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Tuesday 25 December 2018

Into the Abysse.




Abysse – Bulles Noires. 3” CDR. Limited to 10 copies. https://abysse1.bandcamp.com/ . November 2018.

1 – 002 [07’38’’]
2 – 003 [08’02’’]

Bulles Noires consists of two live sets by this one-man French noise project known as Abysse. There have been several releases on Bandcamp, some self-released and on other labels. The project is also linked to the French Street Art scene; as marker pan artwork features on this release and many of the others. This recording collects two live performances to small, select audiences. This is linked to other projects including - The HNW Quartet, Static Park, The Future and Figures of Solitude amongst many others. The 3” CDR format is presented in a Black pouch with a White capital A patch sewn into it.



Minimalism is the key word for these unflinching repetitions of sound, it juxtaposes up 4 discreet sound elements together. Bulles Noires sounds like a locked grove surrounded by pulsating waves of sound jarring against each other. The sound subtly intensifies throughout the track with interventions of hissing noise. It reminds me of some of the aggressive loops used on early 70s, Krautrock albums. There is a feeling of controlled points of malfunction spread across the performance that serve as uncomfortable points of silence where the sound doesn’t really start up again as it continues in your head throughout the silence. The subtle variations of intensity are assertive through their impact on the works atmosphere.  Rising levels of static hiss don’t allow for the silence to be repetitive, they vary it.




The repetition makes this function on the same principles as HNW as it doesn’t really let up, when it pauses it is too late as it is etched into your brain, even when it ends suddenly. Despite not being so obviously aggressive, it is, as it zones you into the sound and you’re stuck inside. This process is repeated on both performances, but little is revealed. I’d like to see how this process works on a whole album, over more tracks or a very long one. The little black pouch contains a brief happening of sound that is difficult and uncompromising.

Choppy Noodles 2018.






Tuesday 18 December 2018

Vomir, walls and beyond.


Revisiting the walls.

I felt my Vomir review a few weeks ago was too abstract; I feel the need to engage with the walls in a credible and thorough way. This review is an attempt to do that or begin to.  

I recently bought 3 Vomir tapes at a live performance at Nottingham Chameleon Arts Cafe. The show was different to last time, it was different walls and there were no black bags on heads. Vomir stood still and motionless for nearly an hour as his wall played out. It was as if he was lost or seduced by his own wall of noise, or perhaps enhancing the supposed emptiness his walls are meant to reflect? The performance was extreme and unnerving as he showed no signs of movement or emotion, the build-up of sound on the powerful Chameleon Arts Café sound system was relentless and produced a massive void of sound. There was also a combined performance with author Paul Hegarty which was vastly different to Vomir and equally impressive. Hegarty also gave a talk on noise, he played audio samples and discussed them and ways of perceiving noise. This was interesting, funny and good to engage in rather than it being all noise acts. Nacht Und Nebel played and were great as usual. This is the second time I saw Vomir and both times were equally memorable. He previously said the following about playing live –

I guess you mean physically? Be (a)live is a fact that in any place, in any time claustration becomes an act of amputation in relation to the world.
As Loud as Possible magazine interview w Hicham Chadly, 2010.


Vomir /Fecalove - Shit and Vomit, mm & viii, cassette – ta607 – limited edition, unlisted.

a.            Vomir.
b.            Fecalove.

Fecalove – Nicola Vinciguerra – Italy. https://fecalove.bandcamp.com/

Vomir – Romain Perrot – France. https://vomirhnw.bandcamp.com/releases 




The Vomir side of this cassette does seem to build up as a sound form(less), as opposed to it being an immediate roar of sound which you’re immediately within. The wall does seem to be created by a deep/low rumble that is covered by a sharper/treblier crackle. The combination of these two elements can either simply just contrast or form a static void right in the core of the work.  The deeper rumble sound does seem to resonate and vary in its tone slightly; a wavering roar. Is the emptiness that is quoted in regard to Vomir’s sound replaced by a surrogate warmth via the simulated roar of flames? Or are you encased by radiating waves of emptiness on listening? Sometimes I think I hear other sounds buried deep in the mix.

Fecalove is at first playful in its colliding bouncing sounds that serve as an introduction before things shoot to the forefront of the listening sphere and collisions of sound become more aggressive. This is a very choppy, assaultive sound that doesn’t let you inside like a wall of noise does, it’s too shifting so focus is harder to achieve, you’re moved around a lot. As the track progressive walls of sharp noise to build, despite the up rise of intensity it does become easier to exist inside the sound than before.  The sound does occasionally falter and choke, to allow massive rebuilds of the sound or sketches of dying sound experimentation.


Vomir/Bleak Existence – Untitled. Cassette, Narcolepsia – narco068. 2017. 


A1 Vomir – untitled.

B1 Bleak Existence – untitled.



This Vomir release is very immediate, mid, wavering rumble that periodically sharpens in sound as if to intensify the waves of noise.  The movement from sharp to deep increases and splits so the deeper waves settle to a more permanent shape and the sharper crackle constantly shifts in a dramatic fashion. As echoes build and intensify from the deeper sound the sharper sound rises to flamelike intensity and shifts across the stereo range furiously. The flame like sharpness blast of static sound intensifies continuously and is now the focus of noise as echoes remain inside the core of the noise. The major shifts in sound happen early on, the sound eventually stabilises as a fattened out deeper, continuous roar of static.

Quebec’s Bleak Existence’s sound really focusses on a faltering crackle, the minimal nature of the track makes for a more fragile, shattered wall.  There is a continuous dying sound quality splattering and cackling throughout the track.  As it develops the faltering periodically increases as if dragged along at force.  The faltering noise becomes an aggressive stutter that intensifies to a fuller sound with a harder bass depth and sharpness that cuts behind the splattering.  An acceleration in sound leads to a sudden end.

Vomir/Colique – Vomir/Colique. Scum Tapes 044. Scumyearth – Tape. 2017
release link: https://scumyrearth.bandcamp.com/album/vomir-colique-split

Vomir - Soyez Enfermés

cOLiQue – 7 sur 7



A sharp blast of Soyez Enfermés (be locked) begins to resonate in full restrained blast tunnel wall mode that seems to have a hissing back noise. It is as if the two exist side by side, deep roaring crackle and sharper static hiss. The deeper roar does seem to go through shifts in dynamic as if periodically riding across the stereo range as the static hiss becomes slightly deeper and acts as a base to the deeper noises. The shifts become more dramatic forming a widely looping wall as noises go off in the background.  The wall eventually seems to settle as the shifts are moved to the background and become noises behind the wall. The peace is temporary, a roaring, sharper distortion takes lead bringing things aggressively to the forefront of the work’s sound as it intensifies and accelerates into a roaring sharpened avalanche of static. This is by far the most dynamic Vomir recording of the three that I have reviewed in this piece. As the tape moved on, I placed my hands over the boom boxes built in speakers I was able to interact and play with the wall as this adjusted and wavered it’s sound, as I patted the speaker new resonations and pulsations occurred. ‘Click’, the tape ended.

The cOLIQue side is split across seven tracks. The maker is called Alex, possibly French. It’s difficult to differentiate the tracks of cOLIQue as there is a formless form of experimentation flowing throughout what is happening. Low level electronic noise and acoustic instrumental tinkering combine and occur with both taking lead at different times. I’m unsure if old soundtracks are used as samples or this is genuine pre-recorded work by the artist added into the mix. It forms timeless, abstract, old world landscapes of sound and noise; the instrumentation is very much early 20th century whilst the electronic noise juxtaposes this as contemporary. I am unsure if these passages of sound poetry are spontaneously improvised or rehearsed. This is the second cOLIQue release, the project is worthy of an entire review of its’ own.

This release comes with an art zine

Roro Perrot – Peu Importe. Echoue Mieux. – CD – DSCDECHOUE - 2017



This is a Romain Perrot side project self described as Shit Folk. The Avant Garde random forms of cOLIQue leads me nicely into this, they kind of tie in on distant parallels. This is full of odd acoustic improvisations that are far removed from the walls of Vomir. Murmured singing/groaning occurs in the back ground, the guitar is plucked somewhere between random tuneless and melody; it becomes scratched and scraped as it progresses, the vocals descend into abstract, wordless growls and grunts. It helps me understand the Avant-Garde roots of Perrot and where he is coming from, this rings clear as a piano is abused. Things descend to more indistinguishable Noise in parts. It does have a sense comedic fun and really indulges the playfulness that sometimes occurs in bits of Vomir; but in other parts its randomness leads into serious territory.

It’s been good diving into a small part of this impressive, massive body of work. I’m Vomired out, thanks for reading.

Choppy Noodles 2018.
Vomir - http://www.reclusoire.com/
Decimation Sociale Bandcamp -  https://decimationsociale.bandcamp.com/music




Tuesday 4 December 2018

Vomir Fecalove


Vomir / Fecalove - Shit and Vomit, mm&viii, cassette – ta607 – limited edition, unlisted.

a. Vomir.
b. Fecalove. 

Fecalove – Nicola Vinciguerra – Italy. Bandcamp Tisbor site.

Vomir – Romain Perrot – France. Bandcamp 1Bandcamp 2



I am working on my methods of how to write up a wall up for a review, I will record my immediate thoughts and put them into form. Neither side is marked. I assume I am correct on which side is who.

Vomir. Like blisters peeling to allow an eruption, side A begins.
This wall seems to have a mid-ground of bubbling bass that is over layered by static crackle. There does seem to be background movement as if forming a tick tock to measure time, maybe this is a masked background rhythm. This feels like the centre of an intense flame like when a Bunsen burner flame turns blue. As it builds it resembles the roar of flames. At the same time, it feels like a wall that takes the form of the never-ending charge of stampeding horses.

Could it be a transfer of energy, a continuous line of sound, a chaotic wave of sound? The flow of wall waves that move to and from. The tick tock is replaced by creaking. The tick tock returns, is it real or am I imagining it?

Am I adding form to nothingness? Perhaps the nothingness presents form to me?

End.

Fecalove.  Bouncing sounds clang, high pitched sounds join in. Is a string instrument being abused, the core sound source of this piece? Side B continues like this for some time. This serves as the intro to some fast paced cut up assaults of Noise.  Harsh blasts of noise are reinforced by some serious digital assault and tape warping. Things get drowned in serious bad recording or deliberate smothering. Until it resuscitates itself and sharp noise abuse continues, there appears to be old radio frequency shifting happening, this is more abstract than the other side. A gorgeous choppy assault of sound. It continues to rage through itself and build up, the latter part of the passage is a lot sharper in sound than the start. Some form of metal abuse begins as the bass gradually returns. Static crackle is in there too. The faltering sound falters in the foreground and the background. The sound dies slowly and beautifully.

The fabric with the cassette adds contrast and sorrow to the visual appearance, it makes the simple layout of the front cover chaotic.

A moment in time of noise that is in parts accidentally beautiful and rich.

Choppy Noodles 2018.

Sunday 2 December 2018

Burial Hex overview


Burial Hex – Et In Arcadia Ego – Cassette – Monastery Fortress – 2017.

I.      A rebours.
II.    Beast of the Weaponed Sex.
III.   Cathar Riddles.
IV.  Bleach the Agony.
V.    What He Doth Finde of the Phenix Kinde.
VI.  Womb of the Wold.
VII. Reign Gathering.
VIII.                The Tolling.
IX.  Famine Again
X.    Democracy of the Dead.
XI.  There is Light.

Burial Hex – Assumption/ Ascension – CD – Klanggalerie – 2017
1.    Assumption.
2.    Ascension.
3.    Vigil.
4.    The Upper Room.
5.    White Sunday.
6.    Afterfeast.

Burial Hex – In Psychic Defense – Sound of Cobra – SOC4 – Single sided 12” – 2011

1.         In Psychic Defense.

Burial Hex – Initiations – CD – Aurora Borealis – 2008 

1.    Will to the Chapel.
2.    8 Pentacles.
3.    River of Los.
4.    Bo -II-Ne.

My history with Burial Hex stretches back to when Clay Ruby made everything on his Soundcloud tracks free for download some years ago around 2010. This led to my interest being peaked enough to buy his split LP with Iron Fist of the Sun in 2011, as well as the In Psychic Defense 12” a year later. I really liked what I heard, it was very different to the Power Electronics I was listened in those times. Burial Hex was a one off. I’d recently lost touch with the project until some recent discussion ensured I landed copies of Et In Arcadia Ego and Assumption/ Ascension. For those reasons I will step backwards into Burial Hex before I step forwards to recent recordings.

My time at Judas Kiss led me to get a copy of 2008s ‘Initiations’ in a sale after the site had closed. This is one of the earlier Burial Hex releases as he had been releasing since 2007. It’s described by the label as a ‘Metaphysical odyssey of uncertain outcome.’ The album Starts off with deep, moody, atmospheric keyboard work that slowly begins losing form and descends into free-form chaos. The lack of fixed structure aspect allows the sound to change fluidly and frequently, Ruby’s assault is very individual when things fire up. The later atmospherics contain humming ambient drones that rise through echoing metal clanging. Things build into a Kaleidoscopic vision of sound of lengthy fractured noise abstractions. I also liked the passages of melodic instrumentation; it leans towards old horror film soundtracks, but never feels forced, it is as if he arrives at some conclusions through sheer force of experimentation. However, I do believe there is always a central theme in the background that ties the work together discretely. It is evident on listening that BH did find its own sound territory as a project very early on. Overall this album does demonstrate the beginnings of a unique, impressive personal vision.


Burial Hex – Initiations – CD – Aurora Borealis – 2008 

Due to recent personal events and the lengthy task at hand I needed to add this to the review; it’s the single sided 12” ‘In Psychic Defense’ that came 3 years later after Initiations. The opening hymn is to Archangel Michael, who is traditionally leader and protector of the faithful. In Psychic Defense is also Clay Ruby’s collaboration with Troy Schafer and this was meant to be the last release as Burial Hex, history proves that thankfully it wasn’t. My thoughts of this years ago were the odd instrumentation and how it sounded like nothing else; this still stands true now. It’s progressed and matured a lot since Initiations, yet the works immediate uniqueness still ties it to ‘Initiations’ as it still has a ‘wtf?’ factor throughout. Its vocals and music are fluid as they build towards the second part of the track which consists of spacious, delicate melodic instrumentation that points to beauty and harmony. A beat interrupts this to introduce a growled, hellish Black Metal type vocal over the melody which then shifts to a lighter singing before the growl returns. This is still a very challenging listen after all these years.


Burial Hex – In Psychic Defense – Sound of Cobra – 2011

Assumption/Ascension is a combined reissue of two earlier releases Pentecost (2016) and Assumption/Ascension (2015). With tracks 1 & 2, recorded live at Snake on the Lake Festival (Ruby and Angela McJunkin) Foggy, ambient drones build and make way for string instrumentation and choir like, distant odd vocal sounds. The vocal like earlier recordings splits between human and raging, pleading shouts, however the gorgeous classical/folkish instrumentation is very prominent in the mix. There are shifts into more ambient, progressive electronic passages of music. When field recording sounds or live action sounds become prominent it makes for an effective lead when the vocals aren’t present. Acoustic instrumentation and pure vocals end the Ascension. The frequent, unexpected shifts into experimental oddness are there in Burial Hex. The lush, flowing musical passages seem to mix with this in an unaffected way.

Tracks 3-6 were originally released a year later in 2016 as Pentecost and were also recorded live, but this time at St Norbert’s Catholic Church in Wisconsin.  Vigil begins with an epic organ performance; as this ends, sharp pitches of sound bring new beginning, progressive electronic pulsations and unearthly vocal sounds form a new sound collage. Organ and drones slowly move in, building to an intense rise that is far more nightmarish than the opening track. Drones and Organs build the next cycle. This demonstrates a familiar pattern in Burial Hex recordings of the sounds starting as if distant, in a fog as elements then rise slowly to the forefront of the passage. The Organs return to finish the album off beautifully.

Pentecost is a less chaotic recording, I find it flows along and shift gradually in comparison to the Assumption/Ascension tracks. This is an impressive live compilation of recordings demonstrating Burial Hex’s continually evolving multi-faceted sound. I’d argue the passages of work are complex yet done so in a way which isn’t just a flood of ideas, it does seem refined enough to flow naturally into new territory, the vocals do often repeat in style which effectively serves to tie the work together.



Burial Hex – Assumption/ Ascension – CD – Klanggalerie – 2017

2017 brought us Et In Arcadia Ego, this comes with assistance from Brielle Ruby, Angela McJunkin and Nathaniel Ritter. Limited to 77 copies, this is essentially the most recent Burial Hex release. Samples and electronic synthesisers build until bleak ambience rumbles above and around. Like previous works there is a sense of ceremony/ritual throughout. The familiar growled vocals appear to be read from a text or script, it is as if the familiarity of the opening tracks vocal ‘evolution/devolution’ sample is echoed. Chant samples seem to reference the holy whilst the pipes reference primal instincts and journeys.

Cathar Riddles is all pleasant bells and pipes until it shifts into urgent noise keyboard drones; this is a welcome return to the abuse of earlier releases. The chanted vocal weaves this in well with the earlier pieces of work on the album. A haunted keyboard drone takes over and the vocal arrangements become layered and further abstracted; this is psychedelic and esoteric at the same time. Bleach the Agony continues the esoteric feel and works as a journey into other areas of Burial Hex and leads us into What He Doth Finde of the Phenix Kinde; this is the longest track on the album and as a result is complex in its subtle changes over that course of time.

Womb of the Wold is a murkier, tripped out and choppily fractured work that later shifts to more lushness and instrumentation.  Reign Gathering calms things in to a quieter ambient calmness as instrumentation flows along with this. The Tolling is darker as tribal drums and ritualistic speaking dominate this low-level ritual of sound. The second side continues to get more warped until sounds are unrecognisable. This album continues to build on the instrumental folkish areas of Burial Hex whilst warping the familiar experimentation even more, it continues the dance between beauty and ugliness warping both unrecognisable into each other at times.


Burial Hex – Et In Arcadia Ego – Monastery Fortress – 2017

Although I have revisited Psychic Defense, this served as a central point for the work. I have either proved Burial Hex to be a project in continual shift or picked 4 lucky moments, which I doubt. The work seems content to confuse, if you pay attention it will partly explain itself, it becomes a woven tapestry through signals and some subtle repetition. Due to the desire to grow and change, the project doesn’t seem to stay in one place for too long. It’s difficult to pick a favourite release here as the work is consistently very strong. Breaking the work down has enabled me to see how it functions, but the mystery remains.

Choppy Noodles 2018

Saturday 3 November 2018

Active Denial


Active Denial – S/T – Cheap Food Records – Cassette – Limited Edition of 50 - 2018.

Psalm.
Smoke.
Champagne.



Active Denial are a Brighton based noise duo of vocalist Adam Apple and soundman Bucorvus Leadbeater; this is their debut three track tape recorded live in the Summer of Hate 2017. 

The cassette looks like an early Con-Dom or Grey Wolves tape, it’s black text on white card, the sound is raw, it lacks the overly sharp production of a lot of modern Power Electronics which endears me to it immediately. To be honest when the project contacted me out of the blue via my FB page, I had a gut feeling this was going to be something special.

Psalm begins with a lot of chuffing repetition whilst sharp noise is pitched over this, Adam Apple rants with increasing anger, this never seems to end or loose momentum. Holy chants wave calm over everything until electronic noise interferes to make way for vocal samples telling everyone that they’re shit. It is then everything explodes, this time the use of noise is far more manic and assaultive. The vocal explodes in temper cursing at the sample, hating it repeatedly. Smoke or Champagne is more of a fight than an abstract passage of sound. The noise seems to antagonise both, making this a three-way assault.

This is a strong debut for the sheer brutality of the given performance, it’s very Street PE, it doesn’t seem to be a gear fest. It bears parallels of stripped back rawness to Scum FC, obviously different in content for sure, it’s way more continually switching between inward self to outward self. But it is a brief burst of raw, unpolished explosive, sonic energy. This is undoubtedly my favourite PE/Industrial recording of 2018. Active Denial you’re it until I find something better.

Choppy Noodles 2018.

Friday 2 November 2018

In Search of Death - III


In Search of Death - III – Death Continues Records – DCRCD007 – CD – Belgium – 2015.






10 Untitled Tracks.



I feel lucky to have seen In Search of Death play live at Henoeuma Malediction in 2015, I was impressed with what I’d seen, Xavier H (aka In Search of Death) gave a good performance that set the bar high as the start of a stylistically mixed line-up that night. The performance used huge arching noises and samples to build a large, atmospheric sphere of noise. Some recent reviews that I had done of a former Death Continues-Artist Nekrofellatio led to contact with Death Continues and boss Xavier H who gave me to the chance to obtain files of his project’s album III and hear them. I liked what I’d previously seen all those years ago and was keen to do a review of III. 

III was originally recorded in 2003 and it was finally released 12 years later in 2015. There is a new track called Anapath on the recent Death Continues compilation – Certified Dead. For review purposes, this album will be broken down track by track.

Untitled 1. Slow ambient, desolate, ominous build up.

Untitled 2. Ruthless, looped Industrial repetition forms a rhythm. Sampled dialogue eventually overlays this.

Untitled 3. Familiar ambient soundscapes establish themselves as synth noises begin to  murmur in the background. Metal bashing non-rhythms shatter the flow of things to provide an aggressive lead. Stuttered electronics rise and fall throughout the work until paralleled by distant melody; maybe a memory that is fading.

Untitled 4. Whippy sweeping sounds form a base for rude blasts of distortion. A whistled tune and repeated vocal sample build a four-source passage of sound.

Untitled 5. Noise explosions and gun fire become a rhythmic wall of war. I found myself being drawn into the background sounds of this sonic explosion. It becomes more unified as it progresses until it begins to break down.

Untitled 6. Further repetition cut into by waves of distortion. This builds into an urgent slamming rhythm.

Untitled 7. An impressive, militaristic sense of drama, scope and ceremony. Awesome use of overlaid synthesizers too. Vocal samples force the track to become a ritual.

Untitled 8 – Clattering loops, waves of distortion, samples enter to an build intense, anxious urgent track.

Untitled 9 – Suspenseful keys and drum beats wind things down to slow pace as waves of distortion maintain the edge. Repetition remains.

Untitled 10. Nauseous loops as Armageddon returns.

The album favours aggressive repetition on most tracks and it will often work different sourced sounds around this. It wasn’t as ‘Death Industrial’ as I thought it may be, it was a lot more varied in sound. It is ruthless and angry in its’ constant repetition. There are some clever uses of melody, entwined into the sampled rhythms. The album varies itself by allowing tracks to either function as narratives or sources that play off each other or to gradually blend sources together to form a new whole sound. There is also a strong, mixed palette of sound sources used throughout: method is the key that ties things together. This is a collection of solid ideas and a massive push towards a realisation of the self through punishing sound.

My review echoes that of Kate MacDonald’s Heathen Harvest review of this album in that I do want to hear more and see where this project goes. This portfolio of ideas points towards many possibilities, I question if I have missed any obvious pointers to that direction? Either way, a strong debut album.

Choppy Noodles 2018.

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