Saturday, June 21, 2014

REVIEW-HUMAN LARVAE/MYTRIP-SPLIT-CASSETTE

HUMAN LARVAE/MYTRIP-SPLIT-CASSETTE
DANVER STATE RECORDINGS/DSR54
POWER ELECTRONICS/HARSH NOISE/DARK AMBIENT
COMES IN A PLASTIC CASE WITH J-CARD INSERT.
ON CLEAR CASSETTE WITH STICKER LABELS.



SIDE A.) HUMAN LARVAE

I.) ANOREXIC KISS:
My apologies if part of this review comes off as biased in any way.
I have been a big HUMAN LARVAE fan since I heard his album
"Home is Where the Hurt is" a few years ago.I have also really
enjoyed everything he has done since...And I have a thing for
splits that feature bands that compliment each other well.
Whether they do so through means of a common theme or
by utilizing diversity to bring it together as a whole.This
particular release achieves this through the latter.With the
HUMAN LARVAE side we have a track that was recorded way
back in 2008 that greatly differs from what he is doing these
days...Although he seems to change directions to some extent
with every release...This one is really different from the HUMAN
LARVAE we know today.Here we have one track of Harsh Noise
brutality that fills up the entire A side of the cassette.Massive and
ever-changing rhythms of static and dense distortion that ride on
gusts of black wind like an approaching pestillence.Rumbling and
crunching tones in a frenzied blur of chaos along with electronic
experimentation and disgusting samples of vomit and bile being
spilled across the floor in all their wet and choking glory.This has
the essence of stuff like DEATHSTENCH or ADERLATING but stripped 
down to it's most raw and primal form.This track sounds like it was spewed 
fourth rather than simply created.Radio transmissions send daemonic voices 
over the airwaves.Distant rituals and burried seances can be heard if you listen 
closely.This track is filled with hidden treasures.I recommend listening to this 
one in solitude and in complete darkness.It's an utter disaster of high end feedback 
and smothering distortion...All the while low electronic rhythms drone on in true 
Power Electronics fashion.Black vomit circles the drain and then bubbles back to the 
surface.Roaring Hell fires sing an unholy hymn of inverted praise as warped electronics 
swing like knives in every direction.Hissing bursts of steam and glitching noise similar 
to MACRONYMPHA fills the room and then shifts into something new.This can be 
compared to artists like SEWER ELECTION or DEVELOPER at times but it never 
sounds like HUMAN LARVAE set out to copy anyone elses style or approach.The all 
out free for all of Noise sounds like screams of torment at times and a swiftly 
approaching holocaust at others.Burried vocals claw their way to the surface 
and come in low growls with an inhuman quality...And then just like that it
ends as quick as it came.

SIDE B.) MYTRIP

II.) WHITE LEAVES / III.) REMAIN UNBURIED:
This is my first time hearing MYTRIP and as always we were more than
excited to hear something new to us here at Traumatic Static.The MYTRIP
contribution differs greatly from the audio apocalypse of HUMAN LARVAE.
MYTRIP dwells in a quieter but no less creepy side of noise.Instead of killing
you in a brutal attack, MYTRIP chooses the slow and painful approach to
slaughtering your senses.Sinister winds blow like a warning to turn back and
go the fuck home before it's too late.Slow and unsettling Horror movie style
ambience builds and drifts like fog.Distant storms thunder as the sky grows
black and all light fades.Dense and dreary.The sound of hauntings about to
take place and ghost stories about to come to life.MYTRIP offers a totally
different interpretation of darkness in direct contrast to what HUMAN
LARVAE did before...Not only does this keeps things interesting but it acts
as two sides to the same coin.Two seperate but equally painful faces of death.
Spirits moan and writhe coloring the atmosphere in various shades of woe.Both
artists here create something that perfectly reflects the overall vibe invoked by
the haunting album art.We hear low breathing like a contact mic in a coffin as 
someone is drugged and burried alive.Deep pounding bass rhythms are heard
like the sound of dirt being tossed as fresh graves are dug.Deep howls echo in
the distance sounding like daemonic wolves in communication with the full
moon.As we go into the second track on the MYTRIP side we hear what sounds
like impatient breathing.Like a caged beast of unspeakable horror with a thirst
for blood waiting to be free'd.Deep and slow Death Industrial bass rhythms plod
on like the march of reanimated corpses.It sounds like fears and nightmares are
being manifested and unleashed on an unsuspecting public as they sleep.Eerie
ambience hovers like mist over a cold lake.Monstrous growls are looped and
repeated enhancing the overall sense of doom that hangs heavy in the air.Loud
crashes of thunder and deep piano keys bring another layer of dread to the peice.
Sub-bass movements that almost sound like Drone Doom guitar riffs similar to
SUNNO))) or DEATHSTENCH come in giant waves of crushing death.MYTRIP
have crafted and unleashed two plagues on humanity.This is Dark Ambient and
Death Industrial fuelled by rot and decay.Songs for the carrion to creep to.

DANVER STATE RECORDINGS REALLY KILLED IT WITH THIS LAST BATCH
OF RELEASES.THIS PARTICULAR ONE BEING MY FAVORITE OF THEM.DOOM
AND DEATH ARE UNLEASHED AND HUMAN LARVAE/MYTRIP ARE HORSEMEN
OF THE APOCALYPSE.UTTERLY HOPELESS.GRAB THIS AND EMBRACE THE SOUNDS
OF EXTINCTION:

9/10
-ABATTOIR-

WWW.DANVERSTATERECORDINGS.BLOGSPOT.COM

REVIEW-WHITEWATER ORGASM-IMMUNITY-CASSETTE

WHITEWATER ORGASM-IMMUNITY-CASSETTE
FUSTY CUNT TAPES/FUC112
POWER ELECTRONICS/HARSH NOISE
COMES IN A PLASTIC CASE WITH DIY
INSERT.ON CLEAR CASSETTE WITH STICKERS.
WHITEWATER ORGASM IS:
L.S. LOHI



SIDE A:
I.) I FALL FROM NORMAL STATE / II.) CRAWLING THROUGH A SLOW DEATH /
III.) FIRESTORM / IV.) HOPING FOR THE SKY TO FALL /
V.) SCALES TO WEIGH THE FAILURES IN LIFE / VI.) THE OUTSIDE IS CALLING YOU:

The last time we recieved a WHITEWATER ORGASM tape for review we were totally
blown away.The last one being the excellent "Moments of Suffering" album from the
always top-notch Danver State Recordings.There may be a few of those left as well.It
was a pretty limited release so get on it if you missed that one.WHITEWATER ORGASM
has a way of mixing various styles of Power Electronics, Harsh Noise and beautiful Ambient
that no other band has managed to pull off.When we got the newest release, "Immunity" in 
our mailbox we were as giddy as a pedophile at a school play.The last album turned us into
some kind of Power Electronics Jehova's Witnessess and we had to tell everybody the good
news! Though I still favor the previous album...This one was certainly not a dissapointment
in any way...Released by Fusty Cunt Tapes in an un-numbered edition, "Immunity" takes us
further into the bleak and hopeless world of L.S. Lohi.This one seems to spend more time in
the harsher and more punishing areas of P.E. than the last album.Distorted rhythms gnaw at
your ears in swirling blasts.Screams of pure agony burst from a throat shredded raw.At times
this literally sounds like sampled recordings of sadistic torture...But WHITEWATER ORGASM
has more than just brutallity working for em.Beautiful clean ambience mingles with the mayhem
adding a melancholic atmosphere that fills the air with an overwhelming sense of saddness and
loss.The perfect amounts of reverb and delay are applied to gentle keys along with slight touches
of distortion to give L.S. Lohi an angelic audience to unleash his pain upon.This is one of those bands
that not only developed a signature sound...But did so several times over and combined them into
a truly unique listening experience.At times you are overwhelmed by straight high end feedback.
Ringing, high pitched and maddening.Screams that seem like they are about to burst out of your
speakers and swallow you whole come at you like rabid dogs.And sometimes you get all of this along
with huge walls of rhythmic distortion that destroy all.At any given moment all of this may or may
not be enhanced by the stirring and evocative synth work mentioned earlier.Squealing rhythms, Sub-
bass assaults, Weird and original song titles and concepts.There is not much that W.O. has not added
to the mix.This is a fairly lengthy tape...I am not sure what the exact time frame is on this one but it
offers a lot to check out.At times it seems like certain tracks could have been cut a little shorter or
at least change a little more...Mainly the ones that ring out with endless feedback and test your ability
to endure high frequency torture but some of you may find this more appealing.There are moments on
the album that remind me of TAINT or perhaps NICOLE 12 but with totally different subject matter.In
some instances this takes on a more minimal and experimental approach...Presenting us with waves of
Dark Ambience and sub-bass exploration.I guess you could call it Death Industrial in some ways but still
a little more on the Ambient side...Before you know it everything builds into a display of layers and textures
gathered like storm clouds led by the almost Black Metal/D.S.B.M. style vocals of L.S. Lohi.With six tracks on
the A side and eight on the B side you are bound to find something you like here...If not you are probably going
to the wrong source for your musical recommendations.As I stated before, W.O. has a unique approach to Noise
and P.E. so if you're looking for originality...Look no further.

SIDE B:
VII.) THE TROPIC SINKS AWAY / VIII.) I CRY UNDER SNOW / IX.) DYSPHORIA /
X.) I CANNOT LOVE / XI.) DO YOU DREAM TO LIVE OR LIVE TO DREAM? /
XII.) ORGASM SYMBOL / XIII.) WHERE MERMAIDS COME TO DIE / XIV.) SIGNAL SEX:

On the flip side we start with otherworldly tones ringing into a void abyss.Quient synths
linger on the borders of the track.They slowly begin to move and form stretching strings
that add a thematic beauty to what come next.Dense distorted noise.Rumbling rhythms
that hang like a heavy weight on your shoulders.Vocally W.O. sounds something similar
to XASTHUR but with a Hardcore edge.Everything that makes a good P.E. track has been
poured into this album at some point or another.All the rage, angst, sorrow, disgust, and
every other emotion that creates an excellent noise album is here, exposed and flayed for
your enjoyment.This is also atmospheric in a way similar to XASTHUR...In the way that it
is lo-fi, distorted and filled with static but with the addition of haunting synths drowned in
echoes.We have tracks here that are composed almost entirely from feedback and vocals.
Like with the A side there are moments where it's an all out onslaught of distorted noise
and horrid screams.Break-neck blasts of traumatizing noise hit you with the fierceness of
a death on impact collision.This can sound as grotesque as the images depicted on the cover
art of as fragile and gentle as a fucking snowflake...Most often you get a mindfuck of both at
the same time.It is apparent from certain peices here that L.S. Lohi has a thing for feedback 
and that was obvious from the previous album as well.He may go a little overboard with it
on this one but that shouldn't be too much of a problem most noise fans...There isn't anything
here that makes this a bad record.There is something for everyone into P.E./Noise/Death Industrial/
Etc on "Immunity" and we recommend you pick it up and give it a chance to grow on you if you don't
make an instant connection to it.I am sure by the time you read this we will have already cranked this
one several times.There's some really cool Ambient work on the B side that gives you a chance to catch
your breath and gather your senses...Then it's back to Harsh Noise Hell with some of the most fucked up
vocals we have heard in a while.Imagine a dude having a severe nervous breakdown in a room filled with
roaring and moaning machines.Anyone who can make an album that goes from anxiety ridden psychotic
chaos to soothing tranquillity with such flawless transitions is worth checking out in my oppinion.Once
again WHITEWATER ORGASM leaves our heads spinning and our mouths watering for more...Like those
girls who let their boyfriends beat the shit out of them and then run back into their arms...We are always
happy to take a beating from L.S. Lohi.Our masochistic needs have been met thanks to this one.

BRUTALITY AND BEAUTY IN ONE NEAT LITTLE PACKAGE.WE 
RECOMMEND YOU CHECK OUT BOTH THIS RECORD AND THE
LAST ONE FROM DANVER STATE RECORDINGS.KICKASS STUFF:

7.5/10
-ABATTOIR-

Sunday, June 15, 2014

REVIEW-ATARAXY/DEATH FREES EVERY SOUL-SODOM & GOMORRAH-SPLIT/COLLAB-PRO CDR

ATARAXY/DEATH FREES EVERY SOUL-SODOM & GOMORRAH-SPLIT/COLLAB-PRO CDR
ALTAR OF WASTE-AOW124
HARSH NOISE WALL/EXPERIMENTAL NOISE/HARSH AMBIENT
COMES IN A TRANSPARENT DVD STYLE CASE WITH INSERT.
ARTWORK ON THE FRONT, BACK AND INSIDE.
LIMITED TO 30 HAND NUMBERED COPIES.



I.) DEATH FREES EVERY SOUL-SODOM:

With "Sodom and Gomorrah" ATARAXY and DEATH FREES EVERY SOUL
take the these timeless stories of God's almighty wrath and judgement and
use them as a theme for one nasty ride through Hell and back.Each artist
takes the story of one of these cities of lust,sadism,depravity,perversion,
etc and uses it as inspiration for an HNW track.With DEATH FREES EVERY
SOUL we have Sodom.A fifteen minute stay in the place where the act of
sodomizing got it's name.So bend over and just fucking take it.Dense crackling
distortion like the flames of Hell inching closer and closer to these Godless 
sinners as they pass their time literally fucking anything that moves.This is
deep and ominous stuff.A cloud of doom and despair coming closer with each
passing second as the residents of the city are lost in ecstasy and orgasm.This
track could easily represent a few different things concerning the city of Sodom
and pull any of them off just as well.We could be hearing the burning lust and
passion that fills the heart of the city...The black fires of temptation and Satan
himself that burn within the lost souls of it's people...Or this could have been
meant to represent the relentless destruction when God almighty decided that
he'd had enough and would put an end to the numberless blasphemies that took
place here daily.This could very well be the roaring sound of God's all consuming
wrath as it nears completion.The sound of embers licking the charred skeleton of
the city much like the tongues of it's former residents upon the flesh of one another.
However you wanna take this...Be sure to do it with the volume cranked up past ten.
Desolate winds rush through the damnation and fill the track with an empty despair.
HNW typically tends to be described as heavy and punishing and this is true here but
with DEATH FREES EVERY SOUL we need to throw some other terms in there as well.
Not only is this heavy and punishing stuff...But it also sounds really fucking dark.Like
the ashen sky that hangs above the mass death below.I have never heard of anyone calling
their stuff blackened noise wall but that would certainly be fitting here.Long story short...
Fifteen minutes of distorted death and destruction for your personal pleasure.Enjoy.

II.) ATARAXY-GOMORRAH:

The ATARAXY track here is much louder than the previous one...And though
some might say this throws the album off or disturbs the balance of the release
as a whole...I don't see it as a bad thing in this case...You gotta realize...Sodom
was just destroyed in a swift act of holy judgement and now we have this steaming
pile of sin to deal with...Busy day for the maker...When I say this is harsh I mean that
this is fucking HARSH! It sounds like the walls of the city breaking and it's inhabitants
being torn to fucking shreds as everything they once knew,loved and fucked is totally
annihilated.Gomorrah clocks in at just two seconds longer than track one and I have
enjoyed every second of it.This is the sound that most HNW artists strive for.Ripping,
tearing,bone breaking,limb rending,flesh shredding harsh noise.ATARAXY comes in a
glorious mass of pure fury...Crushing everything in sight like a world ending plague...
Destroying entire cities in a mere fifteen minutes.HNW purists and enthusiasts should
have no complaints with this one and if they do then they are probably the type who
spend their time critisizing others on message boards while adding nothing of any worth
to the noise scene.Personally I think this fucking kicks some ass.While the DEATH FREES
EVERY SOUL side spent it's time in darkness, the ATARAXY contribution dwells in the
glowing flames of Hell.This rages like countless arsons feeding on forests with no end in
sight.I wouldn't recommend this for anyone who is a casual listener of noise music of any
sort.ATARAXY caters to the die hard noise freaks who are always looking for something
more challenging,Well look no further kiddos...This is some of that brutal,relentless,punishing,
(insert word that gets you excited here) type of stuff that you hunger for.You might want to
eat it up while you can though because like most Altar Of Waste releases this is super limited.
Only thirty copies of this one so get on it before they're gone.If you are into artists like NAR/
EPISIOTOMIST/INFIRMARY/WILLOWBROOK/VOMIR/SWALLOWING BILE/EARTHENWOMB
or any of that stuff then this is right up your alley.

III.) ATARAXY+DEATH FREES EVERY SOUL-JUDGEMENT:

Not only is this a split but the last track is a fucking collaboration! Judgement
has fucking come all ye mother fuckers! This one here is quieter than Gomorrah.
Much closer to the Sodom track in terms of volume...But it is still heavy as all fuck.
The deep low end distortion of DEATH FREES EVER SOUL mixed with high end noise
manipulation and the crunching, all consuming destruction of ATARAXY.Judgement is
also the longest track on the album and though I'd still consider this an HNW track, there
are some things worth noting.The textures and layers here don't just drone on endlessly...
Many of them move and shift between varying frequencies.So some of you may not think
it's 100% HNW but I don't recall there being a rulebook on how to make noise or do it well.
Luckily these guys don't need a fucking book cause not only do they excell at their chosen
styles but they themselves have created or at least re-worked a pretty damn good story here.
Harsh Noise as an audio companion peice to the trumpets of the rapture.Apocalyptic rage on
a biblical scale.ATARAXY and DEATH FREES EVERY SOUL have confirmed that the world does
not end with a whisper but with an all out onslaught of every thing in existence.The Lord did say
that he came not to bring peace, but a sword...It seems like these guys took that idea and ran with
it...All the way into armageddons maw.

OBLITERATING HNW FOR THOSE BRAVE ENOUGH TO STEP INTO AN ALL 
OUT HOLOCAUST OF BRUTALLITY:

7.5/10
-ABATTOIR-

WWW.ALTAROFWASTE.BLOGSPOT.COM
WWW.DEATHFREESEVERYSOUL.BANDCAMP.COM
WWW.ATARAXYHARSHNOISE.BLOGSPOT.COM

REVIEW-FATALISM-MYSTERY OF DEATH-CASSETTE/3-INCH CDR

FATALISM-MYSTERY OF DEATH-CASSETTE/3-INCH CDR
ETERNAL DEATH RECORDS/DEATH006
EXPERIMENTAL BLACK METAL/FATALISM CALLS THEIR STYLE
"ETHEREAL GLOOM."
COMES IN A LARGE, HARD PLASTIC CASE COMPLETE WITH
BEAUTIFUL ARTWORK AND LYRICS PRINTED ON THE INSIDE.
ALBUM IS PRESENTED ON A CLEAR CASSETTE WITH TEXT/INFO 
PRINTED ON IT AS WELL AS A 3 INCH CDR FEATURING THE SAME 
TRACKS/E.P. AS THE CASSETTE.
FATALISM IS:
BALDER-GUITARS/VOCALS
DESPONDENT RIFT-DRUMS/KEYBOARDS/VOCALS
(ONE MASTER/MORGIRION)



SIDE A.)

I.) ISABELLE:
Huge guitar riffs echo cloaked in reverb and delay.
Slow drums keep things moving in a gloomy march
towards oblivion.Clean vocals echo in the same manner
as the guitars.Almost spoken and monotonous.Militant
marching drums appear from an unknown abyss and begin
to climb towards the heavens.This is Black Metal filled with
doom and gloom but it's certainly not D.S.B.M. It sounds like
these dudes were influened more by JOY DIVISION than any
of the Scandinavian legends.There is a strong resemblence to
CIRCLE OF OUROBOROS but the production is less Lo-Fi.
Mystery Of Death actually sounds pretty huge...Cavernous
and cryptic...But with a sense of wonder rather than one of
danger.Double bass blasts kick in and the guitars pick up the
pace as well.The speed and reverb give this a Shoegaze-like
vibe but never go too far in that direction...This almost sounds
uplifting at times but in a strange melancholic sort of way...At
times this reminds me of WOLVES IN THE THRONEROOM for
some reason even though this is very different.We go into a nice
bridge of waves of rhythm guitar, vocals that linger in the air like
ghosts of spoken words and simplistic but effective lead guitars.
There's sort of a Surf Rock feeling to this as well but it's never
strong enough to throw off what FATALISM are going for.The
track sort of just ends here so lets see what lies ahead.

II.) ISOLDE:
Grinding palm muted rhythms build like thundering hooves.
This sounds much darker than the first track.More menacing,
Like the forshadowing of wars to come.The vocals are done in
the same manner as before but along with the music they sound
darkly sarcastic...Almost like FATALISM are snickering at you in
mockery.Like they know something you don't and are just waiting
for it to happen to you.Frenzied drums with some awesome snare
work fill the emptiness.The guitars form a swirling and dizzying 
wall of sound that wraps it'self around the listener and squeezes
tight like a constricting serpent.We go into a short bridge followed
by lead guitars that sound like they came out of the 90's UK Death
Doom scene.Mid-paced drums kick in and it starts to sound more 
like early DARKTHRONE but with those doomy clean vocals Fenriz
did with ISENGARD or FENRIZ RED PLANET...This is the type of shit
that makes the hairs on the back of your kneck stand up straight.The
tempo suddenly becomes twice as fast and races at the speed of light
and heads straight into the darkness...This is proof that Black Metal
doesn't have to have screamed vocals to sound pissed off.Lead guitars
and perfectly timed drums create an atmosphere like a woefull choir
of damned spirits.A few creeping lead notes crawl out like spiders and
track two fades into nothingness.

III.) ISLE:
Palm muted guitars full of emotion in a slow melody.
This reminds me of AGALLOCH or maybe even some
of KATATONIA's work.There is an almost New-Wave
vibe as secondary guitars arrive.Like a really strange
and loose cover of "I ran so far away." As I mentioned
before there is an obvious Post-Punk/Goth influence
here as well and I think it is most obvious in "Isle."
This has an ECHO AND THE BUNNYMEN sort of
thing going on...I could sit here all day and list off
bands that this reminds me of and at this same time
this sounds very original.It is what they did with those
influences that makes this special.Rather than try and
copy someone who came before them, It seems FATALISM
has taken the best parts of what they liked and blended them
together to create a perfect mix of the various shades of black
the underground has to offer.The vocals flow over crisp waves
of guitar.This is fucking beautiful stuff...Dark and dreary with
a hint of a silver lining.Gorgeous buld ups rise and drop off like
a suicide over the edge of a cliff and into the sea.Fragile synths
dance like ghosts along to the rhythm of the guitars.There are
not really any drums on this one but they are not really needed
as this somehow works just fine as is.

IV.) GLOOM REAPER:
This sounds like a VERY loose cover of "Don't Fear the Reaper."
The first few seconds are pretty much the same and judging from
the name of the track I'd say this is at the very least a tribute or
re-working of the classic.Haunting atmosphere along with that
classic riff slowed down to D.S.B.M. style misery.The vocals here
sound like they are filled with pain and emotional torment.This
track leaves you drenched in regret and soaked in loss.I can honestly
say that this is one of the most beautiful things I have ever heard in
my twenty five years of existence.One powerful guitar chord breaks
the silence and it's all over...My only complaint with this album is
that I wish it was longer but fuck it...Time to hit repeat.

SIDE B.)

PROGRAM REPEATS ON SIDE B.

A GREAT RECORD WITH BLACK METAL ROOTS.THESE GUYS
ARE NOT AFRAID TO DO THEIR OWN THING.GLAD TO SEE
THAT THERE ARE STILL BANDS CREATING SOMETHING ORIGINAL
INSTEAD OF BECOMING ANOTHER GROUP OF FACELESS FOLLOWERS.
RECOMMENDED FOR FANS OF: ALCEST/SLOWDIVE/NEGATIVE PLANE/
/WOLVES IN THE THRONEROOM/CIRCLE OF OUROBOURUS/URFAUST/
AND BLACK METAL WITH POST-PUNK/GOTH ROCK QUALITIES.

9/10
-ABATTOIR-

WWW.ETERNAL-DEATH.COM
WWW.ETERNALDEATH.BANDCAMP.COM
WWW.ETERNALDEATH.STORENVY.COM
WWW.FACEBOOK.COM/ETERNALDEATHUSA

REVIEW-GRY SMR-RENDITION-PRO CDR

GRY SMR-RENDITION-PRO CDR
ALTAR OF WASTE-AOW156
HARSH NOISE WALL/EXPERIMENTAL NOISE/HARSH AMBIENT
COMES IN A TRANSPARENT DVD STYLE CASE WITH INSERT.
ARTWORK ON THE FRONT, BACK AND INSIDE.
LIMITED TO 15 HAND NUMBERED COPIES.



I.) RENDITION:
This record is an interesting one.There is just something about it
that sets it apart from many others doing similar things.Something
about the textures and atmospheres used here that makes "Rendition"
stand out.The album has one track that lasts almost 45 minutes.We
begin with smooth drones and sharp cutting electronics that slice 
through the air as they grow in volume.Grinding distortion forms
a hazy cloud over a field of thick dark minimal ambient.It almost
sounds like someone has made an HNW rendition of an IRM song.
Manipulated sounds dance like moths around a crackling fire as
the natural hum of the night joins a chorus of nocturnal insects.
There is a haunting quality present here.This transports you to
run-down and dilapidated places like those depicted on the album
cover.Peeling paint and the smell of rotting wood.Momentum builds
as the track progresses...It's never a "fast" track but the intensity of the
piece shifts and changes to varying degrees.There is not much out there
that I can compare this too.There is a very HNW type of quality here but
GRY SMR doesn't stop with that.Additional layers of gloomy ambience go
a long way here to create an atmosphere that I have never before heard in
an HNW track.It is no surprise that Altar Of Waste released this as unique
Harsh Noise seems to be there specialty.Just what this is a rendition of...If
anything, is never specified...But vague and obscure albums and concepts
tend to be a constant with Harsh Noise Wall releases.The synths used here
sound thick and swallow the listener whole as teeth of static begin to chew
you up and digest you slowly...But not before sending you into a drooling
state of numb and mindless bliss.Like knowing the danger is present but
being too high to react or care.Around halfway in I started to catch myself
drifting deep in thought.Total daydream noise with the ability to pull you
out of your waking life and place you into the furthest reaches of your own
mind.The human mind can be a terrifying place...Especially when guided 
there by music that sounds like this.Towards the end things seem to slowly
quiet down to a crawl...Like time is slowing down little by little until you
reach the last few moments of chilling ambience and are left inbetween
reality and disturbing thought.

HNW THAT BEHAVES MORE LIKE HARSH AMBIENT.
LIKE A LONG WALK THROUGH THE DECAYED HALLS
OF AN ABANDONED ASYLUM.PURE HAUNTING RESONANCE:

7/10
-ABATTOIR-

WWW.ALTAROFWASTE.BLOGSPOT.COM

REVIEW-LA GOCCIA D'ACQUA-DEATH IN SEANCE-PRO CDR

LA GOCCIA D'ACQUA-DEATH IN SEANCE-PRO CDR
ALTAR OF WASTE-AOW176
HARSH NOISE WALL/EXPERIMENTAL NOISE/HARSH AMBIENT
COMES IN A TRANSPARENT DVD STYLE CASE WITH INSERT.
ARTWORK ON THE FRONT, BACK AND INSIDE.
LIMITED TO 15 HAND NUMBERED COPIES.
LA GOCCIA D'ACQUA IS:
JULIEN SKROBEK



I.) DUTY NURSE:
LA GOCCIA D'ACQUA is an HNW project inspired by films
(and their soundtracks of course.) This is apparent from the
first few moments of Death In Seance as well as from the images
chosen for album art. (Which fit the contents of the album brilliantly
by the way!) We begin with a sample from an old movie.It is a quiet
night.The winds moan softly and bells chime.A cat meows nervously
and a frantic foot falls race towards their destnation.A woman speaks
in what sounds like Spanish or Italian to me...I have no idea what she 
says but I doubt it is anything good.Then the wall starts.This is unlike 
any other HNW track I have ever heard.I know many of you will argue 
that every wall is different and unique as a fucking finger print or snow 
flake...And I agree...However that does not make them good or interesting
in the least...LA GOCCIA D'ACQUA on the other hand just presents a different 
quality here that no one else has seemed to discovered.This sounds like it is loud 
and heavy and calm and quiet at the same time.It is really hard to explain in
words honestly.It sounds like a gentle fire burning throughout the night.
The cracking of twigs and the burning of leaves.The chilly late night wind
caressing the flames in a passionate kiss.Like sitting around a campfire while
living a ghost story rather than telling stories of one.As time moves on this
starts to fuck with your head.At times it sounds like there are voices hidden
within the crunching static that simply are not there.Whispers are formed
from your imagination and the track begins to speak to you.Not only are the
walls unique here but also the effect on the listener.It is almost ritualistic.
Sending the listener into a trance-like state of deep thought and ecstasy.
Like the slow drip of a powerful drug filling your veins.This is sort of ritualistic
in other ways as well.Like a field recording of burning sage as spirits are cleansed
and driven out from a place they they don't belong.However you choose to describe
what LA GOCCIA D'ACQUA (A.K.A. Julien Skrobek) is doing...He is doing it right and
adding something very special to a genre that more often than not sounds like an
endless supply clones, immitators and VOMIR cover bands.As far as HNW goes the
label that released this (Altar Of Waste) has consistantly supplied the underground
with quality HNW releases that are both original and beautifully packaged.

II.) MILLY'S FRIGHT:
The title "Death In Seance" is very fitting for this release as the entire thing
does in fact have a very occult and paranormal feeling to it.Not sure how
to explain how a Noise Wall album pulls this off but that is exactly what
LA GOCCIA D'ACQUA has done.Track two starts off like Duty Nurse with
an eerie sample from an obscure old movie.This time complete with creepy
old 1960's/70's style theme music.Again we hear a frightened cat meowing
and a panicked and rushed conversation in a foreign tongue...And once again
this is followed by a unique and original take on HNW...With "Milly's Fright"
we have a much more distorted and much denser experience.This one sounds
a lot more threatening but somehow manages to keep the same calming effect
present as track one.It is like a fly slowly being injected with a spider's venom.
It knows it is going to die and be eaten alive but at the same time the effects
of the poison rushing through it's body sends it into a catatonic state of numbed
bliss.The panic and struggle that took place a few moments ago now a distant
memory as it sinks into a state of deep euphoria.I am a firm believer that music
can have a drug-like effect on the listener and this is proof of just that.I have stated
before that HNW is not y favorite style of Noise and has never been my first choice.
Though this is true...I find myself spinning this disc quite regularly...And really any
time I get the urge to crank an HNW release they are always from Altar Of Waste
or Enemata Productions.These guys just have an ear for this stuff and so does LA
GOCCIA D'ACQUA...Though this is much quieter than many other HNW artists
(like SWALLOWING BILE or WILLOWBROOK for example.) This is still some
very punishing (and yes very harsh) stuff...Milly's Fright rumbles the floor beneath
your feet and causes your windows to shake and vibrate.Deep and dense distortion
pours out of your speakers for nearly half an hour.Just the perfect time frame to use
this as music for the ritual chamber if you practice or dabble in the occult arts.I am
not sure what sort of spirits Julien Skrobek is trying to communicate with in this
seance of death but whatever they are their presence is immense and weighs heavy
in the air.This sounds like a rift is being torn between this dimension in the next in
ultra slow motion.By far our favorite HNW album here at Traumatic Static.It is a shame
that this is limited to a mere fifteen copies.I may just have to start a petition to get this
re-printed in mass quantities.Be sure to sign in blood.

TWO TRACKS AND ALMOST AN HOUR OF PURE OCCULT AUDIO BLISS.
BEST HNW ALBUM WE HAVE HEARD SO FAR.LIMITED TO FIFTEEN COPIES
SO ACT FAST OR LIVE IN REGRET AND SELF HATRED:

10/10
-ABATTOIR-

WWW.ALTAROFWASTE.BLOGSPOT.COM

REVIEW-LIGATURE IMPRESSION-SLAVES TO OUR SENSES-CASSETTE

LIGATURE IMPRESSION-SLAVES TO OUR SENSES-CASSETTE
DANVER STATE RECORDINGS/DSR53
DEATH INDUSTRIAL/DARK AMBIENT/MININAL NOISE
COMES IN A PLASTIC CASE WITH HUGE FOLD-OUT
INSERT COMPLETE WITH FULL ARTWORK AND LYRICS.
LIGATURE IMPRESSION IS:
N. DESUAH



SIDE A.)

I.) OH! DEATH TO NANCY / II.) PEEPING PETALS /
III.) BEYOND THE NOTCH I:

This one's a creeper.Not just this track but the entire
album.There is something seriously wrong with Mr. N.
Desuah and we can't get enough of it."Slaves To Our 
Senses"  tells the story of a man who deals with murderous 
tendancies and a hardcore foot fetish from the point of view 
of a poetic philospher.Both the music and lyrics are absolutely 
gorgeous.Highly detailed and utterly thought provoking.There 
are a lot of albums described as transcending and over half the 
time this is used to describe some half-assed watered down indie 
rock top of the pop charts bullshit...But here this is actually acurate.
This will remove you from your self and drop you off terrified and 
shitting yourself in the darkest corners of your own fucked up mind.
Side A begins with phased out electronics and low drones.Sampled
voices of a 911 emergency call add another layer of hopelessness to
an already bleak field of sound.This fades out serving as an intro and
is soon replaced by moaning synth drones.Deep and deadly.Winds blow
like the tide crashing against the shore followed by vocals that come in
a whispered croak.It sounds like a predator narrating his plans before he
acts them out.This is some fucking dark shit and when I say dark shit I 
mean pitch black...Like everything you know and love has been eclipsed 
by the shadow of this menacing stranger standing in your doorway.Slight
touches of feedback fill the air with nocturnal sounds like the drone of
crickets in the night.Next we hear what sounds like the muffled speech 
of a small group, females, coming from a room away.They are quickly 
taken hostage by waves of disorienting synth drones that climb and fall
like moths with wet wings struggling to reach the sky in desperation.The
vocals are spoken in a malignant tone laced in phaser effects that give them
a sinister and inhuman quality.This ends side one...Let's see what dark fantasies
await us with the B side.

SIDE B.)

IV.) I CAN'T REMEMBER THE COLORS / V.) BEYOND THE NOTCH II:

Bubbling electronics like the dripping foam from a rabid dog's jaws.
Spoken samples of a criminal confessing to and describing his methods
of bondage and captivity...His calm tone and casual demeaner only add 
to an eerieness that "Slaves to our Senses has established since it's start.
I am almost positive that GNAW THEIR TONGUES used a sample from 
this same confession on the "An Epiphanic Vomiting of Blood" album.
Next we shift into some truly strange warped electronic rhythms and
rolling waves of deep bass filled synths.It sounds like someone is banging
on garbage cans during the early moments of a thunder storm somewhere
in the distance.Metal squeals as it is scraped across the ground.This track
has an almost nauseating effect...Like seasickness only worse because the
ground is spinning.Things fluctuate in intensity but the noise never totally
dies down.A swarming haze of billowing static joined by thick strands of
wind rush out and almost take over the track for a while.Harsh rhythms of
dense and crackling distortion spill into the atmosphere and make it toxic.
This has a familiar feeling to it but at the same time it's unique.Slow and
dreary as fuck but never stale or boring.It all ends when everything fades 
into silence and you are left alone with the thoughts LIGATURE IMPRESSION
have created.

BRILLIANTLY SINISTER.DEATH INDUSTRIAL THAT SOUNDS LIKE
IT WAS CREATED BY A NIGHT STALKER WITH A LONG HISTORY
OF SADISTIC VIOLENCE.WE ALL THINK OF THINGS THAT WOULD
BE HIGHLY ILLEGAL TO ACT OUT.LIGATURE IMPRESSION USE THIS
TO CREATE A PITCH BLACK WORLD OF SHADOWS WHILE BRINGING 
DARK FANTASIES TO LIFE IN DISTURBING CLARITY:

8.5/10
-ABATTOIR-

N.DESUAH@GMAIL.COM
WWW.DANVERSTATERECORDINGS.BLOGSPOT.COM

REVIEW-PHANTASM NOCTURNES-WORKS OF DARKNESS-CDR

PHANTASM NOCTURNES-WORKS OF DARKNESS-CDR
OCCULT SUPREMACY
HARSH NOISE/OCCULT NOISE WALL
COMES IN A SLIM PLASTIC CASE WITH INSERT.
WHITE CDR WITH BLACK SPLATTERED SPRAY PAINT.
PHANTASM NOCTURNES IS:
BETTY KOSTER



I.) BRINGER OF PAIN:
PHANTASM NOCTURNES is the one woman Harsh Noise
project of a little lady by the name of Betty Koster.As you
may have noticed Harsh Noise and Power Electronics are 
not the most woman friendly genres of music...At least based
off of lyrics,subject matter,artwork,etc...But this doesn't seem
to bother or hinder Betty Koster in the least bit.PHANTASM
NOCTURNES fits in just fine and you would never guess from
simply hearing this that it was made by a very nice young woman
and not a demented serial murderer.With "Works of Darkness" we
find a different side of PHANTASM NOCTURNES...This time we find
ourselves utterly oblitterated by four dark,thick and distorted HNW
style tracks with a little extra creativity thrown in.Each track here tells
it's own personal horror story, starting with "Bringer of Pain." We start
with a very eerie intro consisting of a priest and an old woman in the
confessional booth.What starts out as a normal Sunday morning quickly
becomes a confession of the mass murder and bloodshed of young women.
This is soon followed by demented laughter as the woman delights in reliving
her heinous acts and then all Hell breaks loose.Distorted Harsh Noise that drips
into the room like pitch black tar (or blood) Ominous squeaking and creaking like
the rusted gate of a haunted house swinging open and slowly inviting you inside for
a night of dread and terror.As I mentioned before, "Works of Darkness" spends much 
of it's time in HNW territory but with much more going on than in your average Noise
Wall track.Deep bursts of bass filled distortion add a pace and a rhythm to the piece as
metallic pounding rings through the smokey air.This glimpse of Hell lasts nearly fifteen
minutes...Long enough to get the point across that Betty Koster means business.Objects
are beaten and slammed in the background.The sounds of clattering metal and rusty pipes.
From the first track til the last PHANTASM NOCTURNES brings the pain and with it the 
fear and anxiety of a quickly approaching death.Total audio agony.

II.) DARK ASCENT:
Spoken poetry concerning death recited over a backdrop of quietly moving
desolate winds.The silence does not last long at all and is quickly taken over
by a blast of pure Harsh Noise.This is immense and massive stuff here.It sounds
like a building being torn apart by a thousand clawed hands.Everything is ripped
and shredded...Amplified and channeled into your ear cannals.Like a gaping vortex
appearing above your home and slowly sucking it into oblivion.This one is a little
closer to a pure HNW track in terms of sheer volume and approach but even here
there is much more movement than with something like VOMIR or WILLOWBROOK.
A tangled mass of shifting, slow moving textures and dangerously distorted layers.To
sum this up in one word...Devastating...Close to thirteen minutes of audio suffering
and harsh pain.With "Dark Ascent" it feels like you are in the eye of a storm with no
way out.No safety.No shelter.Only darkness.

III.) SERVANTS OF DARKNESS:
Now we get to hang out with the close friends of servants of the darkness that
just moments ago attempted to tear us a new one.Sampled prayers fill the air.
These are joined by discouraging words from mocking daemons.The man who
was in prayer does not take to kindly to this and attempts to banish and cast
out the foul beings but this does nothing to rid him of his problem as they laugh
in his face and ten retalliate in a gathered strike of brutal Harsh Noise.What we
have here is around fifteen minutes of dense deep noise that comes like a tidal
wave of maggots.A disgusting pitch black mass of bile, vomit and rot that washes
over you in a wave of filth.Huge metallic percussions force things along like a cruel
slave driver commanding the numberless army of carrion and decay.This shit will rot
the inside of your ears and turn your brains to guts.It takes a special kind of fucked up
to actually enjoy this sort of thing...I am just glad I am special.Imagine the bold metallic
percussions of GNAWED or THE VOMIT ARSONIST thrown into a giant gathering of ultra
dense Harsh Noise and you'll have an idea of what your in for with this one.It's like listening
to field recordings of worms chewing through corpses amped up a thousand times and joined
by the slamming of crypt doors in a slow rhythm...Harsh Doom Wall...You can be an HNW purist
all you want...But if that's the case...Your missing out.

IV.) BLACK SULPHUR:
The closing track begins with an angelic chorus and the voice of a man urging
your to save your prayers...He goes on to say that there is only death and darkness
here...And he is right.Again we are totally assaulted by a huge blast of crunching
distortion.There is something seriously wrong with you if you actually listen to and
enjoy this sort of thing.Well welcome to the club.Nice to meet you.I think "Black
Sulphur" is beyond fitting for the title of this one...Somehow Betty Koster has managed
to take pure distorted noise and make it sound fucking evil.It is like she injected her plugs
and wires with pure negativity before recording the four pieces here on "Works of Darkness."
I have never heard of anyone calling anything Satanic Noise Wall but that would be very fitting
here.PHANTASM NOCTURNES has somehow created a Harsh Noise album that has the same
blood chilling effect as 90's Black Metal.The type of shit that makes the hairs on your arms stand
up straight and fills you with a feeling of demented delight.Supreme Darkness channeled through
severe static.

HARSH WALLS OF ROT AND DECAY TO KEEP YOU UP AT NIGHT.
THESE ARE LIMITED CDR's SO GRAB ONE BEFORE IT'S TOO LATE
AND ENJOY THE NIGHTMARES TO FOLLOW:

7/10
-ABATTOIR-

WWW.OCCULTSUPREMACY.BLOGSPOT.COM

REVIEW-REGOSPHERE-INSOMNIA-CASSETTE

REGOSPHERE-INSOMNIA-CASSETTE
DANVER STATE RECORDINGS/DSR55
POWER ELECTRONICS/DEATH INDUSTRIAL/HARSH NOISE
COMES IN A PLASTIC CASE WITH J-CARD INSERT FEATURING LYRICS.
ON CLEAR CASSETTE WITH STICKER LABELS.
REGOSPHERE IS:
ANDREW QUITTER-ANALOG SYNTH/VOCALS/
ELECTRONICS/BOWED-HIT METALS.



SIDE A.) 

I.) INSOMNIA:
I Can't sleep tonight.I have personally had to deal with
insomnia for years so I figured this would be the best time
to review an album centered on the subject.We start with
thick rumbling synths containing hidden rhythms followed
by secondary synths that stretch in a far reach for slumber 
that can not be attained.Strange noises fill the background
but it is hard to identify what they are...Insomnia often comes
with paranoia so everything sounds like it wants to kill you...
Whether it's the gentle scrape of leaves and branches outside
your window or the endless hum of the ceiling fan.We take a
turn and find ourselves in a dark corridoor of dim light and
hissing steam.Like that nightmare world at the end of the
first "Nightmare on Elm Street" movie.A choir of woe and
warning formed by feedback rises out of the shadowy corners.
It is obvious that this is not the safest place to be but maybe a
nice little walk will exhaust you enough to fall asleep.It starts
to feel like the walls are closing in around you and everything
twists in form until there are faces surounding you with sinister
grins.All of this vanishes as you shake your wits back together.
You now find yourself in a realm of creeping static and strange
electronics that I can't seem to find the words to describe in these
late hours of the night.Drones form out of nothingness and grow
in volume as the hissing rhythms of steam return.Screamed vocals
attack you in a sudden frenzy of rage.You can keep telling yourself
it's all just a bad dream but you know sleep has eluded you.I have 
never been dissapointed by anything I have heard from REGOSPHERE
and it looks like that won't be changing anytime soon.There are some
tones in the background that sound sorta like emergency sirens that
only add to how fierce and life threatening this sounds.Heavy but muted
rhythms that sound like someone tapping out drum beats on a microphone
with their hand can be heard...Which only make this stranger but in a good
way.We shift into a third movement made up of rushing whitewater rapids
and swirling sewer gurgling.Like being sucked into a huge vat of filthy water
and washed away...Never to be seen again.

SIDE B.)

II.) WHAT TIME IS IT?:
To answer the question asked by the track title it is 4:47 A.M. Or at
least over in our neck of the woods it is.Like I said before, No sleep
for me tonight so why not blast the newest releases from Danver
State Records! Side B starts out with some odd and ever expanding
tones.Like recordings of giant bells time stretched until they take
the form of drones moaning in misery.Static in hissing rhythms and
pulsating death rattles join in and inject their venom into your veins.
REGOSPHERE has a thing for slow build ups and perfectly timed use
of additional textures and layers and he does it in a way all his own.
Minimal percussions shamble in the background and deep bass drums
plod on like a slow walk through a trance of despondency.This is in no
way happy or fun music.This stuff is agony dragged out forever.That is
not to say it isn't good cause it's fucking fantastic...Just not what most
people would classify as entertaining...But fuck them anyways...It is
starting to sound like a breeding ground of coiling serpents.Entranced
and enthralled in their lustful activities.Screamed vocals echo in the
distance like hearing someone screaming in the woods from half a mile
away.The pace doesn't really pic up...It just seems like more things are
thrown in the mix and piled on to keep things interesting.And this tactic
works thankfully so there are no complaints here.It all ends with sampled
sounds of a thunderstorm on the horizon and hazy ambience that sounds
like a song for a funeral.You can hear the buzzing of electricity running
through the mournful clouds as rain begins to fall gently on the hallowed
ground below.Strange ambience with a middle eastern vibe to it appears
and vanishes as if it never existed.Feedback dances on the air like spirits
come to escort the departed to the next realm of existence.The storm grows
restless and sends winds to shake the trees.The sky is growing darker every
second and will soon consume everything in sight.Find shelter before it's
too late.

ONCE AGAIN REGOSPHERE HAS CREATED ANOTHER SOLID
RELEASE.IF YOUR A FAN THEN YOU ALREADY KNOW YOU
NEED THIS.IF YOUR NEW TO REGOSPHERE THEN THIS IS
A GREAT PLACE TO START.EITHER WAY THIS IS A KILLER
TAPE:

7/10
-ABATTOIR-

WWW.DANVERSTATERECORDINGS.BLOGSPOT.COM

REVIEW-THEOLOGIAN+STEVE MOORE-INTO THE UTTERMOST FIELDS OF ETHER-CDR

THEOLOGIAN+STEVE MOORE-INTO THE UTTERMOST FIELDS OF ETHER-CDR
ANNIHILVS POWER ELECTRONIX
POWER ELECTRONICS/DARK AMBIENT/ELECTRONICS DRONESCAPES
COMES IN A SLIM CASE WITH TWO SIDED INSERT.
RECORDED BY THEOLOGIAN PRIME USING SOURCE
MATERIAL CREATED BY STEPHEN JAMES MOORE IN
WINTER/SPRING 2010.



I.) FROM BEYOND AN OBFUSCATED CONSTELLATION:
Dark synth rhythms climb from the deepest depths of a nameless
void.Heavy and dense...If dark matter made a sound it may just
sound something like this.Huge and resonating in an all consuming
thickness.Chimes of crystal clear ambience ring out and fade away
over Steve Moore's trademark synthwork.If you haven't heard the
work of Steve Moore then we recommend that you check it out.
He has a style all his own.He is most widely known for his work
in ZOMBI...This is what the Tron soundtrack should have sounded
like.I don't give a fuck what rewards were given out...Daft Punk was
not the first band to mix electronica with thematic orchestral music.
And that is sort of what we have here.Deep rhythmytic electronic music
via Steve Moore accompanied by the sparse and thematic dark ambience 
of THEOLOGIAN that flows around each rhythm and both fills and creates 
voids.There is a very cosmic and spacey feeling to this album which was obviously 
intentional based on the track titles but it really works out here and shows another
side of what these artists are capable of.Ascending analog style synths begin to climb
towards the heavens.The first word to come to mind when hearing this was "Korg" so
that should be enough to get your attention.This pulsates and drifts like hovering stars
as they slowly die in an endless sea of infinite blackness.There is a sense of approaching
danger and suspense injected into the track that causes instant excitement as things begin
to twist and turn in a slow motion roller coaster through the cosmos.All the while there is
a haunting resonance present.Textured with qualities only THEOLOGIAN could achieve.
This is the throbbing of the stars at night.The sound created by the movement they make
as they flicker high above sleeping cities.The vibrations of the galaxy coming together to
form choir of quiet voices.If your into stuff like SKY BURIAL,WILT or PHELIOS or anything
along those lines then you should really check this out.This is what I would call "interesting ambient."
Things quiet down and give way to some strange, otherworldly sounds.Like the communication
of alien lifeforms.Insect-like speech that we couldn't possibly comprehend.We remain in this strange
world for the remainder of the track.Calming and eerie at the same time.Either way life has meaning.

II.) FIELDS OF ETHER:
Cosmic winds and resonating crystals.Sounds from the surface of a world
that is not our own.A gentle humming glides over an endless field like the
tide against the shoreline.Giant gusts begin to rush out from an approaching
storm system.This album is not exactly what you would expect from either
artist involved and it is more special because of it.A vortex of rushing winds
and crystal vibrations wraps around you like a cloak crafted from the heavens
and holds you tightly through the night.It feels like laying your head down to
sleep in a comfortable shelter located in the eye of a storm on some distant
world...And then...Shit changes...Thick pulsating synths and minimal drum
pounding in perfect unison.The sudden rhythm is joined by a haze of dreary
and drifting ambience forming an uneasy atmosphere around the massive
throbbing.It sounds like troops preparing for battle.Galactic conquest will
soon commence.Weird electronics add to the overall Sci-Fi vibe that this
has going for it.Distorted blasts fire off like unearthly weaponry.Just who
or what are responsible for this death march is uncertain but they're surely
not from our world.Phasers are set to kill and take over in a glorious display
of power.This is an interesting collaboration to say the least...From peace to 
total annihilation in a mere thirteen minutes.

III.) CITIES OF NEGATIVE SPACE:
Low sounds of movement stir in the distance.A quiet rhythm builds.
Winds gather and displace the dust beneath your feet.Minimal and
desolate.It feels like you are truly alone.Exiled and cast out.Damned
to an existence of isolation.You are the only living thing for a thousand
miles.Fear fills the air like a static tension.The ground creaks and moans
beneath you...The only other voice you will hear besides the one in your
head.Distorted rhythms of noise and static approach like a cloud of dust
headed in your direction.A gathering storm in a desert at the edge of the
universe.Ringing synths rise and flow into the vast wasteland.Everything 
is still slow moving and minimal but there more going on here now.The
volume increases and decreases in strange intervals.Again this feels both
calming and dangerous at the same time.Tranquillity in the unknown.
The sense of peace in this track is like one caused by pure obliteration.
The feeling of relief you get when you decide to simply stop giving a shit
and let go of all your stress and problems.Sure they still exist but you just
don't give a fuck anymore.The synths almost sound like sirens signaling a
storm warning or some other disaster.Lucky for you there is an endless
expanse of nothingness to take shelter in.And it is in that nothingness
that we end our stay in the city of negative space.All slowly drifts and
fades out until all is pure silence.A song for nihilists, loners and drifters.

IV.) SONG FOR THE SPHERES:
Sharp electronics cut through the silence and saw through your senses.
Razor edged synths slice their way into your mind and fuck with your
thoughts along with phased out cosmic signals and strange pulsating
frequencies.A massive drone of ambience floods the air as captivating
and interesting electronics swirl like amoeba in their fluid existence.
Beautiful synths caress the threshold of space and time and offer glimpses
of the unknown secrets of the universe.This sounds mysterious and very
fucking pretty.Like seeing a new species at the bottom of the ocean for
the first time.Gentle pulses move us from one sphere to the next as Steve
Moore and THEOLOGIAN take us on one last tour of the cosmos.Each of
the four tracks here are unique and offer much to enjoy and explore.Get 
this and blast it in the quiet hours of the night.Headphones recommended.

UNIQUE AND THEMATIC.THEOLOGIAN AND STEVE MOORE HAVE
CRAFTED ONE OF THE MOST INTERESTING AMBIENT ALBUMS WE
HAVE HEARD IN QUITE SOME TIME.THESE ARE VERY LIMITED SO
GRAB ONE BEFORE YOU MISS OUT:

8.5/10
-ABATTOIR-

WWW.ANNIHILVS.NET
KILL@ANNIHILVS.NET

Sunday, June 1, 2014

REVIEW-SEBASTIAN MELMOTH-IN RUINS-CASSETTE

SEBASTIAN MELMOTH-IN RUINS-CASSETTE
BELATEN RECORDS
POST-PUNK/LO-FI/EXPERIMENTAL
COMES ON A CLEAR CASSETTE IN A 
PLASTIC CASE WITH INSERT AND DIGITAL 
DOWNLOAD CODE.
SEBASTIAN MELMOTH ARE:
"NOT A ONE-TRICK PONY, BUT A
REVOLVING GROUP OF FREEDOM FIGHTERS."



SIDE A.)

I.) THE ENGINEERING OF CONSENT:
Samples of a deep and thought provoking conversation with
William S. Burroughs are heard echoing through space and time.
And it is space and time that this discussion is concerned with.
Fragile synths and an almost militant waltz accompany and
enhance the words that drift into your mind and attach themselves
within.Taking root and growing into thoughts and questions.
This track could be considered an intro I suppose.Quiet electronics
expand like the vast drifting cosmos as a calming solo is played on
saxaphone.Xylophones and gentle chimes fill the air giving this a
dreamy and soothing effect.A few last words and we are sent futher
down the spiral that is the strange world of SEBASTIAN MELMOTH.

II.) MIET MITZVAH:
Slow percussions, deep bass rythms and gentle guitars open the track.
Synths join in as soft and clean vocals similar to BAUHAUS, ECHO &
THE BUNNYMEN, or maybe even DAVID BOWIE begin.This is a Lo-fi
downer jam with a strong Post-Punk vibe to it.This song is filled with
the feeling of a rainy day spent staring out your window into the gloom.
SEBASTIAN MELMOTH manages to capture that "Bedroom Rock" feeling
without sounding like your average Indie, Hipster bullshit.This has much
more in common with JOY DIVISION and the like than bands that fall
under the Post-Punk/Alternative label these days...So no this is not something
your gonna hear about from Spin Magazine or Pitchfork...This is actually good.
But what would you expect from Belaten Records? Which just so happens to
be run and operated by the man behind the occult Death Industrial Project
TREPANERINGSRITUALEN! So anyways clean guitar leads build up until suddenly
all takes a dark 60's/70's psyche turn.Distortion pedals are stomped into action and
a hazy smoke spills out into the room.This is heavy without being heavy.The guitars
are cranked up but not overpowering and the drums remain mid-placed and are played
carefully rather than punded...Now we are treated to dual vocals that just enhance and
solidify the hints at classic Goth Rock that you pick up on from the start.If you are into
stuff like THE CHAMELEONS UK, TONES ON TAIL, Etc then I think you'll really enjoy
and appreciate what SEBASTIAN MELMOTH are doing.Clean tremolo guitars and synths
close this number and lead us into white noise and bleak horizons.

III.) WHITE NOISE AND BLEAK HORIZONS:
A cloud of white static rythms and reversed guitar rushes through your ears 
as quiet drums set the tempo.Distant chanting,Whispered and almost spoken
vocals begin to weave their narrative.The tone is dark and almost sarcastic as
if SEBASTIAN MELMOTH are here to mock rather than to entertain.Layers of
electronic experimentation and dark ambience fill the spaces inbetween words.
Again there is a classic Gothic vibe to this and again I am reminded of bands like
TONES ON TAIL or THE DANSE SOCIETY...Metallic and tribal percussions begin
and quickly pick up the pace as that cloud of white static returns.Huge cymbals
and soothing synth leads and voices stir up a unique atmosphere.And honestly
the best way I can sum up the A side of In Ruins is with that one word.Unique.

SIDE B.)

IV.) CATCHING UP WITH MORRISON:
60's Garage Rock meets 90's Goth Rock with all kinds of neat little surprises
thrown in the mix...Sounding both original and classic at the same time.Think
BAUHAUS meets THE DOORS as a foundation and add electronic experimentation
and some really interesting vocal choices thrown in their as well.The best way I can
explain the vocals towards the middle is think THE BIRTHDAY PARTY meets FIELDS
OF THE NEPHILIM after a drunken night of listening to The Monster Mash on repeat
while trying to summon the ghost of Jim Morrison...Make sense? Probably not...How 
about you just buy a copy and figure it out for yourself.Spooky rythms, Catchy hand
claps, Strange electronics and a somewhat Surf Rock vibe.All this plus what was stated
above...You'll either get it or you won't.Why not take a chance and try something different.

V.) BLACK SEPTEMBER:
A dark and catchy little guitar rythm opens the gates for somber vocals
concerning bitter things.Again we have an ominous Surf Rock vibe going
on.Sorta like THE CRAMPS but much more depressing.Carnival-esque 
keyboards give way to sudden screams.Nothing too harsh, but still they
are effective and work well to enhance the creepy and sinister atmosphere.
The segment with the reverb laced screams reminds me of THE BIRTHDAY
PARTY era Nick Cave.Unexpected madness over sideshow music.Moaning
backing vocals bring to mind the glory days of early CHRISTIAN DEATH
and THE VIRGIN PRUNES.Cowbells and all sorts of neat little additions
to the drums shift things into a slow moving Gypsy caravan of gloom,
doom and despair and then fade into nothingness.

VI.) PROSOPAGNOSIA:
Mid-paced Goth guitar and slow drums filtered through phaser or
chorus effects.Musically this is sort of like Faith era THE CURE or
the first two JOY DIVISION albums but with more synth work adding
a backbone of dark ambience.The vocals have a very English Post-Punk
sound here.Shaky and desperate.Only controlled for short periods of time
before the angst and desperation bleed through and spill upon the floor.
Feedback is used like lead guitar as jangly rythms play beneath a catchy
but depressing chorus.Lyrics concerning loss, regret and heartache come
and go like fleeting specters.Soft gang vocals chant along as the drums 
take on a more tribal beat.Despondent guitar rythms and moaning synths
take their place as the chorus repeats sung by weary voices with pained
souls.This repeats as a mantra for some time and then fades into a segment
of obscure and mysterious guitar work that soon transforms into straight
electronic experimentation.

VII.) PRESLEY HONEY:
The final track has a total Folk Rock vibe to it.Not sure if these are
banjos or mandolins that accompany the acoustics here but whatever
they used it works...Then the drums and group vocals kick in along and
it's a Gypsy Rock fest.Traveling vagabond music...Like the stuff you'd 
expect to hear played live while huddled around a camp fire with some
good friends.You can almost smell the brandy on the singers breath.What
often seems to set SEBASTIAN MELMOTH apart from the countless bands
attempting similar things these days (Aside from the over all experimental
tendencies of the group.) Is the clever use of synths as a sort of bottom layer
to the seven tracks here.These guys know how to make great use of subtle
sounds that many would overlook or not even consider.The rambling drums
and catchy "sing-along" vocals make this the "happiest" song on the album...
But here this isn't a bad thing.All breaks down into delay soaked guitars and
echoing drums along with playful but eerie ambience and vocal effects.One
last stretch of tribal percussions and utter strangeness and the desire to flip
the tape and start over is in full effect.

NOT TYPICALLY THE TYPE OF STUFF WE REVIEW ON TRAUMATIC STATIC
BUT THEN AGAIN WE DO SPECIALIZE IN EXPERIMENTATION AND SYNTH
WORK.A UNIQUE AND HIGHLY ENJOYABLE RELEASE FROM A LABEL THAT
PUTS QUALITY FIRST AN ALWAYS OFFERS SOMETHING DIFFERENT:

Also: Be sure to redeem the download code with your purchase of "In Ruins"
for three really interesting remixes as well as digital versions of the album
tracks so you can shove them into that listening device of yours!

8.5/10
-ABATTOIR-

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