Kevlar - Criteria

 

Kevlar – Criteria – Cassette/LP/DVDr/Pal – Unrest33 - 2015.

https://kampfunrest.bandcamp.com/music

https://www.facebook.com/people/Kevlar/100063614945240/

https://soundcloud.com/kevlar-unit

Criteria A :

        I.      Milieu Control.

        II.     Mystical Manipulation.

        III.   The Demand for Purity.

        IV.   Confession.

Criteria B:

        V.    Sacred Science.

        VI.   Loading The Language.

        VII.                Doctrine Over Person.

        VIII.               Dispensing Of Existence.

Kevlar is a very tough synthetic fibre used in the making of bulletproof vests; it is also the name of this present-day UK based Power Electronics project. One of the members also did the project Kontinent for a time. Kevlar was a duo and is now one person, they have done 5 releases over the years on Unrest since their formation in 2010.  Kevlar played three of the four United Forces of Industrial that Unrest hosted in London as well as gigs around the UK and Europe. Criteria was their 2nd release after Alpha Strife in 2014.

The first side of Criteria rumbles into action as glitching, hissing distortion and muffled field recordings build the sound of Milieu Control, this rumbles away in the background for a time until Mystical Manipulation barges in with rumbling bass, various drones, waves of distortion and humming weave together to make a tense, compressed sound. Restrained feedback screeches into this before the vocal kicks in, the sound intensifies into a heavy Power Electronics assault. The battering that is caused by the choppy distortion is impressive feeling like a Jetstream of sound being continually cut into, bashed metal also adds to the overall choppiness.

Low, pulsing drones move into The Demand for Purity, the sound repeats itself as another drone moves across it creating two opposing sounds. Both noises seem to do their thing and ignore each other, creating a strong tension until only one of them is left. Small sounds of electronics seem to fiddle around, until a deep bass drone is hit upon, this forms the core sound of Confession. Distortion crackles across the drone as others enter the sound periodically. Each sound has its own movement and all of them move along together providing subtle shifts of texture within the track. A clear electronic pulsation ends the track.

The second side of Criteria takes an instantly aggressive tone as wall like noise is punctuated with howling blasts and possibly religious vocal samples sound desperate as they are buried within the storm of rumbling noise that is Sacred Science. Death like drones bark out the base of Loading the Language, dense, overdriving bass builds thick waves to back the drones. The tension becomes warfare as each sound changes their prominence in the full sound, different shifts in the mix make massive movements within each track.

Things drop right down as small noises interact for Doctrine Over Person raising the sound levels as each element of the sound begins to find its feet. A vocal joins in to take charge, it is warbled through effects making it a voice noise. The bass deepens, making the sound’s brutality clearer through the slow simmering rage. Dispensing of Existence starts off as gloomy atmospherics cut into through fractured crackling, a vocal is buried within the mix as the cracking noises and eerie sounds fight it out. The vocal shout emerges and sinks in a continual cycle through and into the noise. Lines of feedback cut into the work, chopping it into collaged sections, very disruptive stuff.

Criteria very effectively holds noise back to intensify it, using the mix to do this. As the tension is released slightly it makes the sound shout out. In my opinion, Unrest released a lot of pissed off, simmering Industrial and Power Electronics that brooded at and menaced the listener, using a variety of different ways to create and exploit tensions of sound. Shift, Soft Option Killing and Kevlar do this best. My online wheeler dealing led me to Criteria last month and I am glad I got this. Another Unrest gem unearthed and a great project becomes more apparent.

Nothing and Nobody 2024.

Knurl - H2T.

 

Knurl - H2T – Absurd Exposition –Download/CD - 2023 – AE71

https://absurdexposition.bandcamp.com/

https://www.screamandwrithe.com/

https://knurl.bandcamp.com/music

https://www.hotel2tango.com/info.html 

1.  Piece 1.

2.  Piece 2.

3.  Piece 3.

4.  Piece 4.

5.  Piece 5.

Image from Scream and Writhe Bandcamp.

Knurl is a Canadian noise project operated by Alan Bloor that has been active since 1994. Hotel2 Tango is a recording and performance venue that is run by the Godspeedyoublackemporer folk in Montreal, Quebec. This recording was recorded there on July 7^th, 2001. Knurl has released on many labels including RRR and Obscurica, who are a personal favourite old label of mine, RIP. Bloor has also played live with members of Sonic Youth.

The sound has an immediate acceleration as if moving at high speed. Layers of noise and distorted roar overlay on Piece 1. Once everything is in full mass, things pulsate and throb, whilst higher pitched distortion screeches over and through the entire sound. At different points it feels as if the sound is trying to slow down, but moves at such a high speed, this creates an abrasive friction that rubs alongside the main mass of noise.  This is very, expertly put together and delivered.

Effective restraints control the flow of Piece 2, which isn’t so out of control. Bloor uses a minimal array of sounds here and allows different sounds into the forefront at different times – stop, start, stop, start. High-pitched feedback ends up dominating the work in its’ final stages. The squealing noise continues into the 3^rd Piece leading other elements of sound to join in the movement. A deeper bass roar is intermittent and adds a thicker depth to the sound and is pulled away like a tablecloth at times to let the sharper sounds cream where there was a roar. The thickness of the sound increases as the bass deepens; this gives a good texture to the work. The texture of the sound changes gradually whilst the elements move quickly, it is like a steady undercurrent to the work that gives structure to the abstraction like the background colour on a painting whilst the lines and drips interact over the work. For example the cloudy mist in the background of a Lydia Dona painting whilst the diagrammatic drawings and lines interact with degrees of detail and colour. This is the longest Piece and allows for a longer, gradual shift in sound that can adjust speed where it is appropriate. Like the first track this reaches a high speed and trying to affect this speed gives off pulsations of friction that squeeze the sound and accelerate it further when released.

The fourth piece demonstrates some excellent Death Drones that dominate making the screech a background element every time it rears up. The sharper tones make a comeback and take the lead whilst the hum of the drone controls the thickness of the sound. The die out of the sound allows background noise and feedback to play off each other. The sound rebuilds itself for the final work, Piece 5. This track pushes the under drone and the wailing noise together to sharpen the focus point of the piece. The lower end feels like it is punching the sound in the stomach whilst the higher tones go for the head, a double barrelled assault. The deeper hum on this track is very strong and really bellows when it is allowed to. The track drops into a scattered no mans land of intermittent noises, it is as if Knurl kills the underlying structure to allow the work to fall into chaos. This passage only lasts for a short time until a finely honed precision takes hold to the work’s end.

This was my introduction to Knurl, despite hearing the name mentioned for years and I very much enjoyed it. The disc is limited to 200 and available from Scream and Writhe in the link above.

One, alone, promoting the scene for three decades now. 2023.

Vitauct & SOROM - IsThere Any Way Out?

 

Vitauct & SOROM – Is There Any Way Out? – Digital Release – Ulka Pind Records – 2023.

https://ulkapindrecords.bandcamp.com/album/is-there-any-way-out

www.vitauct.bandcamp.com

https://ulkapindrecords.bandcamp.com 

 

            1.       Pain(t) Factory.

            2.       Boredom of Production.

            3.       Machines Desirantes.

            4.       Conveyor Belt of Despair.

            5.       Life is Full of Colours.

            6.       Corporate Thinking.

            7.       Existential Abyss.

            8.       Alienation.

            9.       Nada!

            10.   Wasted Years.

Album artwork courtesy of the label's Bandcamp.

SOROM is a Ukrainian (Odesa) project that makes experimental music, which is created using both electronic instruments and field recordings. Vitauct is also a Ukrainian noise project that combines harsh noise, death industrial and percussion industrial. They also often use field recordings in their tracks. Two projects from war torn Ukraine. Respect to anyone making noise there in these very troubled times.

Images of present day destruction in artist's hometown, courtesy of the artist.

Intense humming and clatter build Pain(t) Factory, the track intensifies via busyness, volume and insane churning, making for a severe intro. I like that there are things going off during the track, conversation, scuffling and electronic blasts. Field recordings introduce Boredom of Production, as people go about their business, electronics hiss and hum. The sounds begin to blur, what is the field recording and what is the noise? Is the shuffling part of the performance or is someone tidying up a mess? A harsher squawk resonates Machines Desirantes as drones rush through the sound, it is raw and effective. The sound is chaotic and vocals seem woven into the sound, it has that early Power Electronics sound and is great because of this. A louder frontal assault is delivered for Conveyor Belt of Despair, I feel this is a rapid shift from an early Grey Wolves type muffled chaos to a more modern-day Unrest Productions type clear, precise assault, I am realising a gem dropped in my inbox now. Metallic wailing scrapes and screams at me and Life is Full of Colours.

Drones and warped announcements truly display power of sound, elements are controlled. everything is disinfected and precise on Corporate Thinking. I am really impressed by the drones and hiss, how they create tension and threat. The abstracted announcements are voices amongst the war of the sound. Distorted percussion and warbled noise play off each other until a dramatically warped vocal takes the lead on Existential Abyss. I like this, as it is carefully combined rhythmic Industrial and cluttered experimentation, making for good work. Feedback weaves through the track beautifully. Blasts of roaring distortion build Alienation, drones flow under the bellowing chaos. Feedback seems to eventually take the lead and wail through everything. Nada! means nothing. This feels like a field recording punctuated my roaring noise and feedback. It sounds like war as if planes and rockets soar through it, the feedback is like screams. This is terror. A deeper, lower assault with huge drones and vocal samples are the final track Wasted Years. Creepy electronics play off the drones as the track progresses, which builds a huge finale sound.

I think my Inbox got landed with a gem today, great album, impressive use of various approaches, excellent work. Stay safe and well.

Isolated and aware. 2023.

ANTIchildLEAGUE - Brain Waves

 

ANTIchildLEAGUE – Brainwaves – Endangered Species – Cassette – 2021 – ES022

https://www.endangeredspecies.biz/

https://hagshadow.wixsite.com/antichildleague

Since 2017 ACL has slowed down to a halt on promoting gigs in the UK so, because of that there have been regular ACL releases every year. The focus has paid off, with ACL honing closer attention to its overall sound and finer details – the improvement is constant. Along with Hellworm and the early singles, the work of the last Five Years is amongst ACL’s best. I liked the trilogy of albums that came, but the new work is a massive step up.

The vocals throughout the album sound warped; they are basically a female voice pushed so far beyond its limits that it becomes completely androgynous as it spits out hateful venom. This latest sermon from ACL is a diatribe of sonic poison.

The electronics are kept at just the right number of components, without there being too much; elements are allowed to play off each other. The overdrive is very controlled and appropriate to the work. The sense of space in the sound is felt throughout Brainwaves. The distortion forms full assaultive walls punctuated by the vocal, in contrast to this sound is broken into minimal noise as it plays out.

The dying aspect of some sounds gives a morbid stench to the album, it is as if there is a big push to connect to the Italian death sound unique to that area in recent decades. In contrast to the solid electronics demonstrated, there is an Undead feel to the work even if the natural hatred given off by the project masks this.

This is Power Electronics with an excessive barrage of nastiness and a menacing undercurrent of Death Industrial, it will really appeal to fans wanting a more punishing listening experience. Brainwaves is another gem in this continued stream of good work by ACL.

Coventry Soul 2021.

Shift - Altamont Rising

Shift – Altamont Rising – CD/Vinyl – 2014 – Cold Spring - Unrest Productions - CSR195CD - unprlp04.   

Sometimes the third sense that you must buy an album is there in the back of your head nagging away. I was asking questions about Altamont Rising way before I finally bought it this year. From my previous Shift review of Abandon, I decided I’d already decided that I really liked the project, for me it became a benchmark to low end Industrial/PE by which I judge all others. But still, in the back of my head this album called to me. This year I finally got to see S.T.A.B. play live with Iron Fist of the Sun and Active Denial, I was thrilled with the performances and there staring at me was the cd of Altamont Rising on the Merch Desk, I bought that and the new S.T.A.B. lp and the next day got the train home, impatient to hear my newly acquired albums.

I have very Bipolar feelings towards Unrest, and this ensures that I keep going back. The murky, shifting grey midground the label occupies makes it something ‘other’ than the usual samey, extremey crap that is around. So, while I am on a high, I will review this cd that I so had to buy. I know it isn’t the latest Shift, but I like to look backwards and forwards simultaneously.

This album is way choppier and livelier than Abandon, it’s a thrives in a choppy vortex of noise, the vocals seem to exist at the core of the work; a distorted shouting that seems relentless. This is a diatribe of rage that is presented via different methods across the album. I can say I immediately like this more; I’d consider it on Par with the best Unrest vocal performances that I have heard such as S.T.A.B. and Iron Fist of the Sun. The presence of Winston Smith is nightmarish and as per usual; the mind is a terrible thing to taste. It’s done differently to the later Abandon, which marks good development and variety in how the work is presented.

There’s a very good use of wall noise, it’s done in a choppy, less dense way so the drops aren’t overly dramatic, and sound can breathe – samples and vocals can move into the whole without being drowned out. Due to this, samples and vocals are audible, not abstracted so that you don’t have to gauge them via the mood of the work. When big synths make an entrance, it’s exciting – Big Synths really do it for me these days, so I apologise if this pops up in most reviews.

Whilst listening to this I am aware that I have heard two extreme ends of Shift, I own two very different and equally effective albums. I conclude this is a great album, it has been on my playlist for months. But the questions stay with me; have I experienced the full depth of Shift; does it go elsewhere on other albums? I must find out over time.

Choppy Noodles 2019.

S.T.A.B. Electronics - Enemy of Pigs

S.T.A.B. Electronics - Enemy of Pigs - 2019 - LP/MC - Unrest Productions.

I was on the phone to someone tonight talking about music, we got to talking about the S.T.A.B. gig last Saturday and why I like S.T.A.B. so much, I didn’t do a good job of explaining why. So the purpose of this review is to persuade you to get this album and explain why S.T.A.B. is so good. I am feeling the pressure.

Like may listeners I like to discover stuff that I haven’t heard before, but sadly with a good percentage of Death Industrial and Power Electronics I often arrive after the party and a lot of the older acts that still exist today are a parody tribute to their former selves and I can’t be arsed anymore paying daft discogs prices for that stuff. And what’s the point of spending all my cash doing that and going to all these fucking US and Euro Industrial Fests to see the best acts and line ups - I prefer to hold out for a stronger local scene instead. Reading a recent interview in Special Interests that you’ve all no doubt read, led me to S.T.A.B. and I took the dive and bought two S.T.A.B. albums. It was exciting for two reasons, the standout tracks on Day of the Male absolutely blew my head right off, it is a now project, next level and better than most stuff from back in the day and now if I'm honest. Finding a good, present day act is a massive reward to me as a listener.  Months later I’m in London in a crowded room while S.T.A.B. shouts in my face, it wasn’t glamorous, it was raw, real, now and it seemed to happen at me. As soon as the gig was over, I went back to the hotel and wrote my review, I could have made lots of new friends and connections, but I really wanted to hold on to what I saw and heard. As soon as I got home the next day, I played Enemy of Pigs through twice and was really surprised.

Repeated vocal samples of ‘Mother, Mother Mother, please’ form the base of High Infant Mortality, whilst drones radiate ominously, and the vocals rage away from the background to the foreground continuously. The drones do tease slightly at the past while the vocal is anchored in the present; I feel in the middle of the elements experiencing the dialogue.

Slugs delivers aggressive, threatening humming feedback and faltering wall noise while the vocal is way uglier and more direct. The vocal is more like what was spat in my face last Saturday so it subconsciously seems directed at me whilst the electronics try desperately to interrupt the diatribe, they try, they don’t give up, but they don’t win either. I don’t know if I am taking this personally or happily reminiscing.

Her Dead eyes is horrible, overly descriptive to me it seems to describe the horror of extreme porn/sex, but it makes you think, it really challenges you, everything yet nothing is revealed, the high-pitched squealing vocal is less effects laden than previous recordings, it raw, rank and very real.  This is the end of the first side, it’s muddier, yet vocally a lot less effects laden than earlier work and retreats into the murk to deliver a horrible, harsher dose of reality.

Of Misandry is sampled dialogue that serves as a bass for massive drones to spread their horror as the vocals distort in the background, by doing this, you’re forced to concentrate on the vocal. The drones are as radioactive as they can be, as if diseased and echoing death. The gender war continues within S.T.A.B.

Sic Semper Tyranis (Thus always to tyrants) radiates sickness as the drones intensify continuously and the vocal spews and curses away from foreground to background. The electronics are simple and effective. Violent Reprise boasts an inhuman, grotesque vocal and sicker electronics, the album is intensifying continually. Prayers form I am going To Die (And so are You), they’re temporarily eclipsed by urgent, repetitive electronics as the vocal really comes to the forefront, it’s as if the best is saved until last, vocally.  The sample’s continual re-emergence amplifies the songs context massively.

Enemy of Pigs isn’t dominated by a few Standout tracks, it is consistently strong and I’d argue that the vocals don’t reach the same levels of intensity as Day of the Male did (barr I am going to die). In a way it steps back to find a solid continuity and really defines S.T.A.B. as an act in its’ own right - there’s way less Homage on this album. There are newer, interesting vocal techniques demonstrated throughout – Sic Semper and violent are key examples. Here the act moves on, progresses, it’s stripped back reinforced by some conceptually strong sampling and dirtier, muddy electronics. I’d say its way more depraved from the inside, rather than projecting outside themes, but that’s been ongoing too. In some ways this is a person becoming the performance, the self’s past and present are the theme, but done in an original way. S.T.A.B. was in the right circles from the outset (Unrest, Urishma, Filth and Violence) from looking and listening it got better until it got this good. But is this radioactive, headfuck slab of vinyl S.T.A.B.’S best or one of its best? Time will tell, but for now, it is stuck in my head and I can’t stop listening, I really wish I could, but I can’t. Let’s see if anyone matches it this year.

Choppy Noodles 2019.

Institution D.O.L.

Institution D.O.L. – Our Love Can Destroy This Whole Fucking World – 2019. Torm ENT CD/LP

https://www.facebook.com/institutiondolofficial/

For a long period of time Institution D.O.L. was the solo project of Barbie B, however he is now joined by Meta Dolor. Our Love Can Destroy this Whole Fucking World is the 8^th Institution D.O.L. album. It was recorded in Italy, Germany and Austria, Institution D.O.L. has been actively releasing albums since 1999 and is based in Austria.

The sense of occasion built by the intro gives me the sense this is going to be something special. I’m reminded of the opening ceremony in the film Eyes Wide Shut before things get down and dirty. As the noisier tracks kick in and expansive sense of space is created, the vocals continually shift from the distant background to being more foregrounded. This space and depth are maintained throughout and the work does play on the stage that this creates. It’s very effective as you’re forced to follow the sound wherever it goes, you can’t passively listen.

There are a lot of muddy, hellish tracks on the album that stand as good exploration of more threatening, brooding sounds. This leads to one of the main strengths of the album, which is the instrumentation and harmony that seems to shine through the blistering rage - it appears in the form of keyboard drones and piano melodies. Another strength is the tension between noise and melody that is formed which balances precariously, intensifying the works’ drama as that balance sways. When the melody does come through this, it’s impressive.

The vocals rage away, at times they are very tortured and becomes pleading and desperate, pushing further intensity into the album. Tracks generally flows well, In Dust and Depth disrupts this, as it works too differently to the other tracks and breaks the continuity. In contrast, the longer final title track really plays to all the projects strengths, adding an epic finale to the album.  The album does mix Industrial, Dark ambient, Death Industrial/Power Electronics methods to good effect, breaking down into something else way beyond its descriptions, continually pushing beyond its own limits - thus making for good work.

Choppy Noodles 2019.

KNIFEDOUTOFEXISTENCE

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

ANTIchildLEAGUE /The RITA split cassette

ANTIchildLEAGUE / THE RITA – split tape.2018. Cassette. Obsessive Fundamental Realism.

Obsessive Fundamental Realism - http://obsessivefundamentalrealism.blogspot.com/

ANTIchildLEAGUE - https://antichildleague.bandcamp.com/

https://hagshadow.net/

The RITA - http://bakurita.blogspot.com/

ANTIchildLEAGUE

-Elephant in the room you can control.

-I’d rather stay in my hell than share your paradise. No remorse.

-Psychometric test.

-Larva epidemic.

THE RITA

-Gaya Donadio Study (Audio and Aesthetic).

The ACL side of this split starts small with eerily atmospheric and minimal sound. It eventually juxtaposes vague background dialogue and noises that gradually build up. Beeps and drones are playful; other sounds contrast this by snarling at and threatening the listener. In parallel to this the sound shifts from being chaotic to knowingly structured.

On here vocals are used as noise and aren’t often coherent or spoken; screamed hysteria cuts into tracks dramatically and builds extra layers on what is already there. On later tracks beeps and drones become nauseous and intimidating as horrible vocal sounds bully until waves of static offer an alternate static, waves of static distortion flood the proceedings. Larva Epidemic is part ambient soundscape interrupted by urgent repetitive noise.

ACL gleams when the noise is left to do most of the work and titles are suggestive without binding the work too tightly to an overall concept. As I play this release I can immediately say that this is thankfully the  ugliest, rawest ACL release in ages – Best work yet.

The Rita are now a duo of Sam McKinlay and Arlie Doyle, they deliver a slab of noise which is direct and immediate; you are thrown straight in the middle of layers of deep, dense, static walls of distortion. This is cut into with drops and quick stops in sound intermittently with change provided by some impressive shifts across the stereo range and changes of the overall tone of the walls sound. Screaming noise reveals behind the main wall of static and its continually crackling distortion as my attention shifts.

As with many Rita releases the cover is adorned with legs, this time in fishnet stockings/tights. Gaya Donadio appears on the rear cover in heavy eyeliner and a fishnet mask. Women’s legwear - a regular Rita theme dominates this recording. I personally respect this dedication to one’s own interests and with this I finally get why I love the Rita releases that I have. The bold abstract qualities of The Rita have forced the same out of ACL resulting in a solid recording that is typical of Obsessive Fundamental Realism’s growing line of releases.

Choppy Noodles - 2018

Empty Chalice overview.

Empty Chalice – Emerging is Submerging – The Evil. Industrial Ölocaust Recordings. 2017.

Track listing.

A1. Look Into My Eyes.

A2. Muffled Scream.

A3. Sidereal.

B1. Emerging is Submerging.

B2. Stolen Breaths and Destroyed Hope.

I was contacted on the blog recently by the project Empty Chalice off the strength of my Atrax Morgue review. This is an Italian project of Antoine A. He has done 5 releases as Empty Chalice and Gopota. This most recent album is Emerging is Submerging and this was recorded between 2015-17. 

It’s good to be approached by projects like this instead of buying and picking what I review, sets a challenge. So it stands as my first real review request. On first listen, Emerging has an immediate ethereal beauty with lots going off in the background. Massive, spacious atmospheres build up on ‘Muffled Scream’, ‘Sidereal’ juxtaposes grunting vocal noises and ethereal ambient sound. At first this track stands out as it feels slightly sullied compared to the others. This contrast appears in other parts of the album, particularly the more industrial Emerging is Submerging, which varies things with clear electronics. 

Throughout the album, I found myself focused on the background details and then suddenly pulling to the forefront of the sound - I was constantly emerged in its depths, It was as if I constantly descended and submerged through the album. Along with a subtle track variety and moments of beauty; these depths are the album’s main strengths. 

Empty Chalice – The Way is Called Black. Cvlminis Records - self one copy only release– 2015

Track Listing.

1.     This Way is called black (Evil Seeker).

2.     You knock on the cross.

3.     Nebel XX II MMXV.

4.     Distant Sun.

5.     Ibex.

6.     Blue Instill.

7.     Wieviel Bist du Bereit zum Sterben?

Emerging is Submerging stands in massive contrast to the sonic violence of the previous Chalice recording from 2015 – The Way is called Black. The Way begins quite dreamily but soon grows into some very raw assaults of noise, particularly ‘You Knock the Cross’ which is violent electronic insanity, effective through its' minimal palette of sound. The walls static of noise and looped repetition made me think that Bandcamp had hit a glitch. 

Combative walls of noise are toyed with to form Nebel, continuing the album’s primitive assault. Radiating drones are rudely interrupted by sharp frequencies in Distant Sun before Ibex goes insane. Rather than the traditional radiating keyboards of Distant Sun, Ibex contains piercing, progressive scales of noise within which the volume is fucked with to create a spewing radiation of noise. Blue Instill goes off the scale. This demonstrates tracks feeding off and progressing on from each other. The final track Wieviel Bist is like a slow death, unkindly winding things downto an end.

The two albums stand in contrast to each other; Submerging’s ambient beauty, and Black's radiating violence; I truly and equally loved both approaches. Sonically both albums work brilliantly. This is an intelligent, impressive project that has set my Sunday off to a good start. Thanks.

Choppy Noodles 2017

Links:

Bandcamp 

Industrial Ölocaust Recordings

Facebook

Soundcloud