Inner Demons 24.

Inner Demons 24.

https://innerdemonsrecords.bandcamp.com/

Fail - Dated Eleven – 3”CDr/Download – 2024 – IND0182

       01. 080919

       02. 080830

Fail is a Dan Fox project that has been happily reviewed on this blog many times. Eleven is made up of two tracks. The first work, 080919 is the longer of the two,  it begins as gives off bass pulses, like a slow, dying pulse. Slow, rumbling deep low tones and a splattering sound thicken the sound up with more detail. Feedback wails in for a short time, thicker, roaring, bass heavy distortion comes in and creates a low wall for sounds to break out of. The wailing feedback sounds lost within everything. The juggling of different sounds keeps the track textured as the sound quickens. Rapid shifts, choppier sounds and deeper bass progress the sound quickly. Things slow down to low rumble, drones and spluttering sounds as it moves to an end. 080830 pulls things back into slow, heavy, deep Industrial ambient territory, I like the density of this track, it is just right, achieving an atmospheric sleepy, dream soundtrack. This is a beautiful ending to another gem of a release by Fail. Fail is greatness.

Ennaytch – Negativity Positive Lullabies For the Malignant, Vol 2. – 3” CDR/Download – 2024 – IND0181.

https://ennaytch.bandcamp.com/

           01. I Shall Diminish Until There Is Nothing Left.

           02. Pound of Meat, Rotten Flesh.

           03. Do Not Mourn Me When I Am Gone.

The familiar Ennaytch bleakness is immediately apparent on I Shall Diminish Until There Is Nothing Left, a 3” CDR – the familiar Inner Demons format. A beat goes off like fireworks in the distance as a wall of rumbling ambient fog and hissing noises go off at the forefront of all of this. Pound of Meat, Rotten Flesh doesn't have any beats, just layers of ambient murky noise and I feel this works a lot better as a track without a beat pin it down. Do Not Mourn Me When I am Gone continues radiating a fog of despair, this is just the right shade of murkiness. This is a good release, Ennaytch and Inner Demons has produced a good working relationship. I want Ennaytch to get better and better, they have the capacity for great things, I stand in their corner.

Moreine – Upon Thy Cattle – 5”CDR/Download – 2024 – [IND198F]

https://moreine.bandcamp.com/music

       1.     Skull Rack.

       2.     Venom Cult.

       3.     A Long Way Home.

       4.     2 Spades, 1 Grave.

       5.     The 13^th Cabin.

       6.     Dog Teeth.

       7.     The Fifth Plague.

       8.     Witch Sector.

       9.     Die Like a Pig.

“Behold, the hand of the Lord is uponn thy cattlewhich is in the field, upon thy horses, upon thy donkeys, upon thy camels, upon thy oxen, and upon thy sheep: there shall be a very grievous moreine.” Exodus 9:3 quote off Moreine bandcamp.

Upon Thy Cattle’s biblical themes run with very present-day diseases. This focuses on cattle, the last album focussed on horses and can be found on the project's BandCamp page. The album uses big synthesiser drones, contact microphone sounds and some field recordings to create the individual tracks. The playoff between the different sounds (drones & contact mics in particular) is constant and the tension is manipulated to create different pictures and disorientating shifts that pull the listener across different directions, Venom Cult does this perfectly. There is a haunted theme running across the album, a sense of foreboding doom is also created through the tension between sounds. Some of the vocal sounds that are made can mess with the balance, thankfully they are few. The album has that big, expansive sound that acts like Control revel in. Haunted tension is demonstrated in Dog Teeth which is the perfect balance of the album's signature sounds. The Fifth Plague models an excellent ambient tension as the work slows down. This allows for warped, screwy sounds to come in and intertwine with drones and pitches of feedback mixing all three elements well.

Upon Thy Cattle gets better towards the latter part of the album and show confidence in mixing sounds to adjust the textures of noises created.

Polarlicht – Practice – Download – [IND234G] – 2025.

https://polarlichthnw.bandcamp.com

         1.     Practice 1

         2.     Practice 2.

         3.     Practice 3.

         4.     Practice 4.

Polarlicht is a mystery project active since 2023, they also operate as Alice When She Cries.

Practice 1 is a lighter density wall of crackle, that is layered well with space between each element so that they can function clearly. A static hum drones away at the core, swooshing wind like distortion cuts across this with a  crisp crackle sprinkled around it. This dies off with a howling frequency that pierces off into the distance. Practice 2 starts off as static electricity and crackling sounds sounding off each other. It feels like an electric wasteland, an exercise in prolonged, static tension. A bigger sound with a lot more energy and explosiveness comes through on Practice 3. This track seems to fire off a lot, with the rolling distortion underneath it, to keep things in a continual motion, the crackle again is a sprinkling, allowing the deeper textures of sound to lead the work. The mix allows the elements to change in prominence later on in the work, this allows random clips of change into the sound. This also gives off a desolate feeling that runs across the whole album. Practice 4 has a sound it will roar as a normal war and then the friction increases to make jagged, stuttering splats of noise it dies off to a very Industrial hum that fades slowly into nothing.

Overall this is good wall work.

Substak – Synaisthimatikos Thoryvos – Download – [IND236G] – 2025

https://substak.bandcamp.com/music

           1. Kathodos.

           2. Lethe.

           3. Tartaros.

           4. Dyshonia.

Substak is Kostak Staikos based in Greece and active since 2014.

Drones build on Kathodos, they resonate and pulsate as the communicate the opening of the ep. T times it feels as if there are chants buried in the background. This is a simple, effective track that feels as if it has depth. Lethe functions in a similar way, distorted keyboard drones swell ominously giving off menacing vibes. Tartaros doesn't start off as strong as the other sounds, it sounds like a slightly distorted didgeridoo. As the distortion and backing noises increase it meets the high standards of previous tracks. The final track Dyshonia is a lengthy 20-minute epic. An immediate mixture of elements is  shown here, big drones, distortions and rapid shifts between how they operate and communicate are evident. This is all strong, effective work, Substak is ace on this release, excellent work Kostak. (this needs a physical release too, it's super.)

Nothing and Nobody 2025. 

The RITA/OVMN

 

The RITA/OVMN – LP – Input Error – 2023 – IE-12.

https://input-error.co.uk/music

https://bakurita.blogspot.com/

https://therita.bandcamp.com/

https://www.discogs.com/artist/127868-OVMN

1.    The RITA  - Salmon Pink Crotch on the Chevelle SS Seat.

2.    OVMN – Head on Collision (Deadly Wreckage)

I am familiar with both artists on this split; I have reviewed the Rita a few times on here and recently bought OVMN’s Land of the Zombies release on Mother Savage Productions. OVMN is Joseph Roemer and Rodger Stella, they have been releasing since 1996 – both of whom also come from Macronympha and run Mother Savage Productions, no pressure here then. The RITA as you will all know is Sam McKinlay, so even more no pressure here then. A bit of Heavyweight reviewing going on here at 1208 North Fuller Avenue.

I was impressed that Input Error sent me this on vinyl, it was very clear to me that the label puts a lot of pride into their releases, judging by the quality of this and the Drug Age CD that I was sent, so maximum kudos to London’s Input Error.

Side One – The RITA’s track Salmon Pink Crotch on the Chevelle SS Seat uses a broken, crackle that abrasively drags along, it has a very real tension to its sound because of this. It drags at its own pace, constantly resisting itself, tearing and ripping on its own stutter. This also causes a slight bounciness to the sound as it jitters and moves around, giving it a slight playfulness. Towards the end the breaks in the static become more dominant, this signifies the sound is dying off, adding a strong compositional factor to the work. The title, when tied into the work makes you think of contact microphones attached between the Chevelle SS seat and the salmon pink crotch as it moves around during driving whilst sat down, is this symbolic of the friction of movements between crotch and seat? Also, with The RITA’s past work about Nylons, does nylon friction come into play? The title, cover art, other RITA obsessions really make the mind race as this work drags onwards. On the other hand, the choking, dragging sounds gives you a feel of imminent disaster or death, which leads us onto the next track.

Side Two - OVMN – Head on Collision (Deadly Wreckage.) OVMN stands for Optimum Volume Maximum Noise whom I have recently familiarised myself with and their Land of Zombies release. The sound of Head on Collision (Deadly Wreckage) has a deep bass roar in the background that is overlaid with a well textured crackle, it feels like an earthquake, cracking the earth’s crust like a biscuit. It feels like the ground disintegrating.  The speed of the sound from the back-roar makes it feel like an accelerating car, driving at a very high speed. The crackle feels like something slowly crushing under impact. Both elements are relentless so it feels like you are caught in a suspended state of acceleration and impact. The density of the sound seems to intensify gradually throughout the 18+ minutes, with the crackle getting more savoury and the bass roar really thickening up, both elements seem more combative towards each other more near the end of the track, they collide.

Conceptually this demonstrates true strength, as well as well thought out, mature, concisely executed work. Each track works with the title and artwork perfectly, it made me think and make associations between all the elements. Top work.

Army of One – focus, the war in the head is real, don’t be distracted. 2023.

Inner Demons #21.

 

Inner Demons #21

Inner Demons logo from the Inner Demons Bandcamp.

James Nathan Powell – Hateless – 3”CDR/Download – 2022 - [IND131]  

https://innerdemonsrecords.bandcamp.com/album/hateless-ind131

https://jnpowl.bandcamp.com/

1.       I.

2.       II.

3.       III.

4.       IV.

5.       V.

6.       VI.

7.       VII.

8.       VIII.

9.       IX.

Spitting crackle greets me as my introduction to the work of James Nathan Powell. The crackle functions alone with no backing bass unlike the following track that uses a combination of deep bass and sharp hiss cutting along the top of it. The bass is effectively cut into on II, it dislocates the smoothness of the sound, but the hiss isn’t – this makes for good listening. Guttural clanking and banging seems to hijack the track - James isn’t having any of this smooth continuity lark, he’s very difficult.

Very fractured noise makes up III, it is as if this looked like it was going to be something, but changed direction as the sound splutters and coughs out noise. This is abrasive work. Hissing distortion and clanging make up IV, I like the level of experimenting that emerges on each track. V marks a return to fractured distortion as it progresses to gargled spatter on VI, this sounds like a broken voice trying desperately to communicate. Bass tries to back the work but it is equally fragmented. The broken approach continues into VII which has more splatter to its sound. VIII ups the ante with fragmented elements forming a broken wall, this sounds gasping and dragging. Piano playing ends the album, giving a nice finale from all the splattered walls and chaos.

Interesting work, broken up nicely with different experiments and recordings.

INFELIX – Eternal Hymns of Entropic Darkness – 2 x 3”CDR/Download – 2022 – [IND122D]

https://innerdemonsrecords.bandcamp.com/album/eternal-hymns-of-entropic-darkness-ind122d

https://infelix.bandcamp.com/

https://lapsed.bandcamp.com/

1.       HYMN I: GBK.

2.       HYMN II: The Divine Abyss of Sleep.

3.       HYMN III: Doomed to Devour.

4.       HYMN IV: Hoarding Decay.

5.       HYMN V: The Anguished Light.

6.       HYMN VI: Eternal Suffering.

This is an Inner Demons double 3” CDR release, I like these as you end up with an album worth of work across two Cdrs Eternal Hymns of Entropic Darkness initially has a majestic Industrial sound, it is dark and futuristic. It also doesn’t sound like anything that I have heard before with its’ ambitious sound and cinematic quality. There are moments when the sound has a buzz like a swarm of flies, giving an infected feel to the work. Noise is used amongst the rhythms in different tracks, at other times noise is prominent in the work. The work on the second disc is the best as the use of prominent noise kills off the majestic rhythms with impressive ambient textures. I feel the work does glide across genres and think it shows some impressive synth skills across 2 discs. I didn’t take to the first disc, but the second disc really perfects what INFELIX is trying to do across the other disc, I was eventually impressed.

Goose – Selah – 3”cdr/download – 2022 – [IND125]

https://innerdemonsrecords.bandcamp.com/album/selah-ind125

http://zaftigresearch.com/

http://angrygoose.net/

1.       Selah.

Goose is a USA project by Brett Lunceford that has been active for 23 years.

Selah is starts quietly, ambient drones and sounds play in the distance. The sleeve information tells me that this release was made using only a 22” Gong and a signal processor. At some points there are rhythmic beats, subtle beats on the gong. The dark atmospherics the gong creates are strong as it resonates and rolls. I find myself wondering where it was created, in a room, a recording studio, someone’s house? Lunceford makes the gong resonate in different ways; he can make different passages of sound from the same gong to allow several shifts across Selah. As a piece of work it moves along beautifully. Selah is very effective and very strong.

Army of One 2023.

Level Four Heatwave.

Level Four Heatwave. Self Released Cassette – 2021 – Edition of 3.

I was just browsing through one of the Harsh Noise Wall groups on Facebook, seeing what was happening within the world of the group and I clicked on a friend’s comment on a post and ended up on a page that showed all his activity within the group. He frequently posts links and images of releases that he is listening to and comments on posts. Scrolling his activity, I was surprised to see that he had recorded and released his own tape last year. I was so thrilled to find out about this, I talked him into sending me a copy.

Side A was made using a Walkman, tower fan and a tape loop. The use of low fi equipment excites me as this was the norm in the early days of some now classic Power Electronics projects from Birmingham (where this recording comes from!) and around the UK. Hearing the back story of the recording was exciting, the maker is an avid, wide ranging noise consumer, who keeps to themselves and just did this. This short, crackly wall is fascinating because of this story. It seems alive as if breathing and pulsating subtly through the dense fog of sound.

Side B was made using a microphone, desk fan, jade and voice. This piece excites me more as it comes out infected and darkened, without any wall noise. It relies solely on the atmosphere created through the small, selection of raw equipment allowing for an effective use of noise. Both tracks differ greatly but present as strong work.

Sometimes the beauty of obscure, anonymous projects is what is brilliant about experimental noise. This is what this scene is truly about, obscure transmissions of creativity broadcast out into the world!

Nothing & Nobody 2022.

Inner Demons #15

Nightmare Park – Box of Teeth – 3 x 3” Cdr/Download – 2018 – Inner Demons Records – IND029B

https://innerdemonsrecords.bandcamp.com/album/box-of-teeth-ind029b

https://nightmarepark.bandcamp.com/

     1.    I am the Devil.

     2.    And I’m Here to Do the Devil’s Work.

     3.    An Interview with Evil.

Nightmare Park is an anonymous Harsh Noise Wall project based in Connecticut USA that has been active since 2018. Box of Teeth is the projects first box set and comes in a small cardboard box with artwork printed on it, this contains 3 3” Cdrs.

A low bass boom and sprinkly over crackle plays out for I am the Devil. The deep bass boom and sprinkled distortion seem to contrast against each other giving the wall a layered effect as if constantly in a state of fractured movement pulling your attention from element to element. This is all thought out so that it isn’t all one bland blast – this is typical challenging wall material that Inner Demons Records seems to favour.

Two minutes of silence is the intro to the second disc – And I’m Here to Do the Devil’s Work, until a dense wall appears. This wall has a lower bass frequency that is solid whilst the forefront crackle is thicker than the last track, this wall is solid because of an additional hum. A creakier distortion begins to cut in as if to undermine the wall’s dominance, this is two main bodies of noise conversing between themselves through rises and falls in prominence - it isn’t really a wall focus at this point. This too continues the Inner Demons traditions.

A manic density erupts for An Interview with Evil, the energy in this track jolts the elements around. The chaotic bass boom splutters around, so the sharper harsh noise does the same in different directions and the listener is presented with Harsh Noise that has the energy of a Jackson Pollock painting, sounds seem to shoot everywhere. At times the bass boom dies out for longer periods allowing the screeching feedback to dance alone until the sound rebuilds.

This is three well planned, well executed different passages of Harsh Noise that are all testing, stay with them and they deliver the goods. Box of Teeth is a credit to both artist and label.

Coventry Soul 2021.

Mai12 - No Input

 

Mai12 – No Input – Download/CDr – 2021 – Self Released.

https://mai12.bandcamp.com/album/no-input

          1.    No Input

Τimes of mental isolation, times of mental insulation. Stimulations are almost non-existent or have minimal impact. Creativity conflicts with the urge for null activity. One must re-route their process in order to evict this solitary and no-input condition. But there is a no-input technique that turns any regular sound mixer into an instrument that can generate sound by connecting the output of the mixer into one of its inputs, resulting in a feedback loop which can be played and controlled using the mixer's knobs, faders and routing options. A re-routing activity for creating something out of nothing, by connecting something (back) to itself.

Mai12 – 2021.

This is the 39th Mai12 album release, so doing as Mai12 asks, putting headphones gives the best quality to the project. This wall has a deep, dragging roar. There is a sharper background hiss cutting through the deeper sounds. The sharper distortion becomes as prominent as the deeper blast as the work moves on. I like the written concept as this seems like an endless, shifting loop of distortion that wavers, at times new sounds seem to generate and pulsate through the noise. The sound does seem to intensify and radiate more further along the release, at times it seems to be able to blend in to one, depending on how you listen – concentration can help identify different sounds, you can zone in and out at will. This is a strong wall with good, shifting movement.

I find Mai12 like Dosis Letalis always seem to be continually thinking conceptually about their work and challenging the listener through their sounds. Good, strong work as always.

Army of One 2021.

HOMExINVASION 3.

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

https://www.facebook.com/groups/1753676681522146

https://www.facebook.com/HOMExINVASION

https://homexinvasion.bandcamp.com/

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.

RJ Mayto/Planet Shithead

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

https://rjmyato.bandcamp.com/album/rj-myato-planet-shithead-split

https://enforcedexistence.bandcamp.com/merch

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.

Exquise Esquisse – Dans Le Noir

Exquise Esquisse – Dans Le Noir – Cassette/Download – Ominous Recordings – 2020.

https://ominousrecordings.bandcamp.com/

https://ominousrecordings.bandcamp.com/album/dans-le-noir

https://naughty1.bandcamp.com/music

          1.    Personne Ne Peut Nous Voir.

          2.    Personne Ne Peut Nous Entendre.

One of my current themes is examining the noise work of some of my Facebook contacts, I want to know more about what they do, it’s a closer look at my online community, I have examined several already over the last two weeks. The person behind this Paris, France based HNW project was formerly behind a project called Naughty, I believe this is now their main project. By the time this review goes up, I am sure that the cassettes will have sold out.

A Thick wall of tone and distortion immediately forms Personne Ne Peut Nous Voir. The lead tone is bass heavy, it warbles and pulsates slowly. Subtle crackling distortion is overlaid onto this. The overall sound appears dense, but the faltering and crackling carve shifting detail into this sound continually. The faltering aspect of the sound is continuous but has an unevenness upon finer detail as does the crackle, so there appears to be repetition, yet there really isn’t. Brief accelerations drive the sound, always there, however, at different times they are more obvious and at others just carefully pulled to the background. The shifts within the track are so carefully done, it is hard to pick up on them, it takes several listens and a lot of concentration. This is done by shifts in the speed of movement, changes to the frequency of cut/faltering and alterations to the clarity of the crackling. During the latter part of the track, a more aggressive hum becomes prominent, this seems to thicken the density of the overall sound. As things increasingly faulter in the sound, it is suddenly dead.

Personne Ne Peut Nous Entendre is built on a deeper, bass heavy tone overlaid with different frequencies of cracked sharper toned noise.  This work feels as if it is being continually stripped, pieces of it ripped off and rebuilt through the prominent low hum which is more aggressively prominent here. This also has a more active wave faltering that makes the levels very uneven as they continually shift. At times small repetitions of the shifts in bass are made so the project throbs a rhythm, but this just quickly disappears every time I begin to notice and we are left with the random shifts and movements of the sound. The end of this work is signified by a sudden noticeable increase in how the sound revs before it finishes.

Dans Le Noir as an album really pulls the listener in, as your attention shifts you are taken on a journey through the different aspects of the overall sound. The contradictions within it are intriguing, this has a powerful sound with delicate shifts and changes. It is also a recording that I very much enjoyed and is overall good wall work.

Nevis Kretini 2020.

Dosis Letalis//Beggin For Oxys

Dosis Letalis// Beggin For Oxys – Split – Mutual Aid Records – Download/cassette – 2020.

https://mutualaidrecords.bandcamp.com/album/split-16

https://dosisletalis.bandcamp.com/

https://begginforoxys.bandcamp.com/

https://www.etsy.com/shop/mutualaid

For Cassette orders - https://www.facebook.com/mutualaidrecords 

        1.    Dosis Letalis – No Rest for the Restless.

        2.    Beggin For Oxys – Several Informal Requests Resonating Simultaneously.

Both acts featured on this release have been active since around 2015. I know of them, but am new to the work of both, hearing this release has been an opportunity to become familiar with both artists work. Mutual Aid is a new label, digital Bandcamp, but rather than a Big Cartel or anything it has an Etsy, excellent. Cassettes copies are available on their Facebook page.

Broken crackle struggles to find form as it splutters and cuts out. This has a very broken yet intriguing sound, I find myself in two mindsets, do I go with the sound and enjoy it as that, or will it explode? I chose to go with it and take it in, oddly as No Rest unfolds, we get passages of hum that sustain further as if they are in overdrive, this serves as a high in the work, a kind of climax. This is one of the most fractured walls that I have heard, it never fully forms, but the cuts and breaks to make a slight formation, its Morse code formation is intriguing.

Beggin For Oxys I like, their sound is funny as fuck, the sound quality is beyond raw and it seems to be drums, guitar and vocal. They seem to have crammed a whole mini album into Several Informal Requests, new tracks erupt every few seconds. This is described as Powerviolence and I know shit about that, other than there was once a controversial page called ‘I Heart Powerviolence’. From this recording I gather Powerviolence is a pull back to pure pre-bullshit Grindcore, Hardcore Punk with a minimalist aesthetic. When you hear modern Grind which is essentially polished up Death Metal with Political lyrics or pointless, juvenile shit like Porn Grind or Gore Grind, this is a refreshing punch in the face. Back to Beggin For Oxys, This is murkier than other recordings that I looked up, however the rapid changes and shifts are exhilarating, the complete disregard for Production Values is admirable because what shines through is a recording that I have loved listening to; pure manic energy.

Two completely different genres spliced together. I liked both recordings and take my hat off to both for making it work. This is a case of throwing two ingredients in the mix and making a good end result. Separately both artists are worth checking out and this split is a very good place to start.

Nevis Kretini 2020.

Inner Demons Records #9, Mai 12 & Veronica Moser

Mai 12 & Veronica Moser – Split [IND075D} – 2 X 3” CDR – Inner Demons Records – 2020.

https://innerdemonsrecords.bandcamp.com/album/split-ind075d

https://www.facebook.com/InnerDemonsRecords/

https://mai12.bandcamp.com/

https://kaitoulakotsari.bandcamp.com/

      1.    Mai12 – Noise Gets Harsher Just Before Extinction.

      2.    Veronica Moser – 1

      3.    Veronica Moser – 2

      4.    Veronica Moser – 3.

This split CDr on Inner Demons is two Greece based projects Veronica Moser who is new to this blog and Mai 12 who have been reviewed on here before. This CDR comes in the trademark Inner Demons 3” CDr format with the Black and White Artwork that the label is now well known for.

Broken and refigured walls are one of the labels main sonic interests, Mai 12 specialises in this method. Noise Gets Harsher Just Before Extinction is one long just under 22 minutes track that begins with a deep bass roar that has a low crackle alongside it. A sound like water dripping seems to slowly grow into the noise as if leaking constantly into the wall. The main distortion slowly reaches a crisper tone as Noise Gets Harsher develops. The water noise continues as a chipping digital sound develops, this cuts into the work like a pinprick as the main roar slowly increases in ferocity as the track unfolds. A sense of breakdown and overdrive is subtly buried into the later part of the piece as if to force an end to the work – the Noise does get Harsher before its’ extinction.

Veronica Moser’s sound leans into Power Electronics more, continuous digital, pulsating noise goes off as it throbs and distorts subtly. As the main noise drops the distortion remains as the drones rebuild and echoes of noise converse before full flight is regained. In some ways this is wall noise, but too odd in its use of PE sounds and ambient echoes, I find this track impressive and like it. It is almost a broken dance track as a rhythm throbs, yet there is no beat, 1 is a demonstration of oddness.

2 sounds like fractured symphonics before a noise assault kicks in, this again is fractured and digital, it warbles with distortion, the bass that is buried is evident through subtle throbbing. Suspenseful keys build heavier barrages of warbling distortion until synthesizer sounds signify the end. 3 is a lot spacier in sound the overall sound does echo and throb (less) but uses more ambient sounds at first. Churning drones seem to form the background as the ambient, lighter sounds circle in the foreground. The track goes through several shifts as the tension increases and decreases continually. I like this project a lot.

This is one of the labels best releases, both acts fit well together and deliver excellent tracks. The sound and presentation are like on a lot of the label’s releases - habitually brilliant.

Nevis Kretini 2020.

HOMExINVASION - Anita X.

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

      1.       Anita X

https://lostnotesmedia.bandcamp.com/album/anita-x

https://homexinvasion.bandcamp.com/

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.

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.

http://brotherofjudo.blogspot.com/

http://matjaz.jezakon.com/

http://gt22.si/

http://gt22.si/events-gt/zasavje-noisefest-international-2019-pre-fest/
https://znfi.org/ 

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.