AntichildLeague - Entrenched Extreme.

AntichildLeague – Entrenched Extreme – Obsessive Fundamental Realism – CD- 2020

https://antichildleague.bandcamp.com/

https://hagshadow.wixsite.com/antichildleague

http://obsessivefundamentalrealism.blogspot.com/

Over the last four years, ANTIchildLEAGE has become an insanely violent, desperate louder version of itself. Recent releases have demonstrated this with the choice of recent labels including Old Europa Café and Obsessive Fundamental Realism documenting the newfound, intensified extremity of the project. Since the gig promotion has stopped, the focus on the work has brought out a focussed delivery that continues to deliver amazing results.

Purge Humanity erupts and churns as clanging repetition forms a base for echoed shouting and noises to ejaculate all over the place. This is horrible noise that harks back to the project’s impressive debut Hellworm and the nastier early days of Power Electronics whilst sitting comfortably with the present-day dark side of the genre that keeps the nastiness active (see label’s roster of artists). Everything about this track resonates broken, haunted hatred, it is the artist’s sense of self made into a barrage of noise.  

Horror evoking sounds build into Death Loves You More than God, the noise uses restraint to allow different elements to take turns as the lead to make an entrance into the track’s landscape. The pulling back of sounds makes for a minimal landscape that is a type of noise ambient, any raise in sound creates walls of tension – this method is toyed with to exaustion.

When I said Insanely earlier it was for a reason, The Kiss is insane use of warped noise and vocal that makes for a disturbing track. What is noise and what is ACL’s trademark inhuman vocal is hard to make out as the noise seems to communicate and talk, this is the artist mastering the medium to perfection. The vocals and the noise seem to take turns to communicate to the listener – they are united in their purpose.

Raw, simple beat rhythms of old come back for Paranoid, we are talking RJF (early) beats to the point where they add a slight humour to the horror. The inhuman vocal starts shouting at the beats and feedback. Whenever ACL uses beats now it is to rawer effect than earlier work, making it do its’ job well. The vocal competes with itself further in the track getting nastier with time.

A serious wall presents itself on God never loved you, rich crackle runs over the back sounds, this quickly transforms into Abuse where the noise is cut up into sections as the vocal shouts orders at the noise. Abuse demonstrates a good use of raging distortion, but the added nastiness of approach makes for a threatening display of Power Electronics that keeps getting louder until it dies suddenly.

Those beats return for Negative Control, a repetition forms as the shouts return. This  hits you in the head, you can’t trance out to it, the sound hates you and is literally a form of Negative Control. There is a mid-track eruption that goes off until the reoccurring punishment returns. Brace demonstrates further negativity with a discordant display of synthesizer torture, this is a total shift in sound for more vocal terror to erupt within the nest it forms. That voice is so distinctive I know where I am straight away. The electronics here configure new ways to assault the listener, showing the diversity the album uses whilst weaving everything in together.

Splutter walls form for Entrenched Extreme, this really farts and churns into as a wall. Good textures show themselves as the subtle shifts begin to take shape, this is a good wall that in some ways pulls back offering some respite from what has just happened. Eerie feedback plays off other eerie feedbacks and the respite feels like it never happened, this is Born Again 3319. The layering of feedback increases in volume that resonate and harmonise off each other. Chaotic noise quickly takes over as Transcendental, a shifting distortion and feedback become one accelerating and speeding until in faulters and dies.

Entrenched Extreme has a strong variation of approaches amongst its’ 11 tracks. The history of the project and the person make this album what it is, these are the themes continually displayed. ACL is one of my favourite present day projects and Entrenched Extreme is easily amongst if not the projects very best work, everything that is great about ACL is displayed here and built upon. The evolution of the project continues giving us a great album along the way.

Sonicdeathwishposse 2020.

Rotat- Hussy Rescue.

Rotat – Hussy Rescue – CD – Obsessive Fundamental Realism – OFR 2019 – 2019.

https://rotat.bandcamp.com/

http://obsessivefundamentalrealism.blogspot.com/

Rotat is a Finland based Power Electronics project that has been actively releasing since 2014. Described on discogs as having a Smell and Quim based sense of absurd humour, I find this to be way more extreme; this is the harder, grittier end of Power Electronics. It has released works on a lot of the hard-hitting Power Electronics labels over the years.

The sound of the album functions like Harsh Noise but with a pissed off, very antagonistic attitude. The samples are urgent, desperate and irate, the noise starts, and it wants to fight you. You do not just marvel at the shifts, contrasts and extreme frequencies within the sound, this goes way beyond that.

I had brief contact with the creator behind this project, I wanted to have a fight with him, I could not stand him. His attitude is reflected in the noise that is created on Hussy Rescue. But that does not make for a bad album. The samples that open the album at first, seem like a normal conversation, but the noise is held down in the background, it rises and eventually eclipses the dialogue revealing violent walls of noise, sharp frequency outbursts and blasts of distortion. The Power Electronics used are Harsh, cut up and violent in their delivery. I review and listen to a lot of Harsh Noise, but when that isn’t cutting it, I do come to this album. There is a lot of humour tied into the album, in the sounds, the samples and how they are cut into and eclipsed with the noise. At times, the use of noise is funny to bad taste comedic, but always accurate in its sharp delivery.

At times there is such density and overcrowding in the sound, it is hard to break it down to different elements, you are assaulted by a mass wall of noise with some elements being clearer than others. It changes frequently as to what noises are the most prominent creating constant shift and change within the sound. Samples and vocals emerge from the depths of the sound only to be drowned again by the noise. Tone and frequency abuse are constant throughout the work, this cuts into the main mass of noise and the samples. The sound does seem to outdo itself in how extreme it can get. Tracks break themselves up only to come back more amplified and explosive. The primitive, raw elements of the sound are excellent throughout the album.

Good Work.

Spogmould Kersley, 2020.

The RITA - Linked Arms and Touching Torsos.

The RITA – Linked Arms and Touching Torsos – Obsessive Fundamental Realism – OFR CD-07 – 2019

A section of Classical music serves as an intro to Linked Arms and Touching Torsos, it brings the listener to the Ballet, you’ve arrived, and you are ready. The ballet is now a regular them in the recordings of the Rita. I’ve gone into the Walls of Vomir, Dagger HOMExINVASION and the deconstructed walls that pepper the discography of Inner Demons Records, but now I am in The Rita’s territory. Let the wall begin.

I find this (wall) movement fascinating; I know shit about who first did what and where it came from, I’ve asked and I’ve read up, but it would be a scattered inaccurate history from me. I’ve learned to submit to the wall, let it do its work so it can unravel and reveal itself. You go in, listen and pay attention.

Cut is the first sonic fact that is apparent, over the roar of the distortion a sharper distortion is chopped and cut into as hum and hiss are thrown around too. The sharper noise that is jagged into forms a lead sound, backed by the deep roar as if both converse between themselves. This functions like lead and backing, yet both communicate constantly as if in the throes of a violent symphony. 

The level of cut is altered throughout the single piece and has a great impact on the sound, changing it and morphing it throughout. The intensity and drama that appears is intense as the frequency of cut is amplified by sharper sound as if screaming over the wall. When the deeper roar of distortion increases, this intensifies the sound immensely. The shift and change in the work are constant continually referencing itself as the two key sounds change prominence.

Does the music of Ballet go off in the background, is it screened during the making or somehow influence the movement of the work? Is the sharp noise backed by the roar of the wall the amplification of the self and the obsession into an amalgamation of the two into a bigger form presented on this album? I will never know.

As this album ends, it takes a while to regain my bearings. I like this.

Nevis Kretini 2019.

Scatmother & Pissoir Rouge

Scatmother/Pissoir Rouge – Physics Dissolve in Urine - 2018. Obsessive Fundamental Realism. CD.

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

Germany’s Scatmother has been active since around 2015 and have done 6 releases on the Filth and Violence, Wrath, Total Black and Obsessive Fundamental Realism labels – some nasty, naughty, impressive PE credentials there. Pissoir Rouge have so far released one cross dressing, masochistic tape on Obsessive Fundamental realism in 2018.

This opens very harshly with urgent blasts of immediate noise with way over the top screamed vocals that are punctuated by violent beeps. The level of violence within the sound is way higher than most of what I have heard: feedback from the microphone fills every gap in the vocals. I can’t tell what’s making the noise aside from the vocals it’s very few (2 or 3 at most) elements that work together to make an entire mass of sound. The way of making noise - blasts of distortion, vocal noise, blips, feedback - has an American 2000s noise feel which I do like. I am particularly thinking of the Obscurica label.

Even by the second track when things pull back it’s humming, and sharp pitched feedback tampered with shouted interludes it totally pulls back from the levels of the lead track, it’s more like a few friendly jabs to the head instead of the pummelling given by the opening track. The track intensifies in screaming and aggressive punctuated jolting noise.

The third track is a multi-levelled wall of feedback, hollering echoes and shrill wobbling noise. It’s more of a deliberately failing Harsh Wall that is very gappy and shrill, so it doesn’t allow you to zone out/into the wall as is the case with a lot of HNW, your attention is jolted around too much so you’re forced to engage with the work.

Pet-play shifts the vocals shift into sheer depravity, whilst arching noise and shrill feedback intensify everything massively – a sonic amplification of filth that descends into violent abstraction. Pisstrophen ups the violence again into an explosive war of sound, it cleverly uses three elements to do this - sharp feedback, blasts of distortion and mad vocals. Rites really slows down, there are minimal elements again, but it slows shit down to deep, threatening rage.

Nature has a more direct wall flirtation until vocal rage and more high-pitched jabs of sound destroy it. If anything, the wall exists for the high pitches and vocals to be in the centre stage, it is as if they are trying to out-do each other whilst teasing and upping the ante between themselves. Noise as theatre. Sex-Slave fits back into the depths of depravity, a horror of a track I don’t want to hear again, it deals with the horrors of contemporary Sex-trafficking very effectively. A vile description of modern day horrors on the news, bringing the reality of the situation home. More vile sadomasochism and intensified noise war ends the split. This uses a more-choppy digital kick with distortion and shouting.

I appreciate the directness and sheer, mass intensity of the delivery. This was recorded live in a bunker, no over dubs it is essentially a live recording session between two guys. It is in a sense the shock of earlier Power Electronics intensified through way more aggressive lyrical, direct content and a playful use of harsher, aggressive noise, sort of intense barrages swung around – foreground, back ground. Both act the part. It isn’t nice, it is a violent and traumatic listen. This is simply true roots PE with modern harsh methods and yet again more good work from OFR.

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