound is punishing as the sharper noise works like an electrically charged whip. I feel I as if I am floating in space while somebody takes an angle grinder to my head, this is relentless punishing noise.

Raging Harsh Noise cuts to drone and back again as Internment Glands begins to take shapes. This seems to out do the two previous tracks in terms of the ferocity of its attack, it keeps pulling back only to explode again in time. As the sound begins to fill out, water like sounds begin to cleanse it as holy chanting can be heard within the mass of noise. This truly is something else.

Itching was Nacht un Nebel, instead of Cello, Cat purrs are the sound source for Itching. This is also truly something else as Golden Hour begins, what sound like nice cat purrs intensify and go into Cat Stellar Overdrive and build into insane passages of sound that seem to explode into Harshness. This is warps sound to new further regions than Nacht did and I conceptually translate it as an amplified Cat Worship, an empowerment of the cat. This reaches a warped psychedelic harshness that I was not expecting.

Intense purring starts Buried off, this soon warps, distorts, and again goes into overdrive. What I thought would be a calmer project than Nacht und Nebel is using something else to create a harsher sound, the levels of warped are so screwy there’s something crazed about the work, which I like. Lovely purring again introduces Sliced until it goes off on further experimental tangents with the sound pushing at its’ limits furthering the range as much as it physically can.

Triplicate starts as the sweetest purr, less treated than the others, but accelerates to hyperdrive in no time. This also goes very Harsh; the purr becomes assaultive and choppy as if being hit by a helicopter blade repeatedly for fun. By saying this, I am not saying that is all the track is because as the intensity subsides it moves elsewhere to pleasant atmospheres - a kind of clicking trip. Visible concentrates on deepening the purr source before the distortion of it takes it elsewhere to become as severe as the Luxury Mollusc tracks.

I will say I love Nacht und Nebel, but this work is a serious step up. The Luxury Mollusc tracks are excellent too, this served as an excellent, proper introduction to both project’s work. This cassette is one of the best releases that I have heard this year. We are in a new golden age of noise in the UK, no shit!

Euphoric Bullshit Vibe 2020.

Sunday, 15 November 2020

Blackcloudsummoner & Pale World.


Blackcloudsummoner and Pale World – II – Outsider Art – Cassette/Download – 2020 – OA058

      1.  Ever-Open Door.

      2.  Forced Human Extinction.

      3.  Moon of Abstract Time.

      4.  Slitting the Throat of the World.

II is the second collaboration between Pale World and Blackcloudsummoner, all tracks are collaborative. Ever-Open Door sounds like a soundtrack to another dimension as feedback and echoing clang metal go off. This goes on for a while, creating horrid mental landscapes. Deep drones seem to overwhelm everything as their deep rumble resonates around everything. As this really kicks in the sound is massive with the lead sounds allowed space so that they really create a rich, overlaid atmosphere. As the Ever-Open Door falls back into the distance, what sound like hymns being sung finish everything off.

Forced Human Extinction demonstrates aggressive electronics to produce a ruthless sound. Sounds seem to layer on top of each other when you feel it can’t possibly expand further. Screaming noises are woven into the sonic texture; this is more hellish than the opener. The electronics are very disciplined and effective until piano playing interrupts as if to cut off the chaos.

Moon of Abstract Time demonstrates a determination to out do all that came before it on this tape. The nasty electronics reek of depravation and suffering as noises scream like voices continually. As the track progresses the deep churning sounds stay the same, but the over laying noise seems to get increasingly demented as it warps out. I like the unique nastiness of this work as it erodes itself to an end.

The demented qualities of the sound work to maximum effect as a warped Slitting the Throat of the World drags itself along. As the electronics gain speed the sound grows and intensifies massively into another huge display of negativity. The smaller sounds that exist within the chaos interest me, they are quirky and odd like a lot of Blackcloudsummoner and Pale World noises often are. This is the longest track between the two artists and the twisted language between them really builds and moves throughout.

I am pleased Outsider Art is picking up on a lot of odd, warped variations of Power Electronics like this that are emerging, as releases like this really are amongst the best new work out there today.

Euphoricbullshitvibe 2020.

Thursday, 12 November 2020

Closing - I

Closing – I – Modern Tapes – Cassette/Download – 2020 – mt037. 

      1.   The Blood Flowed Faster.

      2.   Blurring Not Blinding.

This is a mystery project on Modern Tapes by someone called J.P. I is in a limited edition of 15.

The Blood Flowed Faster begins with ambient drones that create a sense of dream. Noise begins in the background as if in the distance away from the main drones, these change to darker, increasingly prominent sounds. The Blood Flowed Faster is now a bigger, bleaker passage of work sounding like a tense nightmare that slowly unfolds. Once the first storm has passed, the sound pulls back to a distant horror awaiting in the distance. As the sound really begins to die down, it seems to become less nightmarish and slightly merrier, I almost feel glad the dark spell is over. That feeling doesn’t last long, the work rises with more attack via the pitch of its drones which is sustained until the songs end.

Blurring Not Blinding begins as a perfect continuation of The Blood Flowed Faster as it has that distanced ambient sound creating a dream that has not yet unfolded. This remains distanced for a longer period of time and feels as if singing bowls and cymbals were used in a subtle manner. Blurring Not Blinding has a beautiful resonance to it; there’s a darkness punctuated by a rich gorgeousness.

I’ll conclude this review by saying that I is a brilliant album with an intoxicating, immersive sound.

Euphoricbullshitvibeofthesonicdeathwishposse 2020.

Tuesday, 10 November 2020

RJ Myato & Porraloka


RJ Myato & Porraloka - O Alvorecer na Madrugada de Aurora – Kill Collector Culture – Cassette/download – 2020

I won’t even begin to list the massive 80 tracks on this collaboration between Pittsburgh’s RJ Myato and Brazilian act Porraloka. O Alvorecer na Madrugada consists of two long tracks and seventy-eight short ones.

Each track is insanely distorted and mangled up as if the tape had twisted. Vocals function as noise as they are completely undecipherable, the overall sound is warped beyond belief creating hellish, digital blasts from the matrix, 80 of them. As a collaboration this crams lots of ideas and methods into one release. It functions like a grindcore album, many short tracks, brief and straight to the point. The works seem to blur into one, frequent sharp noises, hums and screeches seem to cut the work up and offer some sort of punctuation to it.

This album is extremely fast and available in the links above.

Euphoricbullshitvibeofthesonicdeathwishposse 2020.

Sunday, 8 November 2020

Human Aspic

Human Aspic – The True History of the American Human Salvage Program – Modern Tapes – mt036 – 2020

A1. The Whistle is Blown.

A2. Sowing the Seeds of Victory (The War Garden).

B1. Where Does the Soul Come Out?

B2. Soldiers of the Soil.

This is the first release by Human Aspic. The Whistle is Blown is a crunchy introduction to the tape, it has a fast shift, accelerating and changing constantly. It does combine several simple elements that chop and change violently to make a shifting busyness that works well and really holds the attention as the work acerates to its death.

The pace seems even faster as Sowing the Seeds of Victory (The War Garden) explodes into action. What becomes apparent is how individual elements are clearly defined in the work, so it isn’t just a dense wall of sound, there are rowdy, fast clashes between different noises. This is a shorter track than the opener that functions like a rush of adrenalin.

Restraint is temporarily demonstrated on Where Does the Soul Come Out? As the volume, crunch and sharper sounds rise it becomes apparent that this is a slower track that allows more space for sounds to operate within, a more effective dynamic that lets the sounds really work.

The sound seems to become a stutter as it repeats itself, trying to explode until it is successful, this is Soldiers of the Soil. This track is the choppiest of them all, taking off and being dragged back to minimal elements continually as if continually at war with itself. Like other tracks on the album, dialogue shifts at high speed between a few elements creating a sense of change whilst really relying on only a few elements that are continually moved around like pieces on a chess board.

The cassette comes with a huge back story regarding the Human Salvage Program and Human Originated Meat scandal during WW2. It is all revealed in a small booklet that comes with the cassette. The artwork on the card case is hand printed and looks beautiful. As Harsh Noise goes, this is an excellent debut release for Human Aspic.

Euphoricbullshitvibeofthesonicdeathwishposse 2020.

RJ Mayto/Planet Shithead

RJ Mayto/Planet Shithead – Split – cassette/download – NX#051 – Enforced Existence

RJ Myato

      1.   Soporific Clang.

      2.   Starvation Platter Cancel.

      3.   Duet for Mailbox and Guitar.

Planet Shithead

      1.   My Refrigerator Thinks I’m Charming.

RJ Myato (active since around 2009, Pittsburgh) has an immediately haunted sound on Soporific Clang as it slowly comes to life. The sound is subtle with small interactions of muffled scraping and creaking with lots going off in the background. The sound makes me think distantly of New Blockaders or Small Cruel Party in that is about the communication that goes on between the sounds. The intensity builds up as high-pitched drones and whistles increase the pace of the Soporific Clang. I like the long die out of the sound as elements drop off the composition.

The build up of Soporific Clang serves as an intro to the more aggressive territory that Starvation Platter Cancel occupies. This uses relentless, assaultive drones as its’ main component, it sounds like several drones working together and alternating away slightly from the main pattern at times. This causes the movement in the sound as the slightest shift has an impact.

Insane guitar clatter makes Duet for Mailbox and Guitar. This is by far the biggest guitar noise battering that I have ever had. It isn’t bad at first, but it lacks the clarity and inventiveness of the two previous tracks. However, it is the noisiest track on the album and as it progresses seems to find a consistent language and direction.

Planet Shithead has been actively releasing since 2014 and I am immediately swarmed with static distortion, waves of it. It does have a good chop within its walls, it is slightly layered over to hide the chop within the static, but it is there. Subtle drones exist behind the main wall and there are small changes to the nature of the wall as it plays out, just intricate little details that are evident as you listen. I like this piece as it also seems to have changes in mood over its duration. The project does have a history of humorous titles and My Refrigerator Thinks I am Charming is no exception, however the work is good.

Good work from a couple of obscure projects, discovering this kind of work is a reward. This can be heard and purchased from the links above.

Euphoricbullshitvibeofthesonicdeathwishposse 2020.

Saturday, 7 November 2020

Ordeal by Roses - City of Forms.

 Ordeal by Roses – City of Forms – MC/CD – Outsider Art 2020.

Sometimes work comes along that destroys all you knew before as it wires itself to your nervous system, it’s a rare occurrence, but you always know when it has happened. That is my relationship to Ordeal by Roses and after two great tape releases, I nervously approach the debut album - the stakes are high.

As spoken dialogue opens the album and leads us into City of Forms 1- Hostile Architecture I feel as if I am somewhere in between a dream and a soundtrack. Melodic synths and distorted electronics play off each other radiating an intense, hostile beauty. The vocals kick off somewhere within the psychological architecture of sound. Hurt Hostility rises to the forefront as City of Forms 2- Time as a Suture explodes briefly – short, sharp facts expressed through rage and walls of distortion. New ideas in new forms as beats, drones and an intermittent vocal form a circle to make a ritual of pain that is The Mask of a Child.  

The spoken dialogue returns as The Wheel Refuses to Spin (To the Least of my Brothers) and switches to traumatised shouting whilst the drones play out. This combines instrumentation and noise to an impressive degree with both taking the lead at the right time, this happens a lot throughout the album. Knights of Swords (reversed) switches to a direct assault as noises play off each other building a huge blast as it slowly melds together. The vocal gets in on the action and goes off massively, the noise seems to follow this lead. This is a lengthy, sonic tantrum as everything becomes one to express something.

The last City of Forms 3 – Irreconcilable Distance pulls the beauty back into the sound as melodic electronics and distortion work together whilst the vocal gives out one last surge of dialogue. The anger and beauty combine to bring City of Forms to an end

The abstract artwork on the cover compliments and works like the music as it radiates a life. There is darkness and light within the vague forms, what they are or if they are there at all is hard to tell. The artwork and sounds being one happens a lot on Ordeal by Roses releases.

The contrast of light and dark within City of Forms is vast, the synths in the work have a soundtrack like vastness whilst the vocals - noisy and spoken are impressive. On Monday someone will as what I did this weekend, and I will tell them that I experienced the reality of an existence and it was perfect.

ZG 2020.

Tuesday, 20 October 2020

Eine Stunde Merzbauten

Eine Stunde Merzbauten – 7305 – 2014 – CD.

Eine Stunde Merzbauten is a four person Czech noise group formed from the dissolution of Napalmed in 2014 and they have released 8 albums since then.

When I got this, I thought this would be a Jerk-off project, but that is a Czech thing, Uncle Grasha’s Flying Circus appears to be this, but when the albums are played, it is way serious, making recordings that resonate historical depth and pure beauty; this is too, but in a very different way.

Big sounds erupt from my Boombox, it has that group feel like Genocide Organ does. Three tracks are melded into one, all covers apparently, but I wouldn’t know as I don’t know a lot about all three of the bands covered, this works as one track for me. I like the continual improvisation between elements that happens, the different components of noise/sound really do sound very separate; this does have a cold intensity that shows in the sound. The sounds seem in continual communication together, an abstract dialogue. There is a continued disruption and aggravation to the sound as noises begin to argue and interrupt each other.

A murky depth begins to comes through, it isn’t all sharp business as it sinks back to murkiness as the album moves from a big sound and drops in sound that are impressive, this adds suspenseful quiet to the work as tinkering jams punctuate the sparseness, the listener is trapped in freakish atmospherics.  The playful interactions go off for a long time, the dialogue of sound is clear as it isn’t hampered by too many big noises. The sound gradually intensifies and the improvision gets busy again towards the end.

This is effective noise improv and I like it - Czech noise is very intriguing.

Euphoric Bullshit Vibe of the Sonic Deathwish Posse 2020.