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.
