Sunday, September 11, 2016

REVIEW - TVLPA - MOUNTAIN OF THE OPPOSER - CD

TVLPA - MOUNTAIN OF THE OPPOSER - CD
MALIGNANT RECORDS/TUMORCD95
EXPERIMENTAL ELECTRONICS/DRONE/RITUAL AMBIENT/
DEATH INDUSTRIAL/POWER ELECTRONICS
PRO CD IN A SIX PANEL DIGIPACK.


TVLPA is a shadowy collective that craft their own brand of 
occult themed blackened electronic noise unlike any of their 
contemporaries. Although all of the elements that go into 
successfully creating this type of sound are present, The
method and compositional qualities are all their own. 
Mountain Of The Opposer takes us into nine pitch black
dimensions beyond imagination. Strap in as we descend.

I.) DRAGON MOUND:
We begin our fall into spiritual darkness with "Dragon Mound."
Seething feedback drags us into an obscure recess of metaphysical
energy. Heavy throbbing bass lines rattle unnatural foundations
beneath us. Deep monotone chants devoid of empathy begin invoking
esoteric forces. Electronic energy fields are raised and serve as
shields blocking the influence of anything not devoted to the work
at hand. Industrial scrap metal percussion's shamble and echo in 
the distance as ceremonial chanting grows more intense, Grim and
deadly serious. You can feel the power surging through the track
like a river of occult energy free flowing, But somehow harnessed
and channeled at the same time. Dark Ambient atmospherics are heard
along with howling pedals that seem to emulate the mysterious 
nocturnal activities of wolves and other nightside creatures...
Inhabitants of the grand dragon mound perhaps?...Blackened whispers 
gather haunting on the horizon. Inhuman croaks and rasps soon joining 
as feedback rings, Piercing the air like the final chime of ceremonial 
bells.

II.) KHK-AMDJAR:
Dreary atmospheres filled with murky dirges of distortion. 
Rattling vibrations in heavy strands causing the very air 
to quake. Gongs and bells attempt to join in synchronicity 
but never quite meet one another causing a sort of dis-harmonized
chaotic clatter. These death drones are soon joined by what sounds 
like some mysterious wind instrument I am unable to identify. The 
experience is dense and smothering but one that eerily calls you 
in further until there is no chance of going back. Again we have 
strange whispers...More stretched here as if reciting incantations 
slowly with a master adepts patience. Loud crashes of noise escort 
louder drones into the frame and carefully lay them overhead as if 
in preparation for the climax of the ritual. Whispers become death 
rattles. Charred screams that sound like they fill the air with thick 
ashen clouds. Khk-Amdjar seems to be a place unfit for human habitation.

III.) MOUNTAIN SERMON:
The sermon begins slow. Low tides of cold ambiance. Next we are greeted 
by a warm, Semi-distorted electronic melody. The melodic quality catching 
you off guard. Spoken passages are recited in a solemn tone. This time 
sounding human but not like an ordinary man...Rather one who has spent 
countless years studying and mastering forbidden arts. Hand percussion's 
with similar sound to that of a tambourine add a bit of a tribal feel as 
well as a steady pace to the piece. Each recited word echos like the lingering 
ghost of the moment before. The electric melody is somewhat doomy and could be 
seen as a strange, Inverted take on the traditional church organ often present 
at a large tent revival. Only here salvation lies in decay rather than 
embracing some worm torn doctrine. Cool drafts of stirring ambiance 
gently push us further and forward.

IV.) THE BECOMING I:
With our new found enlightenment, We head into transformation. Otherworldly 
atmospheres rise, Soon punctuated and occupied by TVLPA's signature drones 
that have a sound truly their own. Sliding glass textures and icy gusts fill 
in the empty spaces. Spacey electronics ran through effects create a cosmic, 
Expansive feel. Low words are spoken among phased out whispers. The voice 
repeats a mantra in a tone very similar to Attila's works with SUNN (O))).
We begin to fall. Spiraling down into a cavernous region who's depths are 
immense and lightless. Down here...The mantra continues alongside an 
orchestration of low moaning and wavering electronics. Funeral dirges 
played in windswept chambers far below the earth's surface. A place of 
stillness and pulsing. Worship and reverence. Death and decomposition. 
The energys present here seem to be of a power most couldn't hope to contain. 
Although subdued it is still very evident that TVLPA are experienced when it 
comes to knowing when and where to hone their skills. Here they let it drift 
until it naturally fades out into silence. A heavy hand is not always required. 
A real artist knows the when and where when it comes to texture and atmosphere 
and TVLPA have obviously reached the level of an expert.

V.) KO-PHU:
"Ko-Phu" is driven in by a winding synth arpeggio that twists and 
turns with a serpentine quality. Heavy, But somewhat muffled and 
obscured. Death ambient elements are at play like mischievous spirits 
neath a blood red moon. Deep chants, Whispers, Wraiths and specters are 
also active as ringing feedback, Dense hums and whining electronics 
reaching a miserable demise are heard surging alongside. A short piece 
in comparison to most others but a great addition to the album nonetheless.

VI.) BAUKHA:
With "Baukha" we enter into a sprawling ten minute work of darkness. 
Sea sick rhythms rise and fall, Tendrils of corrosive noise lashing 
out at seemingly random intervals like the tentacles of an agitated
kracken suddenly appearing from swampy depths. From somewhere else
in those murky pools we begin to hear quiet ghostly ambient drifts.
Repetition seems to be key here more so than in previous tracks...
Or at least built upon on a different way. Slower and somehow more
ominous. Highly filtered vocals come through like alien transmissions
from a plane far beyond our own. Spoken in a deep, Wet tongue that you
can almost hear slithering between the speakers teeth. In other words,
It's an approach that keeps in tradition with early Death Industrial
injected into a new creation. Cryptic phrases are recited and repeated
as if attempting to brain wash the listener or perhaps convince them 
of some ancient esoteric truth. Strange electronic signals surge and
scuttle as monolithic mouths moan and exhale miserably in the near
distance. Although I am vaguely reminded of BRIGHTER DEATH NOW,
TREPANERINGSRITUALEN and STEEL HOOK PROSTHESIS with certain 
elements of the track, It really has it's own sound. A very 
unique compilation of sounds. What sort of sounds like the 
cries of a new born child can be heard just as the track ends 
as if signifying some type of metaphysical rebirth.

VII.) DAKA YANTRA:
As "Daka Yantra" opens I am once again somewhat reminded of 
BRIGHTER DEATH NOW but not enough to make this feel like an
unoriginal piece of work. Low moaning distortion, Haunting
wails, Deep toned vocal chants. Sub-melodic textures, Swirling
and echoing whispered passages revealing fragments of arcane
knowledge. A very cryptic and brooding song. One that feels
like energy being cooked or boiled and transferred into some
other, Possibly more powerful form that one could utilize 
towards a darker shade of sorcery. Voices transmitted from
a channel broadcast from the center of a void in time and
space, Beyond life and death or possibly somewhere past or
inbetween. An eerie stillness lays over the entire track
despite obvious movements. A song seemingly crafted from
within the infinite reaches of oblivion.

VIII.) VOID SHAPED MUDRA:
This is another somewhat short one. Here we have synth arpeggios,
Infinite ringing feedback and a room full of whispers and roughly
spoken words similar to what we've heard on previous tracks. The
warm underlying hum has a clinical vibe to it and sounds like the
vacuous motor of some machine you'd find in an outdated hospital,
Sketchy hospice care home or possibly an asylum. This could and
probably is a continuation of a previous track in some way. It
certainly carries similar themes and helps to bridge the album
together before the end. 

IX.) DESCENT AND REBIRTH:
Speaking of continuing themes, The title here says it all.
Total death ambiance. Resonating chimes ring and clang in
a metallic matter. Thick gusts roll in and hang like a heavy
blanket of fog. Shamanistic chants are spoken as unknown ceremonies
are heard taking place from somewhere withing the haze. There is a
very sacred and spiritual essence to this track, More so than on the
others...As if the aural fog itself is containing or concealing the 
answers this has all been leading up to. There are hints of sorrow
and melody present in the vocal chants that are mirrored by fragile
chimes heard. It feels like we've left a pitch black schism in the
earth only to find ourselves just as blind, Lost and disoriented
upon entering the outside world. Like the feeling one gets after
experiencing a very surreal and lucid daydream that lingers with
them long after awakening. Lost while looking in all the wrong
places. The rebirth must come from withing. And TVLPA just took
us into the darkest corners of our own minds. True torchbearers
bringing fourth a new age of spiritual enlightenment.

UNIQUE, STUNNING AND SOMETIMES FRIGHTENING. TVLPA'S TRANSCENDANT 
BODY OF WORK AKA MOUNTAIN OF THE OPPOSER IS ONE OF THOSE RARE 
ALBUMS THAT TRULY TRANSPORTS THE LISTENER INTO ANOTHER WORLD. 

8/10
-ABATTOIR-

www.malignantrecords.com

Thursday, September 8, 2016

REVIEW - STRESS ORPHAN - CADAVER POLITIK - CASSETTE - C31

STRESS ORPHAN - CADAVER POLITIK - CASSETTE - C31
DANVERS STATE RECORDINGS/DSR71
POWER ELECTRONICS/HARSH AMBIENT/EXPERIMENTAL ELECTRONICS
GOLD CASSETTE WITH A/B INDICATED BY SCRATCHES ON
THE TAPE. COMES IN A PLASTIC CASE WITH J-CARD INSERT.
LIMITED TO 50 COPIES.
STRESS ORPHAN IS:
ERIC TRUDE


SIDE A.)
I.) CADAVER POLITIK:
Formed in 2011, Baltimore, MD's STRESS ORPHAN has released over a dozen albums. Tapes, CD's, Digital downloads, Etc. Although I've only heard a few of these releases I'd like to say I am pretty familiar with the project's sound. That being said, I must say that this newest effort available via Danvers State Recordings managed to catch me by surprise. Much of what I've heard previously was lo-fi Harsh Noise with no vocals. Here Eric Trude shows that he has more to offer  his listeners than just that. I'd also like to mention that STRESS ORPHAN is often a politically based project. Themes of  Anti-Fascism, Anti-Nationalism, Etc are often prevalent so if you're not into that this may not be for you. Personally I  can give two a fuck less where an artist identifies politically, If anywhere at all or how controversial, Extreme or  offensive their subject matter may or may not be viewed. If it sounds badass it sounds badass. I prefer to enjoy it for what it is rather than bitch and complain about whether or not I myself agree with it. So anyways, We open with a title track, "Cadaver Politik," One of two songs here (Both close to fifteen and a half minutes in total length.) Low drones slowly creep in forming wave-like patterns. Deep, Dark, Brooding and cinematic. Tides of slow churning electronic doom in seething strands that have an almost 1980's movie score quality to them. Stark and serious stuff that oozes intensity and a sense that some great event is approaching quickly. Rhythmic drones soon accompany adding a pulsing pace. Phased/Wet electric currents surge with a powerful energy that ignites the air in the room. It feels like there is a ticking bomb somewhere out of sight steadily reaching combustion. Groaning layers and crackling static are added to the mix creating an even greater feeling that some climatic happening is on it's way. When the vocals come 
in things really take off. Immense roars that have a very distinct Power Violence styled sound to them. I'm talking MAN IS THE BASTARD style shit. Grinding mechanical rhythms like that of the pistons/gears of some massive piece of Industrial Machinery begin to crank underneath. At times they almost sound like an old engine painfully firing back to life. The vocal tone is rough and full of rage and angst. They catch you off guard when they come in and definitely keep your attention. Experimental rhythms come in nauseating barrages. Uneasy movements like being swept into the maw of some mechanization flexing it's might in a repeating cycle of torture and laceration. Things wind down into a quieter movement but keep the same pattern as sounds of gasping, Gurgling and strangulation are heard. The fresh gash of a slit throat taking things down an even grimmer path. It sounds pretty fucking gnarly and a little gross. This is where we end the A side.

SIDE B.) 
II.) RAPID DECAY IN OPEN AIR:
From a cut-throat murder we head into rapid decay. Grinding textures come in short intervals paused by silence. Experimental signals and transmissions attempt to reach out over frustrating moaning currents. A steady beep is heard pulsating as miserable ambient waves roll in and out. Moody Power Electronics that sounds like it's stewing in it's own misery. A much harsher and more abrasive piece compared to the A side. The vocals are distant and somewhat buried in the mix but possibly less subdued and a little more pissed off than the ones on the previous track. They are not lost or too obscured but they're definitely surrounded by a lot more chaos (Controlled as it may be.) The track has a slow but punishing force like being mowed down by a steam roller in slow motion. There
are a lot of sounds present that I'm more accustomed to hearing on really early Industrial records so that's pretty damn cool to me. Caustic static noise begins to form a thick haze as other sounds phase and fade out. The vocals are now clear, Crisp shouts in rough and bitter tones that remind me of certain ABJECTION RITUAL songs. It really does begin to feel like the track is in the process of decay as rotting bits and pieces fracture and fall off in chunks and fragments. A pile of debris and wreckage beneath to slowly shamble through in a laborous effort. Even at such a slow tempo this is still some of the most aggressive shit I've heard in a while. Thudding/Crunching rhythms force things along as the vocals continue to strike out in sever doses of anger (In other words this dude sounds absolutely pissed the fuck off.) Wouldn't want to get on Eric Trude's bad side. They have counseling
for shit like this. The rhythmic parts here are pretty fucking fantastic. Not a dull moment throughout the entire tape. This is one that pulls you in and beats your fucking ass leaving you with the taste of your own blood and the dust your teeth have become in your mouth. Definitely one of my favorite releases of the year so far. Noise freaks need to order a copy asap. Sadly only 50 of these bad mother fuckers were pressed. Here's hoping for a re-issue sometime so more people can get their hands on this one. Towards the end we have some painful Harsh Noise moments with deep, Echoing death grunts booming in the distance. Pretty solid way to end things.

THIS IS CERTAINLY A PROJECT TO KEEP AN EYE (AND EAR) ON.
QUITE POSSIBLY THE BEST STRESS ORPHAN RELEASE TO DATE:

10/10
-ABATTOIR-

https://stressorphan.bandcamp.com/
http://danversstaterecordings.blogspot.com/

Monday, September 5, 2016

REVIEW - STRAIGHT PANIC - FOR MAGNE ANDREASSEN (1953-1992) - CASSETTE - C26

STRAIGHT PANIC - FOR MAGNE ANDREASSEN (1953-1992) - CASSETTE - C26
FUCK MOUNTAIN LIMITED RELEASES
HARSH NOISE/EXPERIMENTAL ELECTRONICS
WHITE CASSETTE WITH STICKER LABELS
COMES IN A RESEALABLE BLACK VINYL
BAG WITH STICKERS AND MINI 16 PAGE 
ART ZINE PRINTED ON VELLUM PAPER.
"DEDICATED TO THE MEMORY OF MAGNE
ANDREASSEN (1953-1992), MURDERED
BY BARD "FAUST" EITHUN (EMPEROR)
IN LILLEHAMMER NORWAY. DEDICATED
TO THE MEMORY OF ALL QUEER VICTIMS
OF HETEROSUPREMACY."


SIDE A.)
I.) NO GLORY FOR THE COWARD BARD:
This is an interesting release conceptually speaking. It's not
often that we see an extreme electronics or extreme underground
album based around sympathy for the victim rather than praising
some murderer or criminal. It's especially taboo considering the
crime being one infamous in the Black Metal scene. Although STRAIGHT
PANIC is known for Queer themed works and when it comes to noise music,
Anything goes, It still takes some balls to put out a release like this
when so many black clad, Greasy haired individuals will be waiting with
maces at the ready and torches burning...I can just imagine a horde of
Corpse Painted "Kvlt Warriors" ready to "defend" their brethren over
this one. But in reality...We all know that apart from a few internet
tough guys and perhaps a death threat email or two, Not much is going
to happen. Regardless this is a really interesting perspective on the
event and slightly refreshing somehow. Track one, Blatantly titled "No
Glory For The Coward Bard" begins things by easing us into what sounds
like a fresh grave being dug in order to hide one's crime. The act grows
hastily more frantic and nervous with time and then we switch into sampled
interviews containing blackened guitar riffs. A Harsh assault follows as if
a howling void has opened and began spewing all things vile and abrasive into
the still night air.. Moaning resonance and sub bass drones create an airy 
layer like hushed voices of witnesses in shock attempting to keep quiet.
Feedback writhes as things rise in volume to become a smothering mass.
Blurred vocals form a hazy wall that erects and crumbles in the distance.
Mortar fire impacts hit hard and take us into looped samples concerning
sin and good old fashion religious scare tactics. Distorted fragments
rise and waver as a static slowly falls like a corrosive rain. Sub-melodic
textures come in obscured waves as tides of aural filth churn in tantrums
beneath. Nordic winds come as howling wolves keeping with the concept as
experimental "Space Noise" elements come and go serving as lead notes.
Swept into silence we move on to the closer.

SIDE B.)
II.) IT'S BETTER TO HAVE A KNIFE YOU DON'T NEED 
THAN TO NOT HAVE ONE WHEN YOU NEED IT:
Named after a quote from Bard Faust himself. Not sure how he expected 
such a weak defense to hold up in court...Or perhaps he was just looking
to gain some "Kvlt Points" among his fellow panda painted brothers. Either
way, STRAIGHT PANIC is obviously using his own words against him as a "Knife"
of their own. A sarcastic stab in the intellect and a pretty solid track as
well...Oh, How the mighty have fallen...Caustic Harsh Noise barrages rock
the room right from the start. Hints of rhythms are present but seem to
be ground to thin, Jagged edges before they become too memorable. Again
we have heavily oppressive sub-bass dirges coursing underneath. Like the
fall of great stone monoliths as the foundation quakes, Rumbles, Breaks
apart and is torn asunder. The piece feels like it's falling in on itself
by the time the greatly buried and un-discernible vocals arrive. These come
as strong shouts through sharp distortion in repetitious arrays. Heard but 
never really understood. Things take a slightly more rhythmic turn and lock
in to a solid groove (I use this description in the loosest of ways.) The
feeling of building frustration and a need to say something of importance
to a writhing sea of idiots is greatly implied. In other words this one
is dripping with desperation and futility. Honorable to hold ones ground
nonetheless. The repeating vocal lines have now weaved together. Where one 
is starting before the last has ceased to create a continuous cyclic pattern.
There is a good amount of power and fury to this approach. It definitely packs
a punch. (Or are we using knives?) Either way we have an excellent Harsh Noise
release with more to offer than many others in the scene these days. One that
stands out in a crowd...And that's an accomplishment when it's as crowded as
it is these days. The track begins to break apart, Like a machine who's parts
are falling off leaving rumbling fragments to take on more labor in a pointless
trek of resistance towards utter demise. A blur of violence...Much like the chosen
subject of focus. Repeated screams and minimal noise kill this one off. 

A GREAT RELEASE ROUNDED OUT WITH KILLER PACKAGING AND AN AWESOME ART BOOK CONTAINING QUOTES, XEROXED PHOTOGRAPHS, ARTWORK FEATURING FLORA AND FAUNA NATIVE TO THE AREA OF THE MURDER AND OTHER NEAT LITTLE THINGS FOR YOUR EYES TO ABSORB WHILE LISTENING. I'VE YET TO SEE/HEAR A BAD RELEASE FROM BOTH THIS PROJECT AND THIS LABEL. HIGHLY RECOMMENDED:

8/10
-ABATTOIR-

https://straightpanic.bandcamp.com/

Tuesday, August 30, 2016

REVIEW - BLACK EARTH - DIAGRAMS OF A HIDDEN ORDER - CD

BLACK EARTH - DIAGRAMS OF A HIDDEN ORDER - CD
BLACK PLAGVE PRODUCTIONS/INFECT18
BLACKENED NOISE/LO-FI BLACK METAL/BLACKENED DEATH INDUSTRIAL/BLACK AMBIENT/RITUAL DOOM
PRO CD IN FOUR PANEL DIGI-PACK.


I.) MANTRIC RESONANCES ALONG FIELDS OF DISSOLUTION:
BLACK EARTH is an unholy trinity who along with a handul of guest
artists have crafted a brilliant debut E.P. Although we only experience
around fifteen minutes of aural hallugenic nightmare exploration here, It
is well worth the time invested. BLACK EARTH's approach to the "Blackened
Noise" style is very unique and unlike any other take on the genre I've yet
encountered. Fans of artists like GNAW THEIR TONGUES, ADERLATING, DEATHSTENCH,
THE STEM CELL RESEARCH PROJECT, THE SLAUGHTERED LAMB, AUTOKRATOR, Etc will likely revel in the darkened splendor of this release. The first few moments commence
consisting of stark, Lightless Death Ambient that is soon swept away and torn
asunder as a rift of blazing riffs and thundering blast beats opens up sucking 
us through a portal into total darkness. Blackened Death Metal fury hits hard 
and with no fucking remorse or pity shown. The stars are right and the tyrannical 
age of the Elder Gods is finally upon us. All of this fury comes buried (though 
still quite audible and distinguishable) cloaked within a smothering, Oppressive 
density similar to that of ISOLATOR or OF EARTH AND SUN. The Gods of Chaos have 
forsaken their indifferent outlook towards mankind and decided on total eradication 
and annihilation of all lifeforms. And this is their chosen weapon. Had your favorite
Death Metal or Bestial Black Metal demo been recorded in a vaccuous abyssmal nether-
world it may have sounded something like this. A cacophonaus malestrom with dense
windswept breaks, Distint high pitched resonance, Tortorous vocals and Daemonic
growls...This is the howling of the abyss itself. Listening to this you begin to
feel like you can feel your flesh slowly withering to dust. Slower segments take
us into storming Funeral Doom caliber dread only the funerals are long over and
we've spent aeons rotting into wretched, Sunbleached husks of misery. The faster
moments are a full on frenzy. By far one of the darkest and most morbid sounding 
acts I've ever heard. Swirling voices form a vortex of woe that carries us across
into the next piece.

II.) UPON LABYRINTHS OF BROKEN MIRRORS:
The midway mark is a bit of a break. Distant thunderous drums boom like the heart
of Hell awakening in anticipation as new guests are on route to their horrid eternity.
A mass of blackened riffs slowly builds and pulls creating tension as well as foreboding.
Death Industrial and Dark Ambient elements are on display in all their barren glory. The
maw rips open wider allowing an eerie resonance like the pulse of Gehenna to slowly spill
into the air infecting the atmosphere and snuffing out all light and life. Schisms spread
and allow hissing steam from abysmal pits to exhale after centuries of imprisonment. The
steady thump in the distance builds suspense and the feeling that some monolithic terror
is slowly approaching. Like a slow, Shambling, Weary trek into obliteration. Disorienting
synth layers rape away all comfort and create an air of dis-ease and unavoidable despondency.
The reason will soon be apparent.

III.) TO CLOAK A NEBULOUS SUN:
Take track one and strip it into a primal, Rabid state of absolute insanity. This is
feral madness. Drums range from rapid fire attacks to unsure footfalls. The vocals and
guitars come in thick walls creating a haze of uncertainty and earth shattering sonic
violence. Undercurrents drone on as blistering tremolo leads scratch at the sun and
tear away all cosmic substance. A narration is spoken in Daemonic tongues that human
ears were never meant to hear. Incantations and praises to nihilistic deities as all
is forcefully swept into anti-substance. This is like nothing you've heard before. 
Otherworldly damnation sprawled out across all space and time. Raptuous inverted
hymns to bring fourth Armageddon. BLACK EARTH have quickly demanded my attention
and I cannot fucking wait to hear what they create in the future. It's hard to
capture in words just what it is that they are doing. Listen for yourself. A
thoroughly impressive debut.

BLACK EARTH CAME OUT OF NOWHERE AND DEMOLISHED ALL INTO THAT SAME NOTHINGNESS. WE WERE AWESTRUCK UPON LISTENING. DO YOURSELF A FAVOR AND LET THIS CONSUME YOU:
9/10
-ABATTOIR-

www.malignantrecords.com

Saturday, August 27, 2016

REVIEW - THE BLACK SCORPIO UNDERGROUND - DESECRATORY EMANATIONS - CASSETTE

THE BLACK SCORPIO UNDERGROUND - DESECRATORY EMANATIONS - CASSETTE
ORB TAPES/OT_30
BLACKENED NOISE/DEATH INDUSTRIAL/POWER ELECTRONICS/EXPERIMENTAL NOISE
ON BLACK CASSETTE WITH SIDES A AND B INDICATED IN WHITE SHARPIE.
COMES IN A PLASTIC CASE WITH J-CARD INSERT. LIMITED TO 50 HAND
NUMBERED COPIES.


SIDE A.)

I.) FETID WOMBS:
We always get excited over here when news of a new release from THE BLACK SCORPIO UNDERGROUND  comes our way. This is the project of Joe Truck, A man known for his work in the 90's New York goth scene with his previous band (Well one of many) Scarecrow. Joe has been involved with countless projects  since ranging from Black Metal grimness to furiously relentless Thrash Metal and more. When it comes to  T.B.S.U. (Which is his long active solo effort) We find Joe conjuring charred blackened soundscapes that haunt the realms of Death Industrial, Caustic Harsh Noise, Lo-fi Blackened Electronics and Death Rattle Ambient. With this new release we see T.B.S.U. honing their skills into two razor sharp attacks. "Fetid  Womb" opens dragging us into snuff dungeon atmospheres where windswept textures and bellowing sub-ambient  drifts sweep us into pitch black recesses. We are soon greeted by the beast on his throne as black rasps 
spew into the air, Carried by piercing feedback and cloaked in crisp distortion. Clattering echoes fill 
the air with booming resonance.The mood is bleakness and despair at full blast. Cacophonous and cavernous. It sounds like we've entered the den of an ungodly creature of nightmares. Parallels can be drawn to contemporaries like TREPANERINGSRITUALEN, STEM-CELL RESEARCH PROJECT, Etc. That should be a good indication of the level of despair you can expect here. Feedback glides along while croaking vocals struggle to be heard as if being forced from the dry 
throat of a formless, Ancient, Titan of a monster after awakening from aeons of sleep and slowly ascending from a dust laden and cobwebbed sarcophagus. Deep ritual chants rise as haunting horror ambient layers weave in and out. The comforts of the grave beckon the listener, Becoming more demanding as time passes. Stretched/dragged textures creak like ancient doors as thunder claps and metallic clattering are heard softly in the distance. Things wind down into winds and thunder
alone creating a minimalist storm front that slowly fades into perfect silence.

SIDE B.)

II.) DEAD EYES OF CERBERUS:
Perhaps Cerberus was the horrific creature we just heard calling from the depths of that fetid womb?
With this much darkness it's hard to tell what may or may not be dwelling within these pitch black veils and blankets. This second slab of sinister sound starts with loud thuds and clatter that usher in a pulse like the hum of some kind of industrial machinery cranking to life. The vocals are loud, Echoing and panned to the left which causes one to feel slightly off balance and caught off guard every time they strike. The opening sounds are present as a looped rhythm to accompany the mechanical churning. Sounds like those of grinding/sanding machines are heard sending sparks into the dark as oil drum percussion's and additional factory textures are heard in a grueling chorus of laborious hardship. Again I am reminded quite a bit of TREPANERINGSRITUALEN but with a more "Necro Black Metal" vibe. Feedback and other aggressive sounds swirl with a truly ghostly resonance that haunts from above. Definitely my favorite of the two tracks present on this release but both are equally worth experiencing. Had the industrial revolution taken place in the lowest depths of Hell it may have sounded something very much like this. The vocals seem almost like an after-thought. Usually vocals steal the lead when it comes to Noise music, But here they blend and become another texture used more for atmosphere it seems. Plodding rhythms crush and pound 
like a steam powered press of some sort. All the rusty cogs and gears are somehow turning and the sound if magnificent. Again we end with minimal movements until all fades to quiet. Excellent.

THE BEST BLACK SCORPIO UNDERGROUND RELEASE SINCE 
THE WORTHLESS RECORDINGS CASSETTE:

8/10
-ABATTOIR-

theblackscorpiounderground.bandcamp.com
orbtapes.bandcamp.com 

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