Thursday, August 18, 2016

REVIEW - VARIOUS ARTISTS - POWER ELECTRONICS AGAINST COMMUNISM - COMPILATION - CASSETTE

VARIOUS ARTISTS - POWER ELECTRONICS AGAINST COMMUNISM - COMPILATION - CASSETTE
VANGUARD PRODUCTIONS/VP65
POWER ELECTRONICS/HARSH NOISE
WHITE PRO-PRESSED CASSETTE WITH STICKERS.
COMES IN PLASTIC CASE WITH FOLD OUT J-CARD
INSERT.

NOTE:
THE TITLE SAYS IT ALL ON THIS ONE. IF THIS IS OFFENSIVE TO YOU
I'D RECOMMEND THAT YOU AVOID THIS ONE. NATIONAL SOCIALIST THEMES
ARE OBVIOUSLY PREVALENT ON THIS RELEASE. DON'T SAY YOU WERE NOT 
WARNED AHEAD OF TIME. FOR THOSE OF YOU WHO CAN REMAIN UN-PHASED,
OBJECTIVE OR ENJOY CONTROVERSIAL MUSIC FOR WHAT IT IS OR HAPPEN 
TO SUBSCRIBE TO THESE IDEOLOGIES, CONTINUE READING.

SIDE A.)

I.) WOJTEK - PERVERTS OUT OF KRAKOW:
We go to war with WOJTEK leading the fight. Resistant Power Electronics with 
a lot of Harsh Noise elements. Booming sub-bass crashes are met with caustic
textures and groaning drones. Vocals are delivered in low maniacal death growls
laced in wet effects that create a sickening, frothing edge to an already enraged
delivery. Harsh scrapes and hissing bursts accompany our trek through sludge and
muck on a path to the battlefield. Conditions are wretched to say the least. This
is a strong opening track that sets the tone for included themes of resistance and
combat against the chosen enemy. A war-machine on a rampage, Leaving a swirling haze
of mass destruction in its wake. Taking a grim and relentless rather than uniform
and militant approach. WOJTEK definitely lights the fire before the torch is passed
to ZOCIALISTS ZEITGEIST.

II.) ZOCIALISTS ZEITGEIST - LEADERLESS RESISTANCE:
No leaders. Just fury. ZOCIALISTS ZEITGEIST's track opens with spoken samples
conveying their own personal propaganda recited over fields of swarming feedback,
Crying strands of feedback that spread like sweeps of chemical warfare, Oscillating
drones in deep resonant waves, And scathing scratching rhythms. The track calls out
revolutionaries and criticizes their tactics. A message to their own on how Z.Z. thinks
attacks and protocols should be carried out. A straightforward and fairly minimal piece,
But one that serves its purpose. A very precise strike with a very precise target. Many
will not identify with the message but the execution and composition is still easy to
enjoy for Power Electronics fans.

III.) LONE WOLF INSURGENT - TRAITORS ARE NOT GENTLEMEN:
Next up, LONE WOLF INSURGENT roll in with corrosive waves of semi-harsh density.
Spoken samples follow on the rear and spread their message across a charred sonic
soundscape. Static textures and sample manipulations keep things moving along as
the political message comes through as if to inspire hope in the darkest of times.
Shifting patterns emerge as feedback and semi-melodic tones ring out over barren
fields of black static. Experimental noise elements come in. Distant pulses that
struggle to be heard among churning seas of decayed ambient. Stark and stoic stuff
that amplifies aural themes of grimness sonically applied to the album. There are
undertones of seriousness and severe urgency to the piece. Overall a pretty solid
addition to the compilation. Definitely much more subtle than what I am used to
hearing from LONE WOLF INSURGENT which shows how versatile the project can be.

IV.) GENOCIDE LOLITA - PROMISED LAND:
This one is the odd man out to me. The production is of a slightly "higher" or 
more "professional" studio type of quality. This honestly throws me off a little 
bit, But it also keeps things interesting. Like the two previous tracks this is 
heavily sample based. Relying on these instead of vocals. Looped samples concerning 
"Jewish control" open the track and pave the way for electric energy flowing over a 
mid-tempo bass thump. Pummeling secondary rhythms, Humming resonance and some pretty 
cool sounding samples (Filters/effects applied) Repetition and building layers are the 
mode of attack here and the campaign is a success. An excellently crafted work that 
shifts into various phases throughout it's duration. Each one invoking a deeper 
meditative/trance-like state. Each sound here behaves as if under strict orders, 
Never straying from it's duty. A well oiled machine functioning at full capacity. 

V.) DETERGE - IGNOMINIOUS TENURE:
DETERGE bring back and greatly amplify the ferocity and rage we heard with WOJTEK.
Spoken interview samples intro the track and then we are absolutely assaulted with
a furious firefight of hectic noise. A barrage filled with grinding fast paced rhythms,
Strange electronic experimentation, A panicked and frenzied crowd of samples and bitter
sore throat screams cloaked neath some of the coolest vocal filters/effects I've heard
quite a while. Live wire lashes lacerate the senses as each spiteful vocal strike fills
the air. Hazy atmospheres are created through the mass of myriad noise elements. A pause
takes us into another sample accompanied by tribal hand percussion's. This brief moment
lets us catch our breaths and regain our grounding before the next slaughter strike rolls
in. Relentless. 

VI.) PLANTATION - AMERICA'S GREATEST SHAME:
Patriotic orchestral samples like something out of an old 1950's movie intro.
Informative/public educational samples concerning the "dangers and illness of
homosexuals" are heard. Moaning machines in absolute misery. This is what the
base layer of electronics sound like. Feedback flirts with raspy vocals filled
with rage and disgust. Additional samples are utilized and discuss how homo-
sexuals are portrayed in the media. Whining feedback and vacuous ambiance serve
as a platform for PLANTATION to deliver his thoughts and feelings. There is an
undeniable amount of passion in the vocal delivery. Oscillating drones rise into
a powerful onslaught. Weird/schizophrenic noises run wild and gradually fade
into outro samples. All together a well put together and well paced track.

VII.) SKOPTZY - TIGERS FOR ARKAN:
The A side closes with SKOPTZY. This project is entirely new to me. The track
offers minimal noise textures, Buried/somewhat muffled samples, Screaming feedback
that rings for an extended period of time over surging/coursing electrical energy.
A very short track that serves as an outro to the first side of the tape. I wouldn't
say this is the most impressive introduction to a project, But I can't judge the entire
project on one short track alone. This is one I'll have to look into and give a full
listen to. For what it is, It's a cool piece. But nothing ground breaking and it by
no means reinvents the wheel in my opinion.

SIDE B.)

VIII.) A.Z.A.B. - MASOWY GROB DLA MARKSIZMU 
KULTUROWEGO NARODOWE ODRODZENIE EUROPY:
Unlike the previous SKOPTZY track, A.Z.A.B. on the other hand is a project I 
am quite familiar with and generally know what to expect from. Manipulated
spoken samples against a backdrop of sirens and multiple tormented wails.
Riot/protest chants come powerfully under the same effects followed by
harsh noise that sounds like sand being grinded into glass by industrial
machinery. Echoing rasps and tough shouts boom and resonate, Bouncing off
of the walls until they fade out. Harsh rhythmic noise patterns form crushing
force like stones grinding bones into dust in repetition. The A.Z.A.B. sound
is here, But has been expanded upon showing that the artist has some new tricks
up his sleeves. This one is a slow death-bringer that hits hard in a subtle way.
Stealth concealing the worst of fates. The tones are powerful and deep, Which
adds a lot of oomph as the vocals swarm in and raid from above. Experimental
movements and samples hit the points home and hold no remorse what so ever.

IX.) TERROREACTOR - OPPOSING EQUALITY:
From the blunt title here it should be apparent that this isn't "safe" or 
"easy listening." Not that anything along those lines should be expected 
on an album filled with artists of this nature. Violent spoken samples 
bring dark sarcasm. Next we are utterly obliterated by massive bouts of
destruction and devastation. Huge landslides bring an avalanche of aggression.
Shifting quakes of density, Warped plasma cannon electronics that sound like
an epic war among the stars. Blackened rasps in distorted blasts. Feedback
and coliseum caliber roars. This is fucking war. By far one of the fiercest
tracks on the compilation. Mortar fire sub-bass wrapped in strong distortion.
Corrosive rivers of noise/feedback flow carrying an old song on an old record
off into annihilation.

X.) STURMFUHRER - UBERMENSCHEN UBER GOTT:
Booming militant marching drums. The war has just begun. We prepare to set
out for another raid. Brass orchestral horns and epic battle ambiance flow
in with a rallying call to victory. Inspiration for the troops in their war
against the reds. The vocals are clean, Low and dull, Almost monotone words
are recited. This is Martial Industrial at it's finest. Minimalism shows how
less can certainly be more. Carrying a banner of grim certainty that deaths
will be required and casualties will be unavoidable. Haunting melodic synths
perform a sub-orchestral elegy to the ghosts of fallen soldiers. This is a
dark and beautiful piece. Emotive to an extent I didn't expect to hear on
this release at all. Or at least not quite in this way. I am honestly very
impressed with how well done this one is. Excellent track that adds just
the right amount of diversity to the release.

XI.) GODCAGE - YOUR OPPRESSION:
Fragmented, Crumbling noise and screaming/hissing feedback. Sudden barrages
come as distorted masses like a dilapidated building collapsing in on itself.
Vocals are delivered in frantic shouts that have a bit of a D.S.B.M. feel to
them. This one is done in a very to the point, Get in, Fuck shit up, Get out 
approach. Additional feedback like the screeching of rusted wheels struggling
to turn against each other is heard along with more dense aggression. This one
reminds me of the 90's Power Electronics approach. Oppressive, Smothering and
absolutely ugly sounds. Gnarly stuff that would confuse neighbors and concern
friends and family. Coarse, Rough yells with in a Death/Doom style aid in the
end. Feedback is heavily present as well as corroded noise that sounds like it
could strip the paint from the walls of a room. Similar to the A.Z.A.B. track 
in terms of composition and delivery. A great addition to the release.

XII.) HATE SPEECH - DEFEND YOUR RIGHTS (P.E.A.C. MIX):
HATE SPEECH offers up an alternate mix of a track off of their debut release.
Distorted samples that sound like they are breaking apart and flaking off like
a shedding serpent. Battleground sub-bass wrapped in distortion. Intense from
the start. White water rapid aggression sweeps in and demolishes everything in
it's path. Feedback and muffled, Distorted screams fill the air with disgust
and passion in a call to aktion/call to arms. This is much heavier than the
album version (Which is really saying something.) Turbine blades mince us
into tiny fucking bits and force us into a roaring furnace. Shit like this
is the reason I got into Power Electronics in the first place. Bestial war-
fare that holds nothing back and goes for the jugular. It literally sounds
like Armageddon has hit your household. Hope you're listening to this in a
bomb shelter. All comfort is ripped away and discarded here. An urgent call
to take a stand. Whether or not you are down for the cause...This is undeniably
awesome Power Electronics.

XIII.) ANTHEMS OF ANCIENTS - OF OLD FIRE...COMES NEW IRON:
Finally the finale comes via ANTHEMS OF ANCIENTS. Another project that is new
to my ears. What sounds like a distant train whistle is heard over seething 
Dark Ambient movements. Stark and foreboding with a hint of melancholy and
mournfulness. Fairly quiet stuff with doomy synths with a bit of a "Dungeon
Synth" type of sound. Deep, Down-tuned voices moan and groan in a miserably
wretched manner. What sounds like marching soldiers gradually becomes audible.
Distant synths carry faint hints of melody. This could have easily worked as 
an intro track to a 90's second wave Black Metal record. Here it will serve
as an outro. As the troops slowly march back home from their war against the
communists.

A PRETTY SOLID LINEUP OF SOME SERIOUSLY
BEASTLY STUFF.CHECK IT OUT IF YOU'RE BRAVE 
ENOUGH:

8/10
-ABATTOIR-

vanguard-productions.com 

Tuesday, August 16, 2016

REVIEW - A.Z.A.B. - INTRINSIC DEATHMASS OF ZIONICIDAL RUINATION - CASSETTE

A.Z.A.B. - INTRINSIC DEATHMASS OF ZIONICIDAL RUINATION - CASSETTE
VANGUARD PRODUCTIONS/VP63
POWER ELECTRONICS/HARSH NOISE
ON BLACK CASSETTE WITH STICKER LABELS.
COMES IN A PLASTIC CASE WITH FOLD-OUT
J-CARD INSERT.


Considering the nature of A.Z.A.B.'s subject matter, I wouldn't imagine this would appeal to certain crowds, I.E. Hipster or sensitive types, Those who prefer things to be "politically correct" and especially any of the Antifa people in the noise scene. So let the record show that I warned you. A.Z.A.B. does fierce and intolerant Harsh Noise/Power Electronics music that hits like ten tons of concrete. This newest release via Vanguard productions is (In my personal opinion) the crowning achievement to date. Everything that became the A.Z.A.B. sound on previous releases has been honed, Perfected, Utilized and cranked past ten. 

SIDE DEATHMASS:
I.) SIEGE! (Intro) / II.) Age Of Inversion / 
III.) Mandatory (Political Rehabilitation) /
IV.) Retaliation 206 (Part I) / 
V.) Imminent Conflict (To The Imminent Death):

Five tracks are present on the A side (Deathmass) starting with the SIEGE! to intro the album. Spoken samples concerning assassinations (Of the president or anyone else who may be in opposition) in the name of "Saving a race" open the door for a flood of dense distorted drones and resonant humming loops. Minimal and ominous. Vocals rush in cloaked in delay/reverb and a little distortion. They create miniature vortexes that send ripples and shock-waves 
following each charred rasp and blackened growl. In between we are met with the same unchanging churning that began the track. After the second wave we are mercilessly tossed into a sea of warped noise, Strange signals behaving in strange patterns. Scratching distortion that claws at the ears and a growing persistent whine of feedback. Things morph and transform various times, Each seeming more manipulated than the last. The vocals remain as they first were. Bitter rage in a torrential rain and sleet of tones both dull and aggressive at once. Rhythmic noise patterns form and repeat  
like marching drones linked to a mother brain. They are soon slaughtered in a whirling blade-like attack. Experimental qualities have taken over. Fragmented patterns emerge followed by new and weirder loops filled with spacey signals transmitted into the cluttered air. Harsh windswept storms eat away as disjointed voices echo in a loud booming manner urging you to "destroy and take back." Bitter croaks and rasps come in along with a fine mist-like spray of static steam. 
The accompanying noise takes on a quality like that of sounds heard emitting from early computers. There is definitely a distinctive Sci-Fi feeling to this. Grainy and grey scale sounds to urge warfare through analog ammunition's. The ominous voice is still heard like an overlord barking commands upon uniform masses. Very gritty and surreal stuff. Dense gusts and muffled mortar fire rhythms. A resonance like the sound of jet fighters on the attack hangs in the air. Voices from  the central command post return. Still furious and surrounded by a static haze that spins into a maelstrom of aural aggression. "Retaliation 206 (Part I)" features spoken samples concerning hatred towards Jews and personal reasons for such feelings. This is soon carried by a tidal force of distortion. This sounds like a long lost recording discovered in a long abandoned army  bunker. Something taken from tape reels burried in decades of dust with the wear and damage of years apparent. Straight forward stuff that serves it's purpose, Says what it needs to say and leaves a wake of wreckage behind it. Pretty much an avalanche of hatred that presents it's case and leaves it at that. A political debate/argument/stance presented within a blizzard of noise. Repeating/slowing
samples are looped/manipulated for a neat ending to the track. "Iminent Conflict (To the Imminent Death)" also arrives with spoken samples that sound like they are decades old. This time concerning the direction and function of soldiers, Honor and manhood. It is later revealed that the sample is a quote of words of Adolf Hitler which should not be surprising considering the nature of this artist.
A Heil Hitler takes us into fragmented loops that conceal faint traces of sub-orchestral melodies. What sounds like heavy stones rolling against gravel becomes a loop that sets the pace until becomes an Ouroborus like drone feeding and excreting itself in endless cycle. The vocals here are similar to those heard earlier. Echoing rasps (This time with different settings) that cause repeating phantom cries. Everything on this album is very lo-fi and grainy. Even the "highlights" and moments of more movement and experimentation have a very old/worn quality. Like something recorded in a submarine deep in the depths. Everything sounds muffled as if by intense pressure. The
same sorta thing is often a feature of many Black Metal bands. Not a bad thing. Just less and less common to hear on Power Electronics albums these days, Especially one that came out in 2016. Additional samples and booming rhythms. Endless roaring like a blaze in the
near distance. One that has already swept you away at this point.

SIDE RUINATION:
VI.) Eradication Pyres / VII.) Sterilize/Sanitize /
VIII.) Invade The Adversary / IX.) Retaliation 206 (Part II) /
X.) Ravensbrück (Final Solution Cover):

So far this tape is just as grim as the album cover hints at it being. "Eradication Pyres" opens side Ruination with a dense slab of harsh noise. Grinding textures and squealing high end notes. But once again with a somewhat muffled quality. Ascending/diving synth waves escort hostile, Echoing vocals into the frame. A.Z.A.B. has chose his method of attack and remains locked in. Never
venturing too far from his preferred mode, But if it works why fuck with it right? Again A.Z.A.B. strikes accurately with a minimal fury that somehow feels more punishing than many more in your face tactics. Audio warfare in aktion. The vocals come in abrasive, Distant jabs that come out of nowhere and bring lethal force even though the overall sound is somewhat brittle in comparison to
many other similar projects. Still I can see this appealing to those into label mates LONE WOLF INSURGENT, SPIC, PLANTATION, Etc, As well as other artists operating in a similar method. There is a very honest and straight forward quality to the work that is rarely heard on albums released past the 90's. An ode to the glory days of Power Electronics and Death Industrial. "Sterilize/Sanitize"
begins with statements that the Jews are overall collectively a vile and murderous people. Following is a hail storm of harsh textures. A flurrying blizzard of white noise, Warped radio transmission signals, Fragmented rhythms that appear and vanish and myriad other bloops
on the radar screen. Free form experimental noise style fuckery on display featuring additional samples and encryptic propaganda that sounds like it's coming from an isolated outpost on some treacherous frozen tundra. Snow bunker electronics. "Invade The Adversary" brings fourth
broken sounds that wearily trudge onward in a mid-tempo rhythmic noise march. Whistling like a jet landing and the engines winding down lead the way for charred vocals that sound like they bring a blanket of ash behind them. Panzer grade power backing every word. Deadly and a little unique on the album compared to other tracks. Early Industrial style rhythms pave the road and become a path leading to battle. The vocals really stand out to me on this one making this my favorite track on the album. They feature a bestial brutality that is rarely heard in Power Electronics these days. The noise here sounds worn and eroded as if it were decaying and decomposing as it goes on. Interesting rhythms round this one off and take us into the intro samples of "Retaliation 206 (Part II)" which serves as a sequel/continuation of what we heard on side Deathmass. This one also features some pretty awesome rhythmic elements. Churning cycles as if created by the limbs of some massive piece of industrial machinery in an old factory at the edge of town. Shifting and
sliding harsh noise is heard as avalanche waves barrage us without remorse. This is hacked, Slashed and blended into a battering of swirling sound. Turbine blade patterns that chop, Slice, And eviscerate in emotionless butchery. Uneasy sub-bass movements churn beneath like an upset stomach. Frustration and irritation growing by the moment.Multiple mechanical/factory grade industrial elements are present making this another one of my favorites on the cassette. Additional blizzards beat down upon us as distant sub-melodic ambient patterns dance like an Aurora Borealis above it all. Buried samples slowly make their way to the surface along with a mechanical beeping that 
abruptly disappears as smothering density eats said sample away. They soon return looped over harsh rhythmic noise that fade into strange ambient tones until the samples take the spotlight at the finish. We end with a cover of FINAL SOLUTION's "Ravensbrück." To be honest I haven't heard the original in a long time and can hardly recall what it  sounds like (I'll have to get on that soon) But I can tell you that this sounds pretty damn cool. Humming machines fire up as burning coal ambiance fills the room like a sudden rush of smoke. The vocals smolder under this haze and stretch out like grasping hands from within the soot and darkness. Definitely one of the more menacing tracks here.
The vocals are heavily processed through glitchy/robotic/computerized effects but are still very clear and cohesive. A vacuous wind carries the track along, Generated from a sub-bass undertow that sweeps beneath. Another aggressive minimal piece to finish things off. 

Although at times it tends to feel like things drag on a little too long 
(This has always been my opinion when it comes to A.Z.A.B.) Overall Intrinsic 
Deathmass Of Zionicidal Ruination is a success. Pretty solid stuff when it comes 
to heavy, Lo-fi electronics:

7.5/10
-ABATTOIR-

vanguard-productions.com

Sunday, August 14, 2016

REVIEW - ARMOR BREACH - MOLT OF THE SCOLOPENDRA - CASSETTE

ARMOR BREACH - MOLT OF THE SCOLOPENDRA - CASSETTE
LURKER BIAS/LB049
EXPERIMENTAL NOISE/HARSH SOUNDSCAPES
GREY MARBLE CASSETTE WITH YELLOW AND RED SPLATTER
STICKERS FILLED WITH GLITTER IN A PLASTIC CASE WITH
J-CARD INSERT.


SIDE A:
So this is the debut release from ARMOR BREACH which 
is the newest endeavour of Austin Visser previously known
from his works with CURSES and PROGENITOR as well as co-founder
and administrator of THE INSECT WORSHIP COLLECTIVE which is a
massive collaborative effort between numerous projects in the
underground noise and electronics scene. Here he offers up two
solid slabs of hellish aural nightmare. I am assuming the tracks
are untitled as there are literally no liner notes and no information
given in the albums J-card. Or perhaps we can look at this as "Molt Of
The Scolopendra parts I and II. A scolopendra by the way is a genus of 
centipedes of the family Scolopendridae. That being said I have absolutely
no explanation for the bizarre album art chosen for this release but I'll
just attribute it to the surreal and unsettling nature of the music itself.
So let's dive into the sonic details of this beast. Track one slowly crawls
out of the mirror as a bleeding feedback that uncoils and unfurls into a 
yawning/thundering drone that fades into echos and repeats the cycle.
Cinematic ambiance lingers on the fringes building suspense and tension
as moaning, unearthly drones threaten to conquer all that dwells above.
Shifting atmospheres and bubbling wet noise pulses are heard as caustic
scratching harsh tones tear at our comfort in loud and overblown strikes.
Staggering movements are present and seem to struggle their way through
the speakers until they collapse into the room. The overall vibe is unsafe,
Hostile and really fucking dreary. Moody soundscapes that force an overwhelming
air of misery upon you. Everything here sounds bleak, Stagnant, Suffocating and 
alltogether unhealthy. The musical equivalent of living out your last wretched
days of existence in a dilapidated asylum filled with insects, Decay and dirty
water. To call this oppressive music would be an understatement. It's attack is
subtle and relentless like a malevolent disease slowly eating away at the inside.
Not enough to quickly kill, But enough to make you wish you were dead. Eerie moans
and whispered rasps make our stay in this hellhole all the more unpleasent. Drones
of discomfort to accompany long nights of woe. This is the sound of festering 
negativity slowly making its way to the surface. It operates in strict duality
relying on dense humming low ends and scraping, Abrasive harsh noise textures.
Sampled voices repeat a mantra of "Today I will not kill myself." The intensity 
of this insanity only grows as the piece persists. Oscilating synths reach for
help...All in vain. A demonstration in futillity and utter hopelessness. We've
entered a light-less tunnel with no relief in sight. 

SIDE B:
They say: "What doesn't kill you makes you stronger"...Yeah well, They're full 
of fucking shit...So let that sink in...Ready? Too bad. Now it's time to sink
further down and deeper in. Keeping with the rather unnerving and unsettling
atmosphere we've just endured, ARMOR BREACH takes us into another chamber of
personal torment and inner turmoil. That whole bit about the centipede was
either an absolutely pre-meditated attempt to mislead us or some bullshit
metaphor concerning rebirth/enlightenment/life cycles/metamorphosis/etc.
Yeah we've morphed alright, From one horrendouns plague caliber death into
another. (Special thanks to Austin Visser for making something that actually
got my anxiety/panic disorder to act up...You mother fucker.) I guess that is
a plus though. Reviewers often bitch about wanting music that moves them or
causes them to feel something...Well buy a copy of this and you'll feel like
peeling your own fucking skin off. Ah!!! There's the centipedes!!! Crawling 
in my own fucking body!!! Anyways...On to what caused this issue in the first
place...Rattling chains and daemonic growls begin as something slithers into
the room. Brooding heavy ambience churns as what sounds like an old Speak N Spell
toy being molested and mutillated is heard. It's robotic voice in fragments and
glitching to death. This is a horror show folks. Hope you're not squeamish. The
resonance generated here is so intense that it becomes smothering at times. Shards
of jagged static rip through and stab at the listener in a sudden ambush. Sub-Orchestral
(Dis)Harmonic tones rattle and quake beneath. Blackened rasps spew fourth like the
ashen haze of an active volcano. Once again we're in hostile territory boys and
girls. Scratching sounds and wet pulses are carried over from the previous piece.
Continuallity. Consider this a second death. Low hums linger like whispered promises
of demise closing in as experimental elements take the lead. Feedback rises bringing
with it a strange hint of melody...Almost as if mocking conventional or "safe" genres
of music. The aforementioned resonance has a feeling similar to many SUNN (O))) 
recordings which is cool to hear in a noise release. Grim is a good one word summary
to throw over this track. Squealing noise comes through sounding similar to 
(or possibly is) guitar feedback, Which only adds emphasis to the SUNN (O))) 
comparrison. Warped signals wearily enter the frame only to be disentegrated into
something else equally mutilated. At last looped distorted rhythms roll in and 
carry us off as if we're being dragged to a burial at sea. No more will to survive,
Only wishing for an end to this state of constant misery. A few solemn whispers are
offered like inverted prayers to damn our wretched wastes to Hell. These soon become
horrid blackened screams anyways and persist much longer than you'd initially think
they would. No end in sight. Just a barren wasteland populated by manifestations of
pure madness. Transmissions from an unknown void animate the air and all fades into
wavering drones til nihil. As a whole...This is a black hole. Jump in and die.

AN EXCELLENT DEBUT RELEASE. VERY EXCITED (AND A LITTLE NERVOUS) TO HEAR MORE 
FROM THIS PROJECT IN THE FUTURE:

8/10
-ABATTOIR-

lurkerbias.bandcamp.com

Tuesday, August 9, 2016

REVIEW - BOTCHED FACELIFT/MASTURBATORY DYSFUNCTION - SPLIT - CASSETTE

BOTCHED FACELIFT/MASTURBATORY DYSFUNCTION - SPLIT - CASSETTE
THE PET GOAT RECORDS/TPG#95
HARSH NOISE/EXPERIMENTAL NOISE/POWER ELECTRONICS/HARSH AMBIENT
PRO-CASSETTE IN A PLASTIC CASE WITH J-CARD INSERT.
CLEAR CASSETTE WITH LOGOS PRINTED IN BLACK.
BOTCHED FACELIFT IS:
DARIO
MASTURBATORY DYSFUNCTION IS:
FELICIA GAGGINS


SIDE A: BOTCHED FACELIFT:
I.) PURITY IN FILTH / II.) THE LORDS OF DEATH AND LIGHT /
III.) TARASMASHANA:
Occcult/Horror themed Harsh Noise madness from BOTCHED FACELIFT 
opens this monstrocity transfered to tape. Basically this sounds
the way the album art (Which is stellar) looks. Charred soundscapes
of blood, Ash, Filth, Death and violence. "Purity In Filth" demonstrates
the joys of reveling in such a state of toxic disaster by spewing fourth
and subjecting the listener to moaning electronic droans that sound like
suffering machines followed by harsh static slabs that sweep in and slaughter
all sanity. Deranged distorted vocals come as black clouds of rabid madness.
Crazed and blood drunk. High end feedback and squealing signals reach for
the throat and shove you face first into rivers of gore. In other words,
The flood of chaos that comes when you hit play will utterly drown you
in filth or leave you kneck deep and gasping. Wet electronics bubble and
froth like rabid jowls hungrily awaiting to chew you to bits and regurgitate
what undesired bits are left into an already Bio-hazzard grade atmosphere.
Utterly furious on a level I haven't experienced in a while. At times it
sounds like a lunatic with a chainsaw reving up and laying into any twitching
meat in sight. I have no clue what's being said but I'm pretty sure it's hostile
to say the least. Spoken samples discuss bloodletting and drinking. "The Lords 
Of Death And Light" Wastes no time and immediately thrusts in hardly leaving any 
room to breath...Not that you'll be breathing for long as this is absolutely murderous.
Heavy electronic synth drones inject all kinds of doom and despair as gasping distorted
rasps reveal how dire and desperate the situation truly is. Frenzied live wire electronic
textures fill the air with a buzzing angry energy. The track conveys a sense of frustration
and shambling through misery that is hard to put to music regardless of genre. The vocals
seem to be a little more upfront in the mix here and at time come as severly filtered bursts.
Additional layers are piled on that come as cyclic rhythms. Laser cannon plasma sci-fi aggression
is heard in the near distance. Glitched vocal treatments are applied as screaming high pitched 
death swoops in to carry you to hellish shores. Think of a more lo-fi and much more pissed off/
In your face REGOSPHERE. "Tarasmashana" builds on glitchy/fragmented/broken electronics that
bring to mind COIL when they were experimenting in this field. Rising feedback that sounds
like a rusty swing set in a haunted playground follows and forms a nauseating rhythm. 1000
sharp, Serated and jagged things seem to be shifting and crashing in the background. Screams
of panic in a terrified crowd are sampled to amplify the horrific onslaught. Things wind down
into sea-sick waves of disorienting weirdness, Daemonic growls too deep to originate from 
human throats, Shrieking females, Plague winds, And unspeakable carnage. This agonizing
grim death has been brought to you by BOTCHED FACELIFT and The Pet Goat Records.

SIDE B: MASTURBATORY DYSFUNCTION:
IV.) MARCH TO GRAVESIDE / V.) BLOOD SEDUCTION RITUAL /
VI.) ASHES OF THE DEAD:
If the A side was terrible agony, Slow suffering hopelessness, And finally despondent
death and demise...The MASTURBATORY DYSFUNCTION side can possibly represent your desent
into the afterlife...Not the pearly gates, Harps, Wings and halo's option of post-deceased
existence, But more along the lines of the famed underworld as seen in Greek mythology. An
endless river of tormented souls eternally crying in woe, Sulfur, Brimstone, Fire, Little
winged things poking your ripe ass with red hot pitchforks, Etc. Also presented in three 
seperate chapters to keep things flowing in an orderly fashion. "March To Graveside" opens
this Cerebus trilogy of dark damnation as a river of sludge. Booming, Cavernous crashes 
break in and slam the gates behind them. A flood of powerful synth drones comes surging
with unnatural energy. The synth tones employed here remind me heavily of TERROR APART
which is definitely meant to be a compliment. There are enough differences here that this
in no way sounds like a rip-off of anybody. Wet electronics begin to build and sort of
fester with slight movements like a small tide grasping at the shore and dragging bits
and chunks into the abyssal depths with it. In other words, It truly sounds like the
push and pull of Plutonian shores. "Blood Seduction Ritual" is a starker, Calmer and
more meditated attack. Psychological and spiritual rather than through violent force.
At least at first. Harsh noise avalanches shift and slide. Thick/deep pedal noise with
a lot of sub-bass resonating from somewhere deep within. Static atmospheres and grinding
ferocity is heard along with down-tuned/pitch shifted growls. Bestial and remorseless.
Other strange and inhuman vocalizations come through like incantations through the veil
between worlds. Menacing and brooding stuff. Supreme electronic witchcraft aimed at anti-
cosmic destruction and leaving necrotic wastelands in it's wake. Erroding mountains crumble
as emergency sirens broadcast their final warning until all is synth dread til silence. 
"Ashes Of The Dead" Kills  us off and buries us in a grave of swarming degradation. 
Oscillating high end frequencies usher in the arrival of countless brittle wings that
come in swooping tides. Buzzing energy hits like radioactive fallout slowly falling from
the diseased heavens above. Sickness invoked through minimal soundscapes. A stampede of
strange distorted noise come like thundering hooves of apocalyptic horsemen and vanishes
as a spectral imagining. The overall feeling created here is very uneasy and restless.
Stampedes repeat and cease, Lasting longer and sounding more frustrated the second time
around. White hot geysers erupt in the distance as the ground beneath begins to crack and
fall in on itself. It sounds like an end in rubble, Debris, And devourement by the very 
habitat you once called home. 

FROM FURIOUS TO FOREBODING. EXCELLENT SPLIT RELEASE:

8/10
-Abattoir-

thepetgoatrecords.com

Saturday, August 6, 2016

REVIEW - SLUICE ROOM - SHAVED AND LUBRICATED HOSPICE - CD

SLUICE ROOM - SHAVED AND LUBRICATED HOSPICE - CD
SINK SLOP PROCESSING/SSLOP-003
HARSH NOISE/HARSH AMBIENT/POWER ELECTRONICS/EXPERIMENTAL NOISE
PRO-CD IN A CARDBOARD SLIP CASE.


Just to give you an idea of the bizarre and surreal
ride you are in for (Which should be evident by the
album art/title/song titles) Here is a paragraph found
on the back of the album jacket:

"A Rapturous din resonated from the floorboards of your
convalescent chamber. Female voices intone that the ail-
ment will win; Fetish and fantasy your only palliatives
left. Remember who and what brought you to this, Then
play doctor, Judge and jury as little girls sway to
the dire invocations of Sluice Room."

So basically, You are old, Decrepit, Slowly dying, Horny
as a young goat pumped full of psychedelics and looking 
for some Horror film grade hardcore B.D.S.M. action?
Sounds fucking fantastic to me.

I.) AGEPLAY ANODYNE:
Ok so, In comparison to the two previous SLUICE ROOM albums I've 
reviewed, This is a much more subtle, Ambient and even melodic attack. 
"Ageplay Anodyne" opens carrying us into a surreal and sadistic realm 
of Hellraiser style horror and perverse fantasy. Guess even the most
fragile old timer still needs to get his rocks off right? Glitchy, 
Fragmented drones pour in like a sweeping choppy tide. A wave of frantic
lust, Like writhing limbs grasping for anything warm with a pulse in their
reach. Cascading waves crash down and soon it becomes apparent that this is
actually processed female vocal chants. Haunting choirs of celestial resonance
that arrive as a glorious prophesized event for the ages. As if containing waves
of enlightenment hidden in cryptic phrases and passages. Churning static mirrors
the oceanic approach in terms of movement. The voices begin to intertwine and 
mingle into a lose cacophony as strands of crystalline ambience join as if in
a twirling dance of aural energy. Subtle shifts in the vocalizations are present
and seem to contain hidden hostile undertones. Something wicked hidden with in
the sweet serenity and audio ecstasy. Overtime all twists into an abomination
of what it once was. Nightmare regions populated by agonized voices. Like field
recordings of the biblical fall. A sudden barrage of junk, shrapnel, whirling
blades and rattling chains is dropped upon us like a massive barrier to seal
our fate. Daemonic calls and enochian sorcery battle it out while we're helplessly
caught in the middle. Things slowly begin to break down giving a pure river of
beautiful ambiance room to flow through carrying us into track two.

II.) THE DISABLED RISE UP AND LAY WASTE TO CIVILIZATION:
That beautiful ambient carries over and swirls down the drain. Or at least that is 
what this sounds like to these old ears. A new sub-harmonic/sub-melodic ambient passage
dwells/lingers in the distance injecting the air with a sense of urgency concealed behind
it's tranquil beauty. Seething, scratching and scraping sounds are heard like rusted metal
pipes scraping across rough cement floors. Ripping, Tearing and crunching textures fill the
room sounding something like the chewing of insects greatly amplified. Civiliation being
slowly devoured by all many of carrion. Their hunger increases as this grows more and more
loud and intensified. Reversed rhythms slide in and out in disorienting lashes creating a
sort of sound like something inhaling life-force and exhaling the toxic excrement of what you 
once were. This is definitely a more corrosive and caustic piece than the previous track.
Here SLUICE ROOM indulges in the sound collage technique. In the way where layer after layer
are layed opon and weaved within one another. The overall composition weilds excellent results
for the listener and attention to detail is paid with a close and careful ear. The earlier 
mentioned scraping sounds start to take on a percussive role after some time and handle this
transition like professionals at a craft. If I had to describe this sound in one phrase I'd
call it something like "Sewer Electronics" or "Sludge Noise" as that is the only way I can
think to accurately describe what I am hearing. The tones range mostly from thick and gritty
to scratchy and grinding with an underlying ambient current. However you want to put it, It's 
interesting and immersive stuff.

IN ILLNESS, TRUTH:
The final piece of the tryptich arrives, Beginning with a droning wave similar to that
o track one but twice as fragmented and manipulated. Still rough sailing but this time
a little more hazzardous it seems. Additional layers are heard as reversed synths that
roll in hitting hard as pummeling waves. Textures present are compossed of what sounds
like some small utensil scratching upon glass or perhaps a tin can. For some reason this
sound triggers my mind into Post-Apocalyptic visions in a Mad Max type scenario. It sounds
like scavengers scavenger for precious morsels of sustenance in vain. Something fierce fires
up and we have a roaring cloud of mechanical power in the near distance. The quiet screech
and squeal of not so well oiled metal struggling to move is also heard not too far off in
the distance as well and creates an interesting industrial rhythm/tempo. The metallic melody
almost has a choir like quality to it itself which is pretty damn neat to me. Once again we
are assaulted by sudden waves. One after another, Louder and much more fierce this time around.
There is a strange melody on the horizon. Heard but hard to place. Dreamlike, Enticing and 
entrancing. I think it's a synth lead of some sort but it's difficult to tell. Backwards
female vocals also begin to hit in waves and sound like an incantation or conjuring in
process. What they are about to call fourth I cannot say. Illness? Truth? Perhaps the
patron saint or ruling daemon of both. Whatever it is we are caught in the eye of a
wicked storm as primordial powers and principalities rage war around us. At least that's
what it sounds like is taking place here. The female vocals are definitely a positively
working force and a fucking stellar addition to SLUICE ROOM. I really can't think of any
one artist that I can accurately compare this to and that alone is quite an accomplishment.
In fact this has been an album I've revisited very frequently since it arrived at my door.
By far my personal favorite release in their discography. Downtuned, Inhuman voices are
thrown into the maelstrom but are quickly engulfed within the windswept tempest of its 
looping fury. A slow decline to silence and then we're left astonished and dumbfounded. 
What an experience.

BUY IT. LISTEN TO IT. REPEAT. THANK ME OR HATE ME LATER:
9/10
-ABATTOIR-

www.sinkslop.com

Wednesday, July 27, 2016

REVIEW - INSTITUTION D.O.L. - 17 SHAMELESS YEARS - CD

INSTITUTION D.O.L. - 17 SHAMELESS YEARS - CD
KLANGGALERIE/GG199
POWER ELECTRONICS/DEATH INDUSTRIAL/HARSH NOISE/DARK AMBIENT/
POST-INDUSTRIAL/EXPERIMENTAL ELECTRONICS
PRO CD IN A JEWEL CASE WITH BOOKLET INCLUDING
IN DEPTH LINER NOTES.
THIS RELEASE IS A COMPILATION FEATURING NEW TRACKS,
REMASTERED VERSIONS OF PREVIOUSLY RELEASED TRACKS,
ALTERNATE VERSIONS AND MIXES, EXTENDED VERSIONS, ETC.
FOR THIS RELEASE INSTITUTION D.O.L. IS:
BARBIE B: COMPOSITION, CONCEPT AND COORDINATION
MK VERMIN: COMPOSITION, VOCALS AND SOUNDS


I.) WITH BURNING HEART:
For those not familiar (And you should be) with INSTITUTION D.O.L., It is an Austrian 
Industrial/Power Electronics/Noise project that has been the main output of Barbie B. 
and many other heavy hitting contributors for many years now. Their debut was released
17 years ago in 1999 to give you an idea and here we have a fine compilation of the
sounds and styles they've offered the underground in their nearly two decade run.
(Still going strong mind you.) "With Burning Heart" opens up the world of I.D.O.L.
to new listeners and re-opens these intricate portals to long time fans as well.
Here we are transported into a slow build up featuring beautiful clean vocal chants
drenched in reverb, Reversed spoken samples that add a cryptic/spiritual vibe followed
by a sudden sonic BOOM! Intense Power Electronics style synth drones rush in. Distorted
and surging with force. Massively manipulated vocals encased in distortion come as pitch
shifted spoken passages that convey a dominating sense of urgency as if calling the many
to take action. Vocals are looped along with the sounds of blades being sharpened as a
rising mist of static/ambiance rolls in like a chemical sprayed down from overhead.
Reversed rhythmic elements create what sounds similar to a million soldiers marching
with burning hearts towards death or victory. Mechanical/Metallic textures are present
and sound similar to dragging chains or some other metal scraping over metal. An excellent
introduction into the world of I.D.O.L. that ends with spoken samples and choirs in a foreign
tongue. Mysterious, and deadly.

II.) ROMAN STRENGTH (REMASTERED NOISY VERSION):
Samples from the film the Exorcist open the track. Soon after we are gut punched by an
onslaught of sludgey and mechanical percussive elements over murky atmospheres. The rhythms
feel like a ten ton weight falling upon you in an endless cyclic punishment. Experimental
Noise elements I.E. Glitchy electronics, Sampled choirs, Sweeping rushes of sound and varying
other manner of aural trickery are employed to create a truly cinematic experience. The vocals
are grim to say the least and range from angered shouts to ritualistic chants. Rushing whispers
swirl and close in around you as if you've become marked for sacrifice. The vocals have a very
cold European Power Electronics sound to them. Stalling machines, Windswept cascades and excellent attention and execution in terms of composition and flow round this one out for us.

III.) MORAL CONFLAGRATION:
"Moral Conflagration" builds on booming down-tempo Death Industrial style bass drum hits.
Heavy kicks to force you forward as strange clicks and glitched Industrial Noise comes and
goes. Pretty female choir samples are heard with a melancholic tint to them. Various spoken
samples are transmitted like long lost broadcasts exhumed for the first time in decades.
Creaking sounds add the feeling that something is lingering on the fringes of the present
ambiance. Down-tuned voices recite what sounds like a final prayer before greeting the
gaping gates of death. A true wedding of beauty and darkness. Deep, Slow breaths are
heard being pulled in and thrusted out as various manipulated screams echo. Stretched
out as if to enhance their agony. Priests gather and mumble inverted sacred mutterings
in a language I do not speak. The track itself feels like a silent exorcism and could
be seen as strategically placed when considering the opening sample of the previous
song. I.D.O.L. have contaminated holy rites in a successful attempt to bring you a
deeply captivating listening experience.

IV.) CIRCLE OF BLOOD (EDITED VERSION):
Grinding metallic machines. Spark birthing buzz saws. Low gusts of distortion. Dust
and debris. All gathering and forming as one solid entity. Distant cries of pain and
terror let you know that we've entered dangerous territory. This sounds like something
out of a scene from Hellraiser coupled with echoing samples over a loudspeaker that make
it sound like you've awoken to find yourself in a WWII concentration camp. Screams of fright
and panic can be heard as an enraged voice barks commands overhead. Sinister haunted house
style organ music is added with additional saws and power tools kick the horror vibes up a
few notches. Moans of suffering are heard echoing from what sounds like a body slowly reaching
it's demise at the hands of torturous madmen. Cue the static and Horror ambiance. R.I.P.

V.) PLASTIC SOCIETY (ADVANCED AND FEMALE VOCALS VERSION):
Glitched/stretched electronic waves and wavering synths open along with a single scream of
pain. Strange minimal percussion's guide things along as semi-spoken/semi-shouted female
vocals are recited through the empty expanse presented before us. Effects and manipulations
are applied to the vocals in the Power Electronics tradition. Elements of the track strongly
remind me of COIL although the over-all sound is I.D.O.L.'s alone. 90's Electro Industrial
meets cold Death Industrial and Dark Ambient meditations. The lyrics are precise and meet
their mark every time. Sampled choirs are present once again to create a haunting/ghastly
atmosphere. The lyrics are philosophical and come with the ability to leave one feeling
empty and without answers. A perfect match for the audio platform on which they are
delivered.

VI.) VERY VICIOUS (EXTENDED VERSION):
This longer version of "Very Vicious" builds on disorienting, Stomach churning synths
that ebb and flow as a grotesque mirror of the nausea they induce. Spoken samples of
what I believe to be a televangelist are heard and as many of you know, This in itself
can cause discomfort. This track is quite an immersive listen, Especially as we're met
with static textures that reach and fall as if attempting to drag us down into the miserable
atmospheres crafted here. Although the attack is slow and subtle it is still quite lethal.
Buzzing electronics devour all that was before and force us into a yawning expanse of harsh
distortion, Ringing feedback, Cascading empty Ambient and rhythmic cycles of looping noise
until what was and is blends into one calculated aural plague.

VII.) UNFORESEEN ANNIHILATION:
Dark and moody synths form a minimal pattern of brooding misery. Darkwave/Coldwave type
of stuff with a really Gothic vibe. The vocals are recited through varying Industrial
music grade effects over synths that pulse and grind in thick and punchy tones. Once
again we have a piece that is fairly minimal, Yet very effective. Oscillating patterns
rise as spacey/cosmic textures are applied. Samples of gunfire and warfare are heard 
withing the electric doom and one starts to feel like they are in the middle of an
oppressive police state type of takeover. The vocals sound like they are being delivered
over a loudspeaker as well. Militant commands that are stern and promise the success of
the forwarded agenda. All hope is lost.


VIII.) THE DECEASED MIND (COMPACT VERSION):
Like a sudden car crash, "The Deceased Mind" hits with massive impact. Aggressive
vocals strike with a passionately inflamed delivery. Audio wreckage shifts and slides
over churning drone waves that come in deep sub-bass tones. Digital industrial sounds
wrestle with distant screams of feedback. Metallic slams come down as hard as concrete
and leave you spitting out blood and teeth. A compact, But thorough kick in the ass.
This is definitely one of the fiercer tracks on the album. A masterpiece in terms of
composition. Aggressive Power Electronics/Post-Industrial in the vein of NYODENE D
and similar acts but with a more "professional" sound quality when it comes to the
mix and production.

IX.) PRAYING THROUGH THE SWORD:
Machines fire up and sparks begin to fly. Inhuman samples deliver a stark speech in
a grim tone. Fuzzy electronic drones surge as myriad sounds and textures mingle and
multiply in coursing electric intercourse. Beeps, Pulses, Signals and transmissions
hang invisible over the airways. Industrial quality percussive elements are present
and consist of mechanical factory and metallic sound sources. Everything is intense
and lethal. A deadly gathering of all things sharp, Caustic, Serrated and able to
tear you in two within seconds of contact. "Praying" might be a good idea.

X.) POETIZING IN A JAPANESE NIGHTCLUB (HYBRID OF:
"MEMORIES IN A JAPANESE NIGHTCLUB" AND "TIRED TEMPLARS"):
A mash-up or remix of two previously created tracks. Natural sounds intro this one.
Birds, Wind, Children playing (And screaming), Etc. A beautiful piano melody is played.
Reverb is applied creating a fragile/hollow effect that only adds to its depth. Voices
whisper adding a surreal and dreamlike state to an already tranquil and transcending 
piece. A major shift in gears when compared to the merciless onslaught of the previous 
track. The atmosphere blackens quickly. Machine rhythms, Haunting empty ambiance, Echoing
female screams are heard as a gathering storm. Female vocals are recited with a hint of
melancholy, Loss and regret. The track is painfully depressive in the most gorgeous way
one can imagine. A piece that resonates deep within the listener and plays heavy on the
heart strings. The emptiness captured here is one that is not easy to contain or convey
through music so this is truly an impressive accomplishment. Emotive to an extent one
rarely finds in any medium these days.

XI.) I GUESS I AM STILL RIGHT (NEW VERSION WITH VOCALS):
Electro Industrial beats pound semi-subdued. A stoic drone persists as emotionless
vocals are delivered like a programmed message of a bleak future to any unfortunate
enough to be the target audience. Steel-works atmospheres come as static blasts and
grinding tools. A factory that manufactures dread and despair. The overall approach
reminds me of TREPANERINGSRITUALEN's earliest material. Minimal, Repetitive and utterly
hopeless. Black Metal style rasps are featured. Distant and unsettling. A promise of
death crawling ever closer with each passing moment.

XII.) JUSTCAUSE (REMASTERED VERSION):
This particular track was/is pretty popular among the Power Electronics crowds.
This remastered version maintains the same ferocity and impact of the original
but with a dare I say, More precise strike. Everything that constitutes a solid
Power Electronics masterpiece is present here. Caustic textures, An overly
oppressive atmosphere. Extremely processed vocals frothing with rage and
bitterness. Think STEEL HOOK PROSTHESES meets FIRE IN THE HEAD. Intro samples
of a sexual/erotic nature. Every staple of the genre is employed and on display
with nothing held back. Junk percussive elements, A rabid and inhuman approach
to the vocal delivery. In other words I.D.O.L. delivers. Pure electronic hostility.

XIII.) THE END OF LOVE WITH A CHAINSAW (ADVANCED AND FEMALE VOCALS VERSION):
Spoken female vocals in what I am guessing is an Austrian tongue escort repeating
loops of glitched electronic experimentation. Calm ambiance flows beneath as spoken
samples are heard. A young girl recalling and re-telling a memory perhaps. Again we
have a very cold and clinical approach to the vocal delivery which matches and compliments
the musical platform on which they stand greatly. Static, Distortion, Cacophonous samples
and more textures are applied for effect. Chainsaws buzz, Crowds panic, Lives end in bloody
horror, All while the vocals persist in a calm and thoughtless manner. I.D.O.L. act as overseers
and you're lives mean nothing in the drama unfolding.

XIV.) PURIFICATION:
Quiet clicks and dreadful ambient. Death meditations and dark horizons. Additional
digital clicking is heard rapidly. Then all becomes a horrific frenzy with the intensity
of piranha feeding on a live human being. Terrified screams, Dense and oppressive layers
of crackling distortion. High pitched swarms of whirring noise. Daemonic growls and miles
of wreckage and bloodshed in every direction in sight. You are in the middle of a total
fucking disaster and there is absolutely zero hope of rescue. Drill like sounds give the
impression of a mad doctor performing excruciating "experimental treatments" of unwitting
and unwilling patients. Pure audio torture. Like a sound collage consisting of the audio
of a dozen black market snuff films.

XV.) DAYDREAMS ALL ABLAZE (EDITED VERSION OF: "LUFTSCHLOSS IN FLAMMEN):
This one continues the distant sounds of suffering but this time they are buried behind
a wall of clean and tranquil ambiance. Spoken samples offer a rallying call to freedom
and liberty. Revolution and victorious peace. A great contrast to the distant samples,
But one that serves a purpose. Inspiring and beautiful. A track that has the feeling of
an 80's cult classic cyberpunk film. One where a select few people begin a revolt against 
a greedy and unfair system to rid the world of disadvantage and build a prosperous future 
on tomorrow's crystal horizons. A declaration against tyranny and the hidden personal agendas
of deceitful leaders. Battle cry's rise and fade into the sounds of air raid sirens over lush
ambient synths and creaking and clicking electronic pulses. Rushes repeat like a steam powered
contraption starting up and preparing for departure. It's time to disembark to another shore.
The soundtrack to the beginning of a wonderful journey.

XVI.) UNIVERSAL PEACE (HYBRID OF: "EIN LIED FUR DEN WELTFRIEDEN" AND
"THE KOJI TANO TRIBUTE SAMPLER TRACK"):
The dream of prosperity is crushed as grinding noise and bitter raspy vocals hit as a multi attack
joined by slamming Industrial percussion's and odd mechanical noises. Following this things switch
into a 90's Industrial collage meets 80's cyber-thriller chase music. A barrage of samples, Pumping
pistons, Electronic signals and pulses, Powerful noise rhythms, And just about every other thing that
makes a Sci-Fi adventure. Somewhat short but very enjoyable.

XVII.) THE LAST REARING UP:
A young girl recites a creepy nursery rhyme. Her voice down tuned making it all the more eerie.
Rumbling drones build and rise, Bringing along with them a static noise that rips like shrapnel
through the senses. Additional drones come as buzzing waves layered on top of one another. Chilling
ambient passages begin to loom on the horizon and quickly take up residence as a bottom layer to the
piece. A mass of samples is heard obscured in the cloud of sound. All quickly fades out as an outro
to this collection of brilliant audio experience. I highly recommend picking this one up and using
it as a gateway drug to dive deeper into the addiction I.D.O.L. injects into the listener.

AN ALBUM THAT IS INTRICATELY WEAVED CONCEPTUALLY. WHICH IS QUITE A FEAT WHEN CONSIDERING THAT THIS RELEASE COLLECTS IDEAS SPAWNED OVER THE LAST 17 YEARS. INSTITUTION D.O.L. PRESENT A GREAT PLACE TO BEGIN FOR NEW LISTENERS TO DIVE DEEP INTO THE PORTALS THEY RIP WIDE OPEN AND A CACHE OF HIDDEN TREASURES FOR LONG TIME FANS:

10/10
-ABATTOIR-

Monday, July 25, 2016

REVIEW - THIRTEEN HURTS - UVB-76 - CD

THIRTEEN HURTS - UVB-76 - CD
NO PART OF IT RECORDS
HARSH NOISE/POWER ELECTRONICS/EXPERIMENTAL NOISE
PRO CDR IN A JEWEL CASE WITH INSERT.


I.) UVB-76 / II.) GENERATOR / III.) TRANSMITTER /
IV.) 4625KHZ / V.) PROPAGATION / VI.) MDZHB /
VII.) MONOLYTH / VIII.) SUPRESSED LOWER SIDEBAND /
IX.) TRIANGULATION / X.) BUZZER / XI.) ZHUOZ:

Thirteen Hurts - UVB-76 is a perfect release in my opinion; 
Furthermore, The switch ups and transitions to sort of minimal-synth 
style to synths infused with a considerate amount of feedback on certain 
tracks is pleasing. I've listened to this album quite a few times and was 
amazed by the high levels of high pitched feedback on certain tracks. Even 
the first track of the release starts off with drones and this piercing high 
pitched feedback that blends together like an abrasive masterpiece. There’s 
lot of voice sampling (which I cannot decipher for the life of me, radio calls?). 
The second and third tracks are harsher than the first (“Transmitter” being a very 
cold, minimalistic track). The third track is also where things get a bit lo-fi synth-
like but is gently interrupting by the high pitch feedback. Now, as we get into the 
fourth track (which spans over 8 minutes) 4625kHz, things become a colder, traditional 
dark power electronics piece. “Propagation” comes off to me as a very creative track 
because of the drones starts off low within the initial beginning, but sort of progresses 
into a cohesive pattern of two distinct levels of distortion. The next one is highly experimental 
because of the breaks between the screeching sound and enormous amount of feedback (besides the 
next track). Alright, the track “Monolyth” is my second favorite track because it contains a lot o
f build up into a point it bursts into a moment of just gritty noise; as if a nuke has been dropped. 
The next two tracks are pretty decent, the former track being much cooler to me because of the lack 
of structure, but that’s just my thoughts. The last couple tracks are pretty well put together as 
well, but the last track is my favorite because it presents itself as a synthy track but is creative 
while doing so. You can really tell Richard enjoyed playing around with the rhythmic aspects of the 
minimalism in the track. Though it is very brief (span over 3:45), I enjoyed every second of it.

In conclusion, I’d say this release was very enjoyable the most part. 
Perhaps, it is because of the amount of exploration of the synth in a 
presentable way. IMO:

9/10
-Dante-

nopartofit.blogspot.com/