Tuesday, January 31, 2017

REVIEW - ZOLOFT EVRA - MURDER CHAMBER - CD

ZOLOFT EVRA - MURDER CHAMBER - CD
FROZEN LIGHT/FZL047
BLACKENED AMBIENT/DEATH INDUSTRIAL/DRONE DOOM/EXPERIMENTAL NOISE
PRO CD PACKAGED IN A JEWEL CASE WITH 8 PAGE INSERT.
ZOLOFT EVRA IS:

ZC 
(MACELLERIA MOBILE DI MEZZANOTTE/DETOUR DOOM PROJECT/CRONACA NERA) 
- DRONES/SYNTHS

BLACKFROST 
(APOLOKIA/EX-NORDAVIND/EX-NOSTALGYA/EX-IN NOMINE) 
- RITUAL VOICES/LYRICS

COLD 
(NOCTURNAL DEGRADE/SCENT OF SILENCE/DER NOIR)
 - SHARP RAZOR GUITARS/FX


Today we will be diving into the smeared depths of ZOLOFT EVRA. 
A project formed in 2014 by ZC with the intention of creating 
suicidal atmospheres and dark depressive voids to dwell within. 
With the addition of two more members; (Cold/Blackfrost) ZOLOFT 
EVRA (Who's members are located in Rome and Norway.) have created 
a realm that contains the knowledge, Perspective and most importantly, 
The musical skill, Of people who have been around and know how to craft 
dark underground soundscapes. A cold, Obscure and clinical sound centered 
around pure negativity. ZOLOFT EVRA explore and embrace subjects such as: 
Sadism (Human cruelty in general,) Drug abuse, Death cults, Perverse and 
murderous activities, Etc.) In 2015, Naked Lunch Records released ZOLOFT 
EVRA's debut album: "Negative Infliction Pleasure" as a six panel digipack 
limited to 500 copies which was followed by a pro cassette re-issue of the 
same album through Signora Ward Records which gave fans and collectors the 
option of owning it on another format, although at ninety nine copies it was 
a much more limited run. Next we were offered a split cassette with DJINN released 
via Swiss label: Luce Sia. The split was titled: "Self Destructive Comfort" and was 
issued in a run of sixty hand-numbered copies. Finally the world got another full 
length dose of pure audio misery when Russian label: Frozen Light, Released "Murder 
Chamber" in November, 2016. A few compilation tracks saw light in between longer releases 
but it wasn't until "Murder Chamber" that I got to really dive into ZOLOFT EVRA's stunning 
sound, Which they refer to as:"Negative Drone Ambient." I'd say that's my kind of party.

I.) RAZORS DEEPTHROAT:
(FEATURING ADDITIONAL DRONES BY CORY ROWELL OF "DEMONOLOGISTS"
AND VOCALS BY CAITLIN DITURO)
We get off to a very strong start with album opener "Razors Deepthroat."
To make things even better the track features additional drones by Cory
Rowell of DEMONOLOGISTS (Who I've long been a fan of) and excellent female
vocals by a woman by the name of Caitlin Dituro...Although her name is not
familiar to me, I will say that ZOLOFT EVRA seem to have a pretty good idea 
of who they'd have the most success collaborating with as is apparent here. 
Abandoned industrial complex ambient sweeps in. Spiraling electronic textures
settle like dust as subteranean drones pool and move in slow waves. This is
music that carries strong feelings of isolation, Hostility, And negativity in
general. Cold, Sinister and murderous. The drones begin to move like quiet dark
water as winds pick up and barriers swell...This creates unsettling sub-bass
vibrations that pull us into harsher and more caustic territory. A clinical machine
hum is heard vibrating in warm radiance and resonance. Creaking metallic scraping
sounds follow...These sound like a large rusted hoist of some sort struggling against
the weight of it's cargo and it's own failing screws and bolts. Frighteningly spectral
Dark Ambient soundscapes are also present among the wreckage. The sonic combination of
sounds representing so much depression and negativity can be sensory overload if not
constructed carefully, Luckily ZOLOFT EVRA have control over their deliberately crafted 
chaos. Painfully stretched drones, Foggy ambient walls, Wailing slowed down choirs ,Choked
sounds that mimic inhuman growls and agitated wraiths...There is much trauma to behold. The
vocals are quite buried. Haunting wails and moans that drift through the onslaught of horror
around us. Charred static blasts and resonant bass finish track one.  

II.) MURDER CHAMBER:
Title track "Murder Chamber" starts with cold synth ambient. Lo-fi tones that hum
and linger. Melancholic and meditative. Whispered vocals come as hissed chants that
add an occult/ritualistic feel to the piece. Static winds hiss like extended steam
bursts as melodic feedback rises. Soon after we are hit with churning Drone/Doom riffs.
A vortex forms. Phaser effects on guitar experimentation that makes a blistering rift
of sound. The vocals seem to become more malevolent as time goes on. Delivering incantations
against a brooding Death Ambient storm. Mournful melodies are hidden within the static that
add a blood-stained and anguished passion to ZOLOFT EVRA's sound. Dense and heavy in all the
right ways.

III.) KROKODIL DEATH RIDE:
Our next death ride comes as a plodding funeral march along windswept graveyard atmospheres
and ritual devotee chants/moans. Minimal and ceremonial. Obscured/muffled mechanical Death
Industrial elements are heard clattering in the distance, Adding a cinematic purity to this
raw expression of emotional pain and trauma. Great art is often born of suffering. Ringing
waves arise with dreary drones and spoken samples concerning drug abuse. What was once eerie
whispers has become dry throat Black Metal style rasps. Dense kick drums hammer down at the
pace of decay. Incantations in a foreign tongue are heard along with ceremonial grave calls.
Tribal ritualism meets experimental blackness. This has the atmosphere of a forsaken place.
Like a cave where countless ritual slaughters were carried out...A place that reeks of blood
and resin. The pacing is perfect and greatly amplifies the effect music centered around such
themes can have on the listener. Pick your poison and let this one paint your visions black.

IV.) DEADLIFE OBEDIENCE:
(FEATURING VOCALS BY TENEBRA OF "DREARINESS")
This is my personal favorite on the album. Scorched static intro followed by a haunting melodic
haze. Pure depression is channeled into clean electric guitar with beautiful chorus effects. 
Doomy bass/riffs crawl as nostalgic feelings take hold. I haven't heard anyone utilize this
guitar sound/style this well in a primarily Death Industrial song before. The guitars here 
have a sound that sits somewhere between early Trad-Goth/Post-Punk and U.K. Doom/Dark Metal...
Similar to the guitar style heard on KATATONIA's "Discouraged Ones" album from 1998. Anyways,
It's not often that I hear this guitar sound on a modern release...Let alone one outside of 
the usual genres that use that sort of thing. The vocals here are gorgeous and swelling with
emotion. Agonized female operatic notes and manic depressive screams. True torment and sadness.
Death Industrial/Ambient/Noise that takes the D.S.B.M. aesthetic and uses it to paint a portrait
of pain with in gritty clarity and tragic beauty. Moody synths and a darkened ethereal atmosphere
add additional Goth-Rock elements in a way I've simply not really heard before...Not with Death
Industrial at least...Not like this...Kind of like early DIAMANDA GALAS meets XASTHUR with hints of DEATHSTENCH for good measure. Music for rainy days and attempted suicides.

V.) COLD HYPNOTIC BLOODBATH:
Anytime a track title or song description features the words "Cold" or "Hypnotic" it peaks my 
curiosity pretty instantly...Curiosity killed the cat and it sounds like I've just stepped 
beyond the veil into a realm of death as well...Seven minutes in the land of the breathless.
This is total death indulgence. Deep rich ambiance, Shifting distant landslides and steaming
fissures, Surreal glassy tones and vibrations...Whispered calls beckon the listener to go
further and further into ZOLOFT EVRA's spiraling dimension of shadows and daggers. Reversed
tribal drum patterns, Corroded static textures, Humming bass drone resonance...Dark and spiritual
material that weaves like fog or smoke. A fractured form manifesting within an immeasurable void.
Waste and ash as tools of sonic expression. A tranquil outro sinks in it's talons and lulls us
with it's poison bite...We drift into the closer. 

VI.) THE SCREAMING WALL:
We end it all kicking and screaming as "The Screaming Wall" arrives before us. Phased out 
otherworldly atmospheres are conjured forth. Cascading static and ambiance blend into a hazy
current that slowly collects and spirals. The phasers add additional movement and the sense
of a pace as reversed patterns flicker by and pulsing sub-bass drones help to carry things
forward into abyssal nothingness. We shift into another movement where a swell of crushing 
emotive synth strings are heard playing a deep and mournful arrangement as harsh winter storms 
blow in as powerful static gusts. Feelings that come with isolation, Loneliness, Depression and
other mental disorders are quite difficult to properly/effectively express in music. ZOLOFT EVRA 
is one of the rare acts that make it seem easy. Ringing lead notes hang in the air like clinging
ghosts as harsh tidal/winter atmospheres complete their stay. Solid ending

ZOLOFT EVRA HAVE THE IMPRESSIVE ABILITY TO CRAFT MUSIC CENTERED AROUND REAL LIFE DARKNESS THAT FEW POSSESS. MURDER CHAMBER IS A TRULY GRIPPING 
RELEASES:

8/10
-ABATTOIR-

www.facebook.com/zoloftevra
https://zoloftevra1.bandcamp.com/
zoloft.evra111@gmail.com

Thursday, January 26, 2017

REVIEW - STRESS ORPHAN - MASS CASUALTY EVENT - CD

STRESS ORPHAN - MASS CASUALTY EVENT - CD
PHAGE TAPES/FUSTY CUNT TAPES/PT:228/FUC159
DEATH INDUSTRIAL/POWER ELECTRONICS/HARSH NOISE/POWER VIOLENCE
PRO CDR IN A JEWEL CASE WITH INSERT.
STRESS ORPHAN IS:
ERIC TRUDE


STRESS ORPHAN is an American political/Left leaning electronics
project helmed by Eric Trude. With his last few releases, Trude
has shifted STRESS ORPHAN from a primarily Harsh Noise project
into a slowly crushing Death Industrial/Power Electronics war 
machine featuring brutally resonating Power Violence style vocals 
that stomp your skull into dust. A true hybrid of many underground 
genres.

I.) THERE ARE MANY KNIVES:
"There Are Many Knives" intro's the album, Clocking in at a whopping 
fifteen minutes and thirty two seconds!!! It appears that S.O. is not 
a project that plays around. A static build-up arises and breaks off
into fragments of it's former self as it is smothered by gathering
static blasts. Experimental/Harsh Noise freak outs follow. Billowing
gusts, Grinding electronic pulses, Shrill hissing blasts, Wavering
drones and more...It all comes in a solid, Building mix until it fades
out into punchy synth drones, Distorted/Rotted Death Industrial rhythms
and heavy vibes of pure analog dread. Suddenly we are hit off guard by
immense vocal shouts/grunts bathed in reverb. Oldschool Power Violence/
Grindcore style stuff as if S.O. is channeling the early spirit of M.I.T.B.
...Or maybe now it's "Trude Is The Bastard"??? Anyways, The powerful drone/
vocal combo hits pretty fucking hard. The vocals are carried into ghostly
echos via the very nice cavernous reverb employed here. Shrill Harsh Noise
textures and booming earthquake kick drums add even more excellent elements
as we fade into a semi-quieter movement. Static walls grow in angry thorned
agitation as the drums increase in volume until they suddenly end. A few moments
later severe HNW grade static storms hit in rhythmic blasts while strange looped
measures come in a phased out swirling sewage drain style. Harsh textures are let
loose to play off of one another until drones of doom resonate along with the steady
thump of the previous bass drum kick. The vocals are spewed fourth like belt wielding
commands, Echoing in trails that somehow transform into choral drifts at the will of
the delay/reverb. Skyrocketing high-end noise is heard exploding above and breaking
off into cascading shrapnel trails. Comfort piercing missiles are fired off in the form
of extended surging electrical pin pricks until this fades into a grave-ward stomp that
backs spoken samples concerning lower class communities, Crime, Struggle, Etc. A pause
in the sample allows for long-form sweeping Power Electronics pulses to drop in and phase
in and out. Static grows in frustrated frenzy and pained/laborious electronic signals grind
in with a spoiled persistence. Warm clouds of distorted fog roll in and coat all else in
their glowing rhythms. Additional rhythms fall over top of these, Creating a weaving web
of brooding electric darkness for Trude to deliver his brutally decimating vocals over.
Drones rise and fall at appropriate times to add suspense and overall intense pacing.
Fifteen and a half minutes and not a dull moment. 

II.) BREEDER REACTOR:
At a little under seven minutes long, "Breeder Reactor" is still quite a lengthy
follow up track...At least in comparison to your average album...But this is not
your average release. It's something a little better. The kind of album that really
digs in and forces your attention. Track one fades right into "Breeder Reactor" making
for a continuous ebb/flow of aural dis-ease, Audio disease, And general unease. Dark 
Ambient drones roll in along with thick, Pulsating synth waves. The vocals enter the
frame. Low death grunts and daemon growls trailed by echoing whispers. The type of thing
I'd expect to hear on a brutal Death Grind album intro. A slow churning nightmare. A
turning corridor of vertigo that locks in and takes hold. Here Trude sounds like an
evil villain in the process of unleashing his most nefarious doomsday plot yet. Dark
vibes for dark times. Eventually the rolling cacophony reaches it's end after an
extended trance inducing rhythmic noise/warm pulsing drone combo that makes achieving
ego death as easy as pie. 

III.) MASS CASUALTY EVENT:
With four tracks coming in at around forty five minutes, Track two is the shortest
in comparison to the other monolithic tracks on the album. Take the title track 
"Mass Casualty Event" for example; Thirteen minutes and seventeen seconds long and
opened by powerfully pulsating electronics that sound like blaring emergency alerts
/sirens/alarms/air raid signals/whatever. Vocals are screamed over this. Loud, but
subdued yells that seem to originate from somewhere in the distance. Similar to the
vocal style of COLUMN OF HEAVEN, BASTARD NOISE, Etc...Secondary alarms squeal over
buzzing drones until another destructive sonic event begins to unfold. Spacey synth
transmissions fill the air as the track is slowly engulfed by a low roaring static
that grows slowly like a fresh fire coming into existence to devour acres in it's
relentless hunger. The static doesn't quite prevail over the piece for a while, But 
it's presence is known and it begins to grow like an incubated pestilence...Soon
spilling fourth more and more until all is nearly eroded by it's touch. As Trude
screams about being "buried further and further down", We hear the static debris
pile up more and more over the track. A looming black cloud that sucks at the rest
of the piece until there is nothing left but a static corroded withered husk. The
track packs an urgent punch and builds on it's repetitiveness rather than dwelling
in it. A fairly minimal, But very effective approach. Dense blown out static blasts
are fed into the track. Funneling clouds that kick in with a booming crackle. All
while an obscured version of what we heard in the beginning of the track ties it
all together. Spoken samples finish it off. Well composed stuff. 

IV.) WELCOME TO THE ISLAND:
"Welcome To The Island" ends the conflict coming at close to ten minutes in length. 
Deeply resonant drones make the floor tremble. Like dooming synth brass played on
the lowest notes or with their pitch shifted far downwards. This repeats as an 
instrumental mantra for some time. Volume increases along with feelings of dread.
Loud vocals strike as powerful grunts/yells presented clean other than slight traces
of reverb. These welcome us into the island, The Trenches...and servitude among other 
horrors. As we tread shackled and enslaved into our own demise we hear the drones change 
shape and morph as filters are cranked up, Abused, And pushed to their limits before 
dropping back down into a slow-death decent. Again STRESS ORPHAN utilize a minimal 
approach while amping up the bleakness that can be achieved through such methods. 
A misery stained dirge of utmost despair. The phrase: "You will die here." Repeats
as an ominous coming fortune. Things slide into electric funeral atmospheres filled 
with vocal depictions of horrid fates. Grim and gritty while dense and full of substance.
Quite a punishing closer.

STRESS ORPHAN MANAGES TO TOP ALL PREVIOUS RELEASES WITH EACH NEW ALBUM. THIS PROJECT HAS BEEN ON AN IMPRESSIVE RISE LATELY AND THIS NEWEST OFFERING KICKS ASS AND CONFIRMS THIS:

8/10
-ABATTOIR- 

www.phagetapes.blogspot.com/
www.fustycunttapes.blogspot.com/
www.fustycunt.bigcartel.com/

Wednesday, January 18, 2017

REVIEW - ACTUARY/DEATHSTENCH - SPLIT - LP

ACTUARY/DEATHSTENCH - SPLIT - LP
KING OF THE MONSTERS/KOTM056
BLACKENED NOISE/POWER ELECTRONICS/HARSH NOISE/
DEATH INDUSTRIAL/BLACKENED AMBIENT/EXPERIMENTAL 
ELECTRONICS. 
DARK/FORREST GREEN VINYL HOUSED IN A DUST-JACKET WITHIN 
A FULLY ILLUSTRATED SLEEVE FEATURING EXCELLENT ARTWORK 
CREATED BY DEATHSTENCH MEMBERS. COMES WITH INSERT AND 
DEATHSTENCH SIGIL PATCH.
ACTUARY IS:
P. MAJORS
A. MASOE
D. JOHNSTON
DEATHSTENCH IS:
DAREA PLANTIN
JOHN-PAUL WHETZEL

(The bones are not included unfortunately...)

Today I am very fucking excited to be reviewing a split LP
from two of my absolute favorite bands in the underground
right now. This is a dream pairing for me but I'll try to
contain my excitement enough to get this review written.
The unholy trinity of ACTUARY have been scorching my ears 
for awhile now with their own unique brand of Occult Electronics.
Often very experimental in nature with a strange organic quality.
A sound that I could only describe as genuine. On the other end
of the split we have the shadowy duo DEATHSTENCH who's sonic rituals
have a grim/serious quality that few can match. Again I'd use the
term genuine when discussing DEATHSTENCH as well. Both artists present
material beyond worthy of the senses. This record is a complete package.
Everything from the layout/artwork/presentation to the aural invocations
contained within is top notch. A lot of bands do Occult themed works in 
underground music. It's hardly shocking at this point...But for me I
seek more than shock value anyways. I want something legitimate...
Something pure. These two bands bring that to the table and then
some.

SIDE A.) ACTUARY
I.) FRACTURED HARMONY / II.) WORLD IN SHADOWS / 
III.) RUTHLESS THOUGHT MACHINE:
Up first we have three tracks from ACTUARY. The first being the
brilliantly titled "Fractured Harmony." Weird Industrial drones
loop with feedback and clawing rhythms. A steady pulse forms a
backbone for all manner of strange tones, Textures and resonance 
to sprout out from. Necrotic Black Metal style rasps are spewed 
forth over psychedelic Industrial soundscapes. Oscillators are 
punished as drones sweep in to steal the spotlight from time to time. 
ACTUARY must have quite an impressive gear set-up at their disposal. 
There is a lot to hear if you pay close attention. Layers upon layers.
Everything is backed by heavy bass currents so when the more free 
form and experimental elements come in they immediately stand out
against the backdrop. Even with the steady rhythm the track still
seems to slowly glide along like a mass of spectral nightmare beings 
looking for a place to set down and terrorize. High-end signals are 
sent overhead as the tempo picks up. The rhythms featured are very 
machine-like...Giving the piece a cold maniacal feeling as a whole. 
Minimal throbbing under a variety of synth sounds that all swirl together 
in an odd blur. An urgent and dangerous track that invokes anxiety and dread.
Static spray hisses over trudging bass drum patterns as multiple strange
chirps and sonic patterns fill the atmosphere. Walls of harsh static
noise build as the vocals take on a crazed, Murderous quality. Like a
building tension/frustration. A combination that sounds as miserable
as it does powerful. Some tracks don't live up to their name...This
isn't one of them. Obscure 90's Black Metal vocals/attitude over a 
slowly building early Industrial/Noise track. Killer combination.

"World Of Shadows" is another piece that absolutely fits it's title.
Sinister ambiance crawls out of the pit at the pace of creeping death.
Shimmering feedback resonates as abrasive, Scratching Noise textures 
climb out from the dreary ink black pits that the drones originate
from. Inhuman Blackened rasps/growls are heard as if an ancient
evil is awakening. Things start to grow unstable. Shifting sheets
of harsh sound make their presence known through quiet explosions
of violent eruption. Caustic and unsettling. Discomfort music at
it's finest. Synths paint vibrant images within the minds eye as
the vocals are delivered in reckless agitated assaults. The rhythmic
scratching along dread ridden vibrations. A short interlude, But one
that injects a lethal dose. 

"Ruthless Thought Machine" ends the A side, Taking us into buzzing
static drones coupled with spoken samples. Everything moves as a
smothering blur of light engulfing blackness. Experimental Electronics
provide a variety of Sci-Fi style sounds that are heard like alien life
forms dancing in the background. Bizarre rites from a dimension where no
human being has ever been. Solemn and melancholic spoken word vocals offer
cryptic phrases before being devoured by a maelstrom of Harsh and blown
out noise. Once again we are attacked by multiple barrages of croaking
Black Metal style vocalizations. This is by far some of the most ferocious
material I've heard from ACTUARY to date. Drones stream with immense power
sounding like they've come to rip open rifts allowing a flood of inhuman
entities through to rape and consume all in their wake. D.S.B.M. style
screams of anguish battle with low Daemonic grunts...Both soon to be 
eaten away by the silence at the end of the record.  

SIDE B.) DEATHSTENCH
IV.) THE SHRINE BELOW / V.) TRANSCENDING VOID:
Next we go into "The Shrine Below" with DEATHSTENCH 
at the helm. Windswept torture dungeon atmospheres 
arise over quaking sub-bass detonations. Dry throat 
vocals wheeze into the frame soon joined by deep grunts. 
A dual vocal attack that adds a "Possessed" quality to an
already supremely evil sound. Sub-orchestral patterns weave 
and vanish as corrosive whispers hiss with a very apparent 
hostility. Clean guitar drones and ringing feedback are heard 
as scathing, Scraping noise textures create gut-wrenching dis-ease.
Low notes ring out in a slow song of black despair. The vibrations 
that trace behind each note are felt physically in the body. Music 
with impact...And this was only the calm before the coming Hellstorm.    

"Transcending Void" is where all Hell really breaks lose. A slow
burning descent as we transcend flesh and bone. Ritualistic hand
drumming and what sounds like a large resonating cymbal are heard
first. Drones creep in forming a fevered haze over quaking sub-bass
vibrations. Just wait. It gets worse. Volume increases along with
intensity to a level right at the threshold of true punishment.
DEATHSTENCH utilize their trademark charred vocal approach as
swirling layers and negative emanations spiral into a vortex
of chaotic might. Although this is a fairly slow track in terms
of tempo, It is by far one of the heaviest and more immense works
I've heard from this fiendish duo. Occult energies are channeled 
and harnessed before being let loose to reek havoc on anything
that breaths. The effect is similar to when I said ACTUARY were
"Opening rifts"...Only here we have a lot more fire and brimstone.
Scorching static blankets like harsh winter snow adding even more
of an obscure sound. John-Paul Whetzel sounds rabid and bloodcrazed
more than usual which is quite a feat to accomplish. Here too we are
subjected to windswept and uninhabitable atmospheres. Billowing waves
of pure corrosion. The track moves like an old ship at sea as the tides
slowly rock it into a watery grave...Not to say that this would be a
relaxing listening experience to most, But it does have a lull that
will pull you into it's depths. Hypnotic in all the right ways for
this type of music. Finally, Blown-out bass quakes fade into reversed 
drones that carry us into nihilistic emptiness.

A DANGEROUS MEETING:
10/10
-ABATTOIR-

www.actuarysound.com
www.deathstench.com

Friday, January 13, 2017

REVIEW - VARIOUS ARTISTS - HOW VERY - 3X CASSETTE - COMPILATION

VARIOUS ARTISTS - HOW VERY - 3X CASSETTE - COMPILATION
HAIR ON MY FOOD TAPES/HOMF025
HARSH NOISE/HARSH NOISE WALL/EXPERIMENTAL NOISE
THREE PINK CASSETTES WITH STICKER LABELS HOUSED
IN A DELUXE PLASTIC V/H/S TYPE OF CASE WITH
GLUED IN INSERT.


Today we'll be reviewing a various artist compilation released
via Hair On My Food records. The oddly titled "How Very" Comp
features six projects who team up offering a single track each 
themed around the film "Heathers." Although I haven't seen the
movie, I do know that it is a 1980's Teen-Drama film with a 
cult following and a plot centered around four teenage girls, 
Three of whom are named Heather, In a clique at a fictional Ohio 
High School...So naturally weirdo's and outsiders who happen to
be Noise artists are bound to be obsessed (Possible/probable 
perverse reasoning's and fetishes aside.) The album features an 
all pink layout with a woman choking on the front and another 
woman with a grim expression holding and pointing a gun. This 
combined with the sounds it contains has me interested in viewing 
the movie. I'm sure it's safe to say that this release is full of 
references that only fans of the movie will pick up on and appreciate. 
This is the type of release I'd expect from CORY STRAND or another artist 
on Altar Of Waste records. It's interesting to see other labels releasing 
Harsh Noise/Harsh Noise Wall tributes to film works. It's a different take 
to the same idea. Very Cool, Anyways on this one each artist gets ten minutes 
to showcase their crafts. Here we go!!!

CASSETTE ONE:

SIDE A.) SMALL HOURS -QUE SERA SERA:
We begin with "Que Sera Sera" performed by SMALL HOURS.
The song opens with a sampled song I've never heard before
serving as its intro. It's an old acoustic/synth ballad with
female vocals. Pretty, Melodic, Harmonic stuff an a chorus of
"Que Sera Sera, Whatever may be will be." A slowly creeping 
wall of dense low-end Harsh Noise begins to sneak up and 
devour Lue Sera Sera little by little until it's completely
sucked up by it's black hole of sound, Texture and doom.
Smothering Harsh Noise walls with distant churning sub-
movements and rhythms are heard deep beneath along with
crackling static energy overhead. There are various 
movements where vague shifts bring us into subtle 
differences at varying levels. Small changes from
SMALL HOURS. A perfect approach towards isolationist
winter storm atmospheres of total nihilistic emptiness.
Windswept textures and a blurred static ambience frozen
in a still-motion void arise and carry us slowly fading
into the end where we hear some really cool retro 80's
synth soundtrack music. Ultra nostalgic waves to unexpectedly
bask in. Totally Awesome Dude!!!

SIDE B.) CLIVE HENRY - I DIE KNOWING NO ONE KNEW REAL ME:
With CLIVE HENRY I've come to expect pleasing sounds every
time at this point. You could say I'm a fan so I'll try not
to write some biased bullshit and present this as what it is.
Cathedral synths and sampled dialog where we hear a young woman
say "Dear diary, My teen angst bullshit has a body count." I know
I've heard that phrase many times or seen it on the Internet even
though I don't recall ever watching the film it's taken from. After
this a Harsh Noise thunderstorm suddenly erupts. Sky splitting static
electricity with a radiant buzzing energy met with cacophonous sub-bass
quakes and rumblings. Once the storm ceases we are thrown into another
one that sounds more like a storm at sea heard from a semi-safe position
below deck. On top of the roaring ocean we hear a constant electric buzz
with a pulsating crystal ball like energy and distant winds that howl 
powerfully, Yet subdued on the far horizon. We eventually shift into
another movement that sounds like rickety structures struggling to
not give way against dense torrential winds. Deep Daemonic vocals
appear as if from a rift in the sky and add a sinister blanket 
over what previously sounded more like a natural disaster than
a malignant entity. Bubbling textures and phased electronic
bird-like chirps enter the picture. Soon they begin to battle
blown out static barrages, Striking in frantic pecks. Spoken
samples concerning chaos and extinction finish off tape one.

CASSETTE TWO:

SIDE C.) WHERE IS THIS? - KURT AND RAM ARE FUCKING IN HEAVEN:
Starting the second tape we have WHERE IS THIS? Today will be
my first time hearing this project. I'm familiar with SMALL
HOURS, CLIVE HENRY, and GINGER CORTES, But everything else
here will be an introductory experience to my ears. Tape
two kicks off with sarcastic samples which fit the song
title perfectly and billowing sub-bass resonance along
with surging electrical current noise. Live wire electronics
and smothering bass waves. Minimal, But a pretty decent mix
of sounds that locks you in and keeps you engaged. Seemingly
randomly generated electronic waveforms that create the audio
equivalent of a laser/light show for your listening pleasure,
While at the same time stimulating the visual centers in your
minds eye. Volume increases past previously set thresholds
erupting in a blown out blur of moaning resonance and whining
flat feedback in an agonizing dull ring. The mood has changed
into a slightly more dreary experience. Dense Harsh Noise edges 
begin to form around the sawing electronic signals and drowning
bass rivers...Static atmospheres and humming sound waves populate
the ending segment of the track. A fine way to achieve ego death. 
Get lost in the noise and ask yourself, "Where is this?"

SIDE D.) GINGER CORTES - A DARKER SHADE OF PINK:
I've been really into what I've heard previously by GINGER
CORTES. A project featuring two guys who are involved with 
or are solely behind several projects I really enjoy. So I'm 
definitely excited to hear them in action here with a track 
that's new to my eager ears. Looped mechanical rhythms against
a backdrop of static spray that is synced in time with the
throbbing machines. Minimal perfection. Imagine stripping
a MUSLIMGAUZE song (As minimal as they already tend to be.)
To the barest form possible. Although much different than
what I'd expected to hear, I'm really digging the hypnotic
lull that this creates. Almost maddening but with enough of
the right tonal quality to send one into a comfortable state
of sleep paralysis or oblivious drifting. A state where one
can envision a darker shade of pink...Suddenly we are hit
with tormented experimental noise pulses and screeches mixed
with slamming Harsh Noise static textures and retro spoken
samples. Following this all becomes a total blur of a female
voice looped and lost in a hallucinogenic haze of delay/reverb.
Kind of unsettling in a strange unknown way. While the voices
repeat, Pause, Repeat and warp we are treated to intricate and
creative patterns within an Experimental/Electronic/Sci-Fi style
delivery. Repeating clips, Blips, Waves, Pulses, Etc in a cinematic,
Mid-tempo exploration of a vacuous and remote region. A suspenseful
climax to tape two.

CASSETTE THREE:

SIDE E.) SWELLS OF HAPPINESS - ATTEMPT I (DATURA BLOSSOMS):
To begin the third cassette we have SWELLS OF HAPPINESS. 
Whether the moniker is pure sarcasm or a description for harsh
audio bliss is open to debate but I'm going to bet on a bit of both.
"Attempt I (Datura Blossoms)" takes us into lacerated glitches and
cut-up noise featuring butchered samples from the 1980's. Dense and
blown out static gusts are featured here and there as sampled dialog,
Sci-Fi/Horror sound effects, Pedal/synth creations/monstrocities and
more Industrial junk and debris than you can handle while remaining
in good health are all tossed into a blender with some shiny, High 
quality blades. Imagine watching Videodrome while under the influence
of a solid hybrid of harsh uppers and downers. Chaotic all while being
delivered at a mid-tempo rush which can somehow create a staggering 
slow-motion blur effect on your mental processing capabilities. The
audio elements of long lost or forgotten adds and movie dialog are
heard in refreshing cascades to long deprived ears...All this while
avalanches of crumbling Harsh Noise are fired off in machine gun
patterns between the samples. A frantic composition, But one that
is masterfully put together. Much more movement than previous tracks,
And in very rapid intervals. A sinking synth ambient piece is heard.
It sounds like it's being played on an old V/H/S player that's seen
better days. Warped and wonky. One sudden Harsh Noise blast and then
we are in silence.

SIDE F.) PLANET SHITHEAD - I'VE SEEN A LOT OF BULLSHIT:
Ending the compilation we have PLANET SHITHEAD, Which (Other than
being an accurate description for my life thus far,) Is also the
project of Hair On My Food Tapes label owner "Joe The Stache."
PLANET SHITHEAD opens the final side with spoken samples concerning
sex, Weapons and a lot of bullshit that soon loop under sweeping waves 
of dense static distortion and shimmering ambient resonance. This is
another track with a very vacuous atmosphere. Windswept barren fields
of sonic waste in a hazed out blur filled with obscured rivers of
sub-bass drifting. Various Experimental Noise explorations are heard
taking place beneath the fog-like blanket of sound. This provides a
sense of additional movement as the samples repeat and blend into
morphed and mirrored versions of themselves. A powerful wave of
slowly moving electric plasma energy is heard coursing overhead
like an Aurora Borealis of aural enticement. Layers of sound now
blending into one solid mass of quaking, Roaring, And rumbling
bliss. Power Electronics, Harsh Noise, Experimental Electronics
and Industrial Drone all mashed together in a perfectly balanced
mix of monolithic momentum. Once again we are immersed in meditative
ecstasy by a track on this release. One of the most well put together
compilations of the year. The phrase "I've seen a lot of bullshit."
is the last thing you hear on the album making for a perfect conclusion. 

A TRULY AWESOME HN/HNW/ANW COMPILATION WHERE EACH ARTIST
STEPS UP TO THE PLATE AND DELIVERS SOME OF THEIR FINEST
OR MOST INTERESTING MATERIAL TO DATE. A STELLAR RELEASE 
AND A WONDERFUL COLLECTORS PIECE AS WELL:

10/10
-ABATTOIR-

haironmyfood.storenvy.com

Thursday, January 5, 2017

REVIEW - LARVA MONSTROSUM - ALIENATUM DIABOLICUM - CD

LARVA MONSTROSUM - ALIENATUM DIABOLICUM - CD
BIG PHARMA RECORDS/BPR106
BLACKENED NOISE/DARK AMBIENT/DRONE DOOM/HARSH NOISE
PRO CDR IN A JEWEL CASE WITH INSERT.


I.) VOLCANIC WINTER:
LARVA MONSTROSUM, As the project's name and cover art suggests, 
Is a Blackened/Occult Ritual Ambient project with elements of
Drone Doom, Harsh Noise, Etc...Alien soundscapes and gloomy 
static ceremonies. This release is a true gem of the underground. A great 
example of the types of darkness you can find lurking on the 
fringes between genres. "Volcanic Winter" opens with thick
winter ambient and sampled dialogue from a horror film concerning
the fear of being alone and what may dwell in the shadows. Crackling
fires roar and spectral choir synths form breathing walls of agonized
atmosphere. Windswept textures trail behind sweeping synths that come
in sudden gusts. LARVA MONSTROSUM have a True Death Ambient sound that
is hard to compete with. It's minimal but so simply dark that it will
absorb you. The sounds of dismal cavernous voids swallowing you alive.
A horrific, Fevered vision of absolute decay in torturous slow motion.

II.) THERIOMORPHIC SHAMANISM:
"Theriomorphic Shamanish" comes on a steady low end metallic 
industrial thud. Dreary synth drones creep in and deep moaning
vocals with mournful and melancholic tones are heard along with
charred blackened rasps wrapped in crisp distortion. The heavy
booming percussion's pick up in tempo as wavering drones and
buzzing harmonics mingle as if in the ecstasy of ceremonial 
dance. Down tuned daemonic vocalizations are heard like a pit
filled with growling abominations yearning in diabolical hunger.
LARVA MONSTROSUM have opened the very gates of Hell and the horrors
spilling fourth sound immaculate.

III.) RED BONES UPON BLACK ASHES:
Swirling atmospheres cycle and sweep by one another, Leaving 
a resonating metallic ring in trails behind. Deep woeful vocals
are heard over pendulum blade rhythms and distant Industrial clatter.
At times this sounds like total BRIGHTER DEATH NOW worship, Which in
many cases (This one included) Is a good thing. Spectral voices, Ghostly
whispers, Creaking growls...All of this weaving in and out of a paranormal
haze. Anxiety nightmare music. The sounds mixed here blend to create something
truly eerie. Music with the ambiance of walking alone on a foggy day somewhere
far away from people...The sounds one hears or "imagines" hearing when left to
their own thoughts for too long. In red bones and black ashes...Something stirs.

IV.) PYTHON WORSHIP:
Again we are in a ritualistic fog. This time it sounds like we've conjured
some intimidating entities. Daemonic hisses, Grunts, Growls and more in what
sounds like the awakening of Lovecraftian deities or Hellish principalities.
Serpentine Gods and Goddesses whisper cryptic phrases in otherworldly voices.
Reverb and delay are added for cavernous atmospheres. Playful voices echo and
vanish like fading memories of times long past. The growls of the pit become
more and more restless. Choirs of moaning wraiths create a drifting backdrop
to accompany the rise of malevolent forces. Resonant ambient tides turn into
blaring synth drifts that hover overhead as churning rivers begin to pool
below. At times sounding like trumpets signaling the arrival of apocalyptic
warfare on a medieval biblical scale.

V.) FALSE GODS TO THE CAVE LIONS:
"False Gods" picks up right where "Python Worship" left off. Obscured
Dungeon Synth with crackling and decayed blackened vocals in multiple
voices in tones ranging from deranged croaks to deep death rasps. The
ambient drone beneath seems to collect and fester with esoteric energy.
The easiest way I could describe this sound is imagine an early SATYRICON
intro or interlude and combine that with very early CURRENT 93. Monk choir
vocal chants are featured adding a spiritual, Metaphysical and meditative
quality to the track. The main Black Metal styled vocals in the piece are
of the total fvkking nekro variety and tend to sound like a crazed, Animalistic,
Primitive shaman casting spells of necromantic sorcery. The drones are dense 
and very murky. A river of filth to carry Black Magik prayers to Gods of dark
desires.

VI.) AURIGNACIAN BURIAL RITUAL:
Another ritual. This time one concerning only death. Scraping metallic
objects that sound like giant industrial sized pipes are heard dragging
across one another. Water begins to pour in and we hear it collect in
a pool in the near distance. Monotone vocal chants are heard. Recited
calmly with an air of mystique and mystery. Additional cryptic chants
are heard slowed down along with this. Deep ritualistic bells ring as
slow cinematic synth ambient and strange machine-like whirs are heard.
The bell tolls as last rites are spoken in solemn emptiness. Cold winds
blow and the electricity of paranormal energy is heard and felt gathering.
Something rattles and keeps rattling in fragmented intervals. Synth saws
slice fresh wounds to feast on warm fluids...Like blades of raw occult
power cutting through to the psyche. Slicing open third eyes. Static
textures and disorienting daymare ambiance meets drifting sub-bass
currents and Experimental Noise elements that are presented in a
slow, But frantic struggle...As if battling for their existence.
This fades into airy vacuous atmospheres and windswept haze.
Strange crawling music for shadowy abandoned places. 

VII.) NOT HUMANLY POSSIBLE:
At a little over seventeen minutes "Not Humanly Possible" is quite 
a lengthy closer. When it starts you'll probably get startled and
feel stupid...Especially if you've been listening to the album since
the start. LOUD Harsh Noise. Pure and raw. And did I say LOUD!? This
one comes out of nowhere and knocks your teeth in. Caustic, Blown out,
Grinding, Screeching, Squealing, Pissed off, Frustrated, Harsh Fucking
Noise. It sounds like a fucking murder tape ran through massive distortion
and weird effects. Wet electronic sounds and electrical screams of total
agony, Torture, Torment and suffering. The audio equivalent of what a 
really bad migraine headache feels like. People with normal social lives
don't often listen to shit like this...Not that I'm one of them, Just saying...
There are some pretty sick loops and rhythms buried in here that you'll find
if you're paying attention. Constant static and insane live wire electronics.
This sounds like a machine subjected to the most painful treatment you could
imagine (If the fucker could feel that is) on an absolute rampage. A diabolical
world ending weapon set to all out destruction and fired off in your direction.
Manic vocal freak outs and nerve shredding Harsh Noise at the end to top it all off.

AT SEVEN TRACKS AND ALMOST AN HOUR OF OTHERWORLDLY
DARKNESS AND SMOTHERING HARSH NOISE, LARVA MONSTROSUM 
HAS PUT FOURTH A SOLID DEBUT AND HINTS AT A PROMISING 
FUTURE IN THE UNDERGROUND DEPTHS:

7.5/10
-ABATTOIR-

www.bigpharmarecords.bandcamp.com

Sunday, January 1, 2017

REVIEW - BEYOND ENCLOSURE - DUNGEON OF TOTAL VOID - CD

BEYOND ENCLOSURE - DUNGEON OF TOTAL VOID - CD
MALIGNANT RECORDS/TUMORCD98
POWER ELECTRONICS/DEATH INDUSTRIAL/HARSH NOISE
PRO PRESSED CD COMES IN A SIX PANEL DIGIPACK.
BEYOND ENCLOSURE IS:
SAMANTHA DIABOLIK - COMMANDS/ELECTRONICS/DEVICES/METAL/RESEARCH
THE ANALYST - ELECTRONICS


So it appears we have another perverse/S&M/B.D.S.M. themed Power Electronics
project crawling around the underground. With extreme music you are bound to
get extreme subject matter, But are we too desensitized to feel anything from
it? In the case of BEYOND ENCLOSURE...You will feel something...And it may not 
be pleasant. BEYOND ENCLOSURE is a Portuguese duo consisting of front woman 
Samantha Diabolik and "The Analyst" Who is none other than Andre Coelho who
is known by his past works with SEKTOR 304. S-304 may be no more but Coelho
proves he is not ready to throw in the towel. Dungeon Of Total Void offers
us eight tracks of pure electronic perversion. Sonic fantasies where debauchery
reigns and clinical horror blends with intoxicating pleasure. Let us commence.

I.) INTO THE DUNGEON:
The blurred album cover depicting two obscured shadowy figures is about as
detailed a glance as we'll have of who holds our fate as we stay in these 
eight suites of torment and ecstasy. "Into The Dungeon" opens, Taking us 
into BEYOND ENCLOSURE's own brand of frightening and erotic depravity with
lo-fi static walls that seem to be covered in a dripping viscous liquid.
Animalistic breathing is heard over buzzing electronics and black ashen
atmospheres. Inhuman growls and rumbles mix with spectral whispers, Rattling 
chains, And overall unsettling vibes. A machine whirs to life and adds it's
vibrating voice to the murky dirge spread out before us. This happens in 
brief intervals. A warm hum to give a false sense of comfort in an inhospitable
environment. This is the ambiance of a slow, Painful death on the horizon. Buzz-
saw blades grind and wear down at our resistance to fear and perversion. This
tolerance we've long acquired will soon be shattered.  

II.) AUTOEROTIK PUNISHMENT:
See-saw drone waves come in oscillating, Churning blasts that invoke nausea and
dis-ease. Next this becomes a smotheringly, Oppressively loud Power Electronics 
style synth pulse. Multiple rhythms populate the deep depths of the central drone.
Like a core expanding outward with multiple reflections of itself busily buzzing
around it. The electronics serve as the altar. The vocals are delivered as cold,
Clinical demands. Devoid of any single shred of empathy. Almost robotic, Stern
spoken orders are delivered in a soft but arresting manner. The voice is female
and heavily treated with effects/vocal filters. Multiple layers are heard at
once as if the vocalist is possessed or connected to some inhuman source of
energy. Hazy Dark Ambient strands glide and hang over as distant cries of
unimagined agony echo beyond peripheral spheres. Male vocals intertwine.
Equally cold and malevolent. Whirring electronic pulses send coded messages
into the mind. Brainwashing tactics to reduce the listener into a submissive
slave towards BEYOND ENCLOSURE's shadowy agendas. This is one of the most
legitimately disturbing albums I've heard since I first discovered GNAW THEIR
TONGUES. A level of grim clarity has been achieved here that few others have
managed to attain. Feedback and vacuous atmospheres arise and take us into
a dense corridor with a slow rhythmic pulse. Like a heartbeat in a slow motion
state of panic. Dense junk metal sounds form a shaky percussive element as 
strange, Cutting feedback comes in subdued, But violent shrill lashes. Glowing
synth resonance and static laced bass churning movements sweep in and carry us
away into a drug-like oblivion. A repeating mantra of the words "Autoerotik
Punishment" still rings in my ears.

III.) ELECTRICAL SURRENDER:
Heavy, Punchy electronic jabs repeat over dizzying drones and various layers
of experimental noise and inventive texturing. Vocals hit as ragged wails. I 
believe it is a male subject delivering the cryptic phrases this time. The voice
is drowning in delay/reverb but still very audible. Feedback is heavily relied
on here along with some really intense drone work. Corrosive distortion roars
from the bowels of the track. Walls of wailing voices are heard creating an
atmosphere of horrid suffering. Pulses and chirps come in various forms to
chip away at our comfort...Or perhaps offer up a place in a nihilistic void 
of pure experience on varying levels???...Guess it depends on what you look 
for in music. I like to take the Hellraiser approach..."We Have Such Sights
To Show You." and all that shit...Just keep it horrific, Sleazy, And full of
death, Sex, Darkness and insanity...So this is exactly what I've been looking 
for personally. Mix that with my personal tendency to be a disturbed pervert 
and horror/true crime fanatic and you've got a winning combo for an individual
like myself. I know a lot of Power Electronics, Death Industrial, Harsh Noise, 
And Dark Ambient fans alike have been craving a depraved release such as this.
(Even if they don't always admit it.) "Electrical Surrender" (Such a beautiful
track title) finishes it's session off with grimey surges and nails on chalkboard
level feedback. A spoken female voice comes distorted by sheets of crisp static.
The unknown elements that are heard and hinted at are a really nice touch. Keeps
things dark and mysterious. Free-form experimentation seems to be utilized just
enough to keep things interesting but never too much. Static walls crackle, A
moaning resonance devours...And we shamble deeper into the miserable darkness.

IV.) BASEMENT PARAPHILIA:
I often think of dilapidated basements, Rusted pipes, Walls dripping with
filthy water and overall inhabitable areas when listening to this style of
music. The caustic Industrial sounds and imagery go hand in hand. "Basement
Paraphilia" is a great example of what I'm talking about. Murky synthetic 
voices. Spoken intro. Already eerie. There is a hollow tone in the voice
that makes it feel like it's coming from a body completely void of empathy.
Hollow. Feedback and tidal drones crush us suddenly. Booming rhythms, Moaning
drones and feedback with a strange melodic quality join the mix. An empty
resonance howls in the distance. Static textures and distant distorted 
voices weave in and out and then we fade into a slightly more somber
passage where emotionless female spoken word phrases are recited over
hospital atmospheres and crude self-surgery electronics. The bass elements
are incredible here. Someone did a top fucking notch mixing job. Swirling
hazy textures and emergency alarms are heard as deep backing vocals amp
the doom levels up. Spoken phrases full equipped in strange effects/filters
and put through a ringer of manipulation end the piece.

V.) VORTEX OF STEEL INTO FLESH:
This truly sounds like what it says it is. Slow motion wind cycles whip
by our ears. As if generated by some massive industrial turbine. Pulsing
electronic instruments go to work as an unnerving feedback begins to ring.
Empty vacuous atmospheres and wavering drones all mesh. Volume increases.
Heavy bass. Heavy resonance. Heavy everything. Echoing spoken/shouted phrases
are delivered with a deadly passion. Pulses circle the head through phaser
filters. Doom laden dirges churn underneath as unseen figures wail in torment.
Vocalist "The Analyst" speaks like a man giving orders. Grim commands that will
surely lead to bodily damage. Things shift into powerful phased out drones that
carry a haunting echo with them. Funeral drones hit with sloth paced force as the
sounds of the "vortex" from the intro are heard over high-end electric purring.
The way it's mixed has a really cool pendulum effect which makes it even better.

VI.) FORCEFUL ACQUISITION OF FAITH:
Pure Death Industrial. Corrosive static and filthy electronic sludge.
Debris, Grime, Dirt and worse gather beneath and coil into slow serpentine
motions. Death rattles and sub-bass rivers. Quaking percussive elements and
cold, Calculated male/female vocals with extremely "alien" effects behind
them to amp them up. The subject matter is dark. The atmosphere is darker.
Dingy and dim lit corridors of sonic malignancy. The vocalists play off of
one another like a surgeon and nurse. No emotion...And no hope for you.
Next Horror Ambient blends perfectly with clinical Power Electronics.
Crackling static lashes land in timed intervals of additional cruelty.
BEYOND ENCLOSURE and the feelings they invoke from the listener are the 
musical equivalent of an watching actual snuff film that takes place in
the most depraved B.D.S.M. society imaginable. If the film hostel was a
porno. The track ends on a long melancholic drone followed by a single
vague phrase. Discomfort as an art form.

VII.) CHAIN OF COMMAND:
"Chain Of Command" forces us into submission as slithering electronics
ignite erotic imaginations. Heavy Industrial drone pulses drill into
our heads as a cacophony of static horror and agonized screams of total
fucking terror are heard along with ghastly choirs, Feedback assaults 
that come in Attack/Recoil styled strikes, Robotic spoken phrases, All
kinds of really fucked up shit. It is evident in this track more than
any other that a member of SEKTOR 304 was involved. This sounds quite
a lot like S-304 at their very very finest...In fact I honestly might
think this is even better somehow. The female element really adds to
the seductive vibes. (Plus I've got a thing for accents and she's
got one of those.) The force of the electric surge that follows what
was apparently the track's intro is immaculate. BEYOND ENCLOSURE are
obviously doing P.E. of the highest fucking caliber. The bar has been
reset. Everything that makes Death Industrial and Power Electronics
my favorite types of music is present here. Plasma blasts unwind over
a field of barren static energy. The void howls restlessly as rhythmic
distorted drones climb over shifting sub-bass currents. All fades into
a slow motion avalanche. Cascading fragments crumble and crash in the
distance as glassy winter ambiance resonates along to a synchronized
choir of feedback. Some really vibrant Ambient textures here for those
of you that really soak in the atmospheres.

VIII.) BLACK RUBBER MAN:
"Black Rubber Man" may sound like an innocent song title to some but
in this case that "rubber" man is likely drugged up, Suffocating in 
latex and being subjected to a vibrating foreign device forced crudely
into any given orifice...A strong pulsating electronic backbone featuring
wet signals, Creepy looped deep exhalations, Throbbing bass currents and
eerie spoken word. Feminine, Erotic, And very fucking dangerous. Samantha
Diabolik sounds like a pretty girl. The kind that'll string you up from the
ceiling, Tie your balls up, Being sure to cut off all circulation, Turn the 
lights out, Leave the room and bolt the door shut. The atmospheres here
shift and morph forming a twisting corridor of nightmare ambient. High
levels of anxiety are injected into each sound utilized here. Truly
unsettling tones. Sounds that force discomfort and unease. Clinical to
the point that you might start feeling a little insane listening to this
alone late at night. Unless you're like me...Then probably a little turned
on...I should probably seek help but I'm not going to. I've accepted what
I am. Luckily for me, There are artists like BEYOND ENCLOSURE to cater to
immoral freaks like myself...

EASILY ONE OF THE BEST RELEASES OF 2016. WE'VE
BEEN ABSOLUTELY OBSESSED WITH IT SINCE IT'S ARRIVAL:

10/10
-ABATTOIR-

WWW.MALIGNANTRECORDS.COM

Friday, December 23, 2016

REVIEW - PCRV - CONTEMPORARY PROCESSING - CD

PCRV - CONTEMPORARY PROCESSING - CD
BREACHING STATIC/BS78
EXPERIMENTAL/HARSH NOISE/POWER ELECTRONICS
PRO CDR IN A JEWEL CASE WITH INSERT.
PCRV IS:
MATT TAGGART - ELECTRONICS


FIVE TRACKS NO TITLES. LET'S GO AHEAD AND CONSIDER
THEM CONTEMPORARY PROCESSING PARTS I-V:

This is another one of my favorite Noise releases from this year. 
It's one that seems to have fallen below the radar as I expected 
more hype to build around this after hearing it. PCRV presents five 
nameless tracks that seem to get weirder and harsher as one turns into 
the next. Each track is over ten minutes in length which roughly brings
this monolithic album to over an hours worth of playtime. The album art 
hints at vague surrealist themes with a bit of a modern/contemporary art edge. 
The music however takes us into an exhaustive journey through cosmic Sci-Fi/
Spacey Noise, Strange synth filled alien worlds and black hole galaxies.
There is a lot of force and power on this one. Buckle in and let the 
pressure crush you. 

Track one. We accelerate and ascend into over fifteen minutes of 
experimental drifting. Lovecraftian madness slowly enfolds as a stellar mix 
calmly gathers and begins to drip from out of the speakers. Melodic glitches, 
Spraying static, Deep bass synth rumbles, Screeching feedback...It all blends 
into a daydream. A soundtrack for dismal wandering. The melodic elements are
simple, Yet haunting. Icy tones and textures seem to mimic the drip of melting
stalagmites. Acid laced strands of sound rise and fall as warning signals ascend
and drop. Humming drones churn into foreboding sub-melodic rhythms. Phased out
pedal noise grinds, Twists, Turns, Shrieks, Fades and repeats. Moments here sound
like alien machinations revving up to fulfill malevolent purposes. Wet effects are
utilized on pinging unearthly lead patterns that attempt to blur reality. Myriad
disorienting lulls are employed. I don't know what sinister plot PCRV is attempting
to unfurl...But it's certainly pulling me in. Tractor beam electronics. Threatening
experimental freak outs lash out and recoil as an entire pedal board seems to put in 
overtime. Multiple signals and transmissions fill the air while shimmering synths
warp into screaming feedback. Cyclic patterns spin like satellites in orbit. The
moments that seem still and quieter are often the most sinister sounding. Matt
Taggart is a man who is in control of his gear. Meticulously crafted and composed
work here. Although the nature of the release is very experimental...It is apparent
that Taggart really knows what he's doing as he's on a level close to mastery with
Contemporary Processing. Violent outbursts over doomy interstellar drifts, Spiraling
textures and repeating feedback segments finish up track one, Leaving you spellbound 
in it's dizzying sonic brilliance. 

Track two is the longest here at over sixteen and a half minutes. A punchy synth
drone intro comes on wavering wings. Slow and curious, As if inviting us further 
down the rabbit hole. Resonant energy reaches peak levels as turning knobs produce
grinding electronic power. Static gathers in several low gusts that seem to linger
rather than rage. Feedback and Harsh Noise lead notes reach skyward over and over
again. Music for meteor showers and solar eclipses. Just about every effect and
filter you can imagine is used at some point. There is a duality to this release
as well. Calm backing tracks serve as launchpads for free form electronic fuckery.
The mix is quite intoxicating. The pedals chirp, Hum, Grunt and choke in countless
different ways. At times sounding like creatures from another plane of existence
far beyond our own. Around midway through track two this becomes a frenzied gathering.
Harsh blasts finally erupt and storm until they fall to sudden silence. Crystal beams
shimmer providing a brief relief before we're hit again. It sounds like we're in a 
vessel that is quickly spiraling to a fiery death. Every alarm, Pulse, Signal and alert
is firing off as we head into the red zone. All becomes a haze of intensity and adrenaline.
Pedals reach max peaks and fall off into immense drones. This is followed by a near silence
populated by scratching textures. Loud bursts suddenly hit and vanish. A mock crescendo that
leaves us in a state of anxious uncertainty. The feeling that disaster approaches but having
no way of knowing exactly what, Where or how to prepare. Guess we're fucked cause all Hell
just broke lose. PCRV lacerates the listener to shreds with a combined attack of Cut-Up
Noise and dense overblown static blasts. It ends with cold empty drones and playful Noise
experiments. Dead or dreaming. At this point...Who knows...

Track Three is the shortest, But here that means slightly over ten minutes. Ultra
dense rock slide rhythms covered in reverb quickly build. It sounds like a cavernous
sub-terranean world has revealed itself before us. Hurried pulses fire off and squeal.
Another gathering of bizarre inhuman lifeforms perhaps? Miniature plasma cannons shoot
the shit bat-like chirps meet with rough distorted scratching. Murky pools bubble and
froth, Synths gain momentum and start to take flight, Failing in their own frustration.
Quick patterns and chaotic rhythms appear as Sci-Fi soundtrack synths play out songs
of warning. The musical equivalent of a sign reading "Abandon All Hope, Ye Who Enter
Here." Cinematic terror begins to sink it's heavy claws in as tones weave together
to form new threats. Luckily this fades before completely consuming us. What we have
after that is a really fucking out there demonstration of just how off the wall Noise
music can be. I don't even know how to word it to be honest. Alien sounds from alien
worlds. It's as if PCRV has opened a portal to another dimension, Shoved our asses
in, And sealed the rift behind him with the turn of a knob.

Track four. Fourteen minutes/Thirty nine seconds. Sonic death. Harsh Noise rushes
in and smothers the life out of everything. Like some asshole just opened a door
that was sealed for a fucking reason and now we're all fucked. Punching synth 
attacks are delivered hard. Type of shit that will smack the smirk off your
damn face. PCRV was just fucking with us before. Like a beast toying with it's
prey before sinking it's sharp static fangs in. Everything that was present
on previous tracks is amped up, Cranked to ten and set lose. A blur of every
aggressive and disorienting tone and sound PCRV could manage to conjure up...
Unless he is holding back in which case I guess we should be thankful. This
is some truly oppressive work. Turbines roar, Whine and take off. Rocket
engines melt all in their radius as fires light. Feedback pours in heavy
streams. Pure Harsh Noise Hell. If this is just a warm up for the closing
track then we're in serious fucking trouble. Caustic atmospheres blow in
and storm shit up as high notes squeal over glitched out soundscapes. 
Fragile glass-like melodies play out as the mind creates odd images of
uninhabitable landscapes. Piston rhythms pump and smash, Drones break
and fall into obliteration, Knives of plasma slice in psychic attacks,
And all is utterly consumed. A mindfuck and a half.

The final track is a little over twelve and a half minutes long. It
finishes things off in a manner similar to the previous but more
hazy and smothered. Obscured patterns attempt to emerge from under
a thick smokey blanket of dense Harsh Noise. Caustic, Seething, Scathing,
However you want to describe it...It's ferocious. Hissing noise like that
caused by steam rushing out of a broken pipe is heard as rhythmic signals
transmit looped messages unknown receivers. We're definitely in much harsher
territory than we started out in. PCRV doesn't let up once things kick off.
This track particularly has a real old school Sci-Fi quality to it if you pay
attention to the details within the massive haze that conceals them...It's a 
damn near religious experience by the time you get halfway through this track.
Such a sensory overload that it feels like your head is about to fucking explode.
As far as Harsh/Experimental Noise goes...This is my favorite release of 2016.
Absolutely fucking crushing. HEAVY low end bass rhythms pummel their way into
existence over and over again as spacey drones wail through delay/reverb.
Various drones gather and echo off of one another as sheets of static wrap
themselves around. Clouds of hazardous sound come as a solid mass and I 
think my brain might be melting? Slimy wet electronics slither up your
spine as the album comes to a close. What a fucking trip. Awesome from 
start to finish.

TREAT YOURSELF TO A COPY OF THIS FOR CHRISTMAS. SEASONS BEATINGS:
10/10
-ABATTOIR-

mattaggart@yahoo.comm
breachingstatic.bandcamp.com
breachingstatic.blogspot.com