KNIFEDOUTOFEXISTENCE – immaturity of movement – LP - (2014).
Inhibitors – Cassette – (2017).
KNIFEDOUTOFEXISTENCE Bandcamp - https://knifedoutofexistence.bandcamp.com/
Facebook -
Relevant Labels: Outsider Art Illegal Activity Male Activity Amps Against Trend
IMMATURITY
OF MOVEMENT.
Side
A.
1. Document
#8 and being late.
2. Demons.
Side
B.
3. Immaturity
of movement.
Inhibitors.
1. Creation
for Creations Sake.
2. Cradle
to Grave.
3. Battling
the Silence.
4. Damaged
Children.
I saw
KNIFEDOUTOFEXISTENCE play live in Nottingham last week, all I had to compare
was a live show around 4 years ago with Cremation Lily and a couple of other noise
acts. Last week it was clear the project had now matured and developed
considerably since then. On the strength of that, I bought these two releases
and chose to investigate further.
Immaturity of Movement radiates
urgency and anxiety immediately with the opening track Document #8 and being
late. Demons in comparison simmers in the slower, quieter regions using
feedback as a piercing weapon to poke the works intensity into higher regions
as shouting vocals kick things off into a fit of rage and further stabs of
feedback with a failing wall off hiss. The vocals go mental in conjunction with
the feedback kickstarting electronic urgency into override.
The
walls aren’t failing on the title track until wonky, repetitive instrumentation
suddenly dominates. Distant vocals go off as noise punctuates the warped note
patterns. My first thoughts on Knifed live all those years ago was that the
project was derivative; this recording doesn’t say that. He does favour raw
experimentation over a lot of methods to the point where it is unique and consistently
interesting.
Immaturity
of Movement is daily life and memory assaulted with noise and sound towards a
sense of victory. This album is a one man fight club until failure dies. The lack
of control of daily life is recorded and defeated. I can’t make out if
Immaturity of Movement is a permanent, imagined or temporary victory. Either
way it’s victory as a recording through the acts documented in the record whilst
standing out as an act of subversion against PE conservatism.
The
comparisons and influences listed on the Bandcamp statement are irrelevant,
this is something else completely.
For as long as I can remember, the set up
in my mind has been myself, a tape recorder and a fictional third party. When I
am not answering their questions, I am rehearsing the answers for questions
that may arise. The material presented here is both the answers to these questions
and the subject of them.
Quote
from Inhibitors booklet.
Inhibitors was
recorded three years later, it slowly emerges with impressive juxtapositions of
noise, distortion and vocals. The balance and delivery are direct and focussed.
The use of noise is sometimes rhythmic and chopped into for full effect. The
delivery of vocals rises to the forefront and is at times simultaneously
reinforced and abstracted by the surrounding noise.
The
experimental qualities woven into the work, again give it a uniqueness. Piano
and noise combine over a recorded sample until pulsating distortion wipes this
away. This breaks the album up and stops it becoming too formulaic.
There
is a personal, emotive quality that forms the conceptual basis of the
recording. Snippets of text cover the collaged artwork. Fragments of dialogue
form a fractured whole.
In
comparison to Immaturity of Movement, Inhibitors is way more stripped back, it
uses a more minimal range of sound to better effect. It is a tidier, sharper
recording. I’d argue Inhibitors also way angrier than Immaturity; more
explosive, even when it pulls back, it’s still punishing. It is harder to
listen to; the intensity is higher. Good progression and a strong release.
Choppy Noodles 2018