Wednesday, December 30, 2015

REVIEW - MALDICION - SELF TITLED - CDR

MALDICION - SELF TITLED - CDR
BLACK OAK PRODUCTIONS
RAW BLACK METAL
PRO PRESSED CDR IN A BLACK
PAPER SLIP CASE


With a genre like Black Metal it is hard to find
a good band that showcases both skill and dedication
these days without relying on false claims or "grim" 
gimmicks. With so many bands claiming to play "True Black 
Metal" these days there is a lot to sort through before 
finding true talent. MALDICION are some of the most dedicated 
and enthusiastic dudes doing it right now. Total 90's Black
Metal worship that draw heavy influence from the pioneers
and innovators and filter it through their own drunken
rage and blood lust. Though they may not be reinventing the
genre or bringing anything completely new to the table, They
are definitely keeping the spirit alive and the flame burning.
And being that these dudes eat, sleep and breath Black Metal,
You can bet your ass that they are sincere in what they do.
Many artists can take note of the blistering intensity that
goes into MALDICION's work, Both live and in the studio.
MALDICION are bringing the dark ages to Southern California,
Leaving no cross unturned.

I.) ANGELS BLOOD:
"Angel's Blood" comes on a slow "Freezing Moon" style build up before
kicking sinister riffs that sound like they could have been on an early
GORGOROTH album along with mid-paced but powerful drumming. (Nice to hear
since so many Black Metal albums seem to have a weak drum sound.) The vocals
are raw as fuck. Raspy screams that are similar to artists like CRAFT or early
1349. MALDICION take a semi-melodic approach with the guitar style but it is always
fierce and fiery stuff. Things kick into a faster paced segment complete with a dual
layered vocals attack...With a force like locusts swarming from the husk of a dry corpse 
along with deep death growls to add to the terror. (Think early CARPTATHIAN FOREST) Next
we go into blast beats and dizzying riffs along with witchy, croaked vocals similar to
ANNAL NATHRAKH. Intense and relentless. The guitar work is something in-between EMPEROR
and GRAVELAND at times but always changing. Basically every badass tone and technique 
that made 90's Black Metal so important is featured here. From here we go into evil
incantations recited over funeral paced, early IMMORTAL/MAYHEM style instrumentation
and then we are tossed back into a mid-tempo assault followed by SLAYER-Esque palm
muted riffing til the end.

II.) TEMPTRESS:
"Temptress" follows with scorching tremolo riffing and clashing cymbals before turning
into a pure blackened bloodbath. If you are into early stuff from bands like TAAKE,
URGEHAL, or any of the other "Anti-Human/Anti-Life" bands then there is a good chance
that you'll really dig this. The drums do seem to get slightly sloppy at times here and
there but never enough to keep you from enjoying it...Plus gritty and imperfect isn't
always a bad thing. Death growls and catchy riffs bring to mind early MARDUK or DARK
FUNERAL with some hints of DISSECTION in the melodies. A slow break/buildup leads into
a stomping classic Black Metal style segment that invokes the ancient God's and keeps
the torch burning strong. Blast beats and ultra dark riffs lead the way until once
again we go into a banger of a transition complete with dual solos that carry us into
the final track.

III.) WALK WITH ME THROUGH HELL:
"Walk With Me Through Hell" hits hard right away. Loud and in your face vocals destroy
the walls of your comfort zone and light the roof ablaze. Tribal drumming brings us into
mid to fast paced passages that channel the ferocity of early BATHORY records. A wailing
solo screams and drops us off into a dissonant few moments before we go into all out war.
The vocals are so raw that they sound painful to accomplish. Some of the riffs remind me of 
Dark Medieval Times era SATYRICON, but played slightly faster. The track ends in an aural
cacophony of total chaos with some in studio chatter between the band members surprising
us at the end. All in all this is a pretty badass demo.

DIRTY BLACK METAL FOR FANS OF THE CLASSIC 90'S SOUND WITH A FEW NODS TOWARDS
FIRST WAVE ARTISTS LIKE BATHORY, SODOM, TORMENTOR, ETC:

7.5/10
-ABATTOIR-

Thursday, December 24, 2015

TRAUMATIC STATIC'S: TOP 20 RELEASES OF 2015:


20.) GHOST MINER - SHADOW FACTORY
LABEL: OUT-OF-BODY RECORDS
GENRE(S): POST-INDUSTRIAL/EXPERIMENTAL
FORMAT: CASSETTE - C25


A short, but powerful release.
Punchy drum patterns beneath brooding synths
and shadowy atmospheres. Soft, yet eerie vocals.
With nods to the Godfathers of 90's Electro Industrial
as well as 90's Synth pioneers. Perfect downer music for 
a rainy day.

19.) TERROR APART - KNIGHT RIDER
LABEL: QTYJPPR RECORDCS
GENRE(S): POST-INDUSTRIAL/EXPERIMENTAL/
DARK AMBIENT/NOISE/POWER ELECTRONICS
FORMAT: CASSETTE AND CD


The one-woman project of Anna Leja. Terror Apart
explores various realms of blasphemous darkness
that come on building synth drones and heavy Industrial
percussive elements. Covering various genres from 
Goth/Darkwave to Power Electronics 
to just about every other dark underground
electronic genre. Vocals range from ominous moans
and whispers to fierce rants. There is a lot to enjoy 
here. Download code included!

18.) ODOUR SONOUR - THE STRANGE WONDERS OF THE FLESH
LABEL: EXABYSS RECORDS
GENRE(S): DEATH INDUSTRIAL/DRONE/HARSH AMBIENT/NOISE
FORMAT: PRO-CDR


Cold Industrial soundscapes, Dense drones that drift and
shift for lengthy periods of time. This is the type of 
stuff you put on when you want to be obliterated into
oblivion. Six instrumental compositions ranging from 
around three minutes to over fifteen minutes in 
duration. Obscured samples and empty, windswept 
passages. Turn it up and spiral down.

17.) IN SEARCH OF DEATH - III
LABEL: DEATH CONTINUES RECORDS
GENRE(S): HARSH RHYTHMIC NOISE/DEATH 
INDUSTRIAL/EXPERIMENTAL
FORMAT: CD


The owner of Death Continues Records, Xavier H's
personal project. Simple patterns blend into chaotic 
nightmares. Repetition is employed to leave you in a 
catatonic state until you are pummeled by additional 
layers, tones and textures. No vocals, but some samples 
are used to build on theme and suspense.

16.) TOVARISH - THIS TERRIBLE BURDEN
LABEL: ARGONAUTA RECORDS
GENRE(S): BLACKENED NOISE/DEATH INDUSTRIAL/DARK AMBIENT 
SOUNDSCAPES/DRONE DOOM
FORMAT: CD


Ten slabs of pitch black terror. Heavy riffs amongst
Industrial clatter. Slow-jams of death and destruction.
Harsh blackened vocals and brutally honest samples.
Track five features guest vocals from: Yoshiko Ohara
of Bloody Panda. Definitely Tovarish's best release to
date.

15.) BOAR - IN HORROR
LABEL: PETITE SOULS
GENRE(S): HARSH NOISE/POWER ELECTRONICS
FORMAT: CASSETTE - C20


A stellar release from one of the hardest working acts
in Harsh Noise. Although nothing can quite capture the
blistering intensity of Boar's live performances, In 
Horror still manages to capture and showcase the levels 
of skill and creativity that go into Boar's 
compositions. One of the best Harsh Noise releases 
you'll hear this year.

14.) INTERRACIAL SEX - RACEPLAY
LABEL: NEFARIOUS ACTIVITIES
GENRE(S): HARSH NOISE/POWER ELECTRONICS
FORMAT: CASSETTE - FULL-LENGTH


From the controversial intro samples to the last moment,
Raceplay holds your attention and wrecks your senses. 
An absolute beast of a release. Featuring guest vocals 
from Penchant on track eight and a whole lot of in your 
face attitude. No fucks given outside of the bedroom.
The album art itself is pure pornography. Graphic images 
to match graphic content. 

13.) STONE WIRED - UMBRAL DEPTHS OF SHADE
LABEL: EXABYSS RECORDS
GENRE(S): POWER ELECTRONICS/HARSH NOISE/DEATH 
INDUSTRIAL/POST-INDUSTRIAL
FORMAT: PRO-CDR


Not only is this one of my favorite releases of the
year, But also my favorite release by Stone Wired.
Thirteen tracks that put the power back into Power
Electronics. Everything from the harsh rhythms and
seething Death Industrial tempos to the Grim vocal 
delivery and immense synth work is top notch. Ending
with a brilliant remix of one of the album's tracks
featuring kit drums.The owner of Exabyss Records is the
man behind this project (Although they used to be a two 
piece.) Showing his roster how it's done for over a 
decade.

12.) OF EARTH AND SUN - UNCOILED
LABEL: MALIGNANT RECORDS
GENRE(S): DRONE/RITUAL AMBIENT/OCCULT NOISE
FORMAT: CD


Of Earth And Sun (AKA Matthew Hunzeker) creates
ultra dense and heavy drones using hand-carved
trumpets crafted out of animal bone by Hunzeker himself,
Minimal drum programming, Oscillators and his own voice.
Each track was recorded live in studio in one take.
Uncoiled is a full sensory experience. Unique and 
captivating as well as a little terrifying at times.

11.) WET NURSE - LACRIMOSA
LABEL: MALE ACTIVITY
GENRE(S): POWER ELECTRONICS/HARSH NOISE/DEATH 
INDUSTRIAL/HARSH AMBIENT
FORMAT: CASSETTE-FULL-LENGTH


Grim and gritty P.E. with elements of Death Industrial,
Dark Ambient and even a bit of Black Metal. Seven tracks
of highly emotional and deeply depressing music built on
harsh drones, wandering guitars, despondent 
synths/pianos and miserable samples. Disturbing music 
for disturbed people

10.) GNAWED/SWOLLEN ORGANS - SPLIT
LABEL: DANVERS STATE RECORDINGS
GENRE(S): POWER ELECTRONICS/HARSH NOISE/DEATH INDUSTRIAL
FORMAT: CASSETTE-C26


Two heavy hitters come swinging hard. Both artists 
present two tracks each that showcase what they have to 
offer. Gnawed begins with intense drones and junkyard 
percussion's, fierce vocals heavily filtered through 
effects and a whole lot of angst. Swollen Organs finish 
things off with raunchy samples and a scumbag attitude 
over noise that compliments Gnawed's side and leaves the 
listener pleased and wanting more.

9.) APOCRYPHOS+KAMMARHEIT+ATRIUM CARCERI - ONYX
LABEL: CRYOCHAMBER
GENRE(S): DARK ISOLATIONIST AMBIENT SOUNDSCAPES
FORMAT: CD


Three of the finest acts in the Dark Ambient field join forces to bring one Hell of a collaboration. All three artists play off of each others styles excellently. These nine tracks will take you into realms of sorrow and beauty neath hollow skies over rain soaked streets.
By far one of the best Dark Ambient albums We've heard 
in quite some time.

8.) CLIMAX DENIAL - DEHUMANIZING ENVIRONMENTS
LABEL: MALIGNANT RECORDS
GENRE(S): POWER ELECTRONICS/HARSH AMBIENT/
DARK AMBIENT 
FORMAT: CD


Four long journeys into the mind of a madman.
Surreal and sinister compositions that slowly
descend into music to accompany a murder. 
Featuring gorgeous artwork by: Andrea Coelho. 
Dehumanizing Environments was one of the 
best surprises of the year.

7.) KRISTOFFER OUSTAD - FILTH HAVEN
LABEL: MALIGNANT RECORDS
GENRE(S): DARK AMBIENT/DEATH INDUSTRIAL
FORMAT: CD


Oustad's debut solo release was received and waited upon with much anticipation. It blew our expectations out of the water. A flawless blend of cold Dark Ambient, inhuman Death Industrial elements, organic sounds and field recordings. Possibly the years best debut release.

6.) ANALFABETISM - AV HJORD AR DU KOMMEN
LABEL: MALIGNANT RECORDS
GENRE(S): POWER ELECTRONICS/RHYTHMIC NOISE/DEATH INDUSTRIAL/HARSH AMBIENT
FORMAT: CD


Analfabetism's second release. We really loved the self-released 
first album so we were really excited to hear that Analfabetism 
was getting the Malignant treatment. This album will leave you 
dead inside. Cold and callous Death Industrial soundscapes that
build on harsh tones and textures, grinding rhythms,
hostile atmospheres and mechanic ambiance.

5.) YEN POX - BETWEEN THE HORIZON AND THE ABYSS
LABEL: MALIGNANT RECORDS
GENRE(S): DARK CINEMATIC AMBIENT SOUNDSCAPES
FORMAT: CD


We waited over a decade for this release and in 2015 it
finally arrived. Our favorite Dark Ambient release of the year. While most blogs are praising Prurient, We are at the shrine of Yen Pox. Listening to this is such a surreal experience. When we say that this is a cinematic record, We mean the whole deal. Theater quality worlds of sound that you will be utterly immersed in. Surround sound recommended!

4.) THE VOMIT ARSONIST - ONLY RED
LABEL: MALIGNANT RECORDS
GENRE(S): DEATH INDUSTRIAL/POWER ELECTRONICS/HARSH NOISE
FORMAT: CD


Only Red is one of the heaviest records we've ever heard...And that's saying something. Not heavy in the same way as a Black, Death or Doom Metal release...No this is pure rage spewed out over immense levels of sub-bass and drones that sound like they were crafted out of raw sewage and rotting flesh. Probably the most pissed off record of 2015.

3.) GNAW THEIR TONGUES - ABYSS OF LONGING THROATS
LABEL: CRUCIAL BLAST
GENRE(S): BLACKENED NOISE/EXPERIMENTAL BLACK METAL
FORMAT: CD


Gnaw Their Tongues once again embrace their metal roots on this one. The bombastic noise and percussive chaos are still present although with Abyss of Longing Throats it feels much more focused. Less improvisation and more composition. Everything that's made this project great over the past decade has been honed into a perfect strike. Insanely heavy stuff. Bang your head til you break your fucking neck to this one.

2.) ABJECTION RITUAL - FUTILITY RITES
LABEL: MALIGNANT RECORDS
GENRE(S): POWER ELECTRONICS/DEATH INDUSTRIAL/HARSH NOISE
FORMAT: CD


Blasphemous, pissed and brutal Death Industrial full of scorn, hatred and disgust. Abjection Ritual has quickly become one of our favorite projects in the genre. Corrosive atmospheres and blackened vocals combine with anti-religious samples and cacophonous mechanic and metallic percussion's. One of the heaviest hitting Death Industrial albums in recent memory.

1.) DRAGGED INTO SUNLIGHT+GNAW THEIR TONGUES - N.V.
LABEL: PROSTHETIC RECORDS
GENRE(S): BLACK METAL/DEATH METAL/DOOM METAL/BLACKENED NOISE/BLACKENED INDUSTRIAL
FORMAT: CD


This is a meeting we have dreamed about since we first heard Dragged Into Sunlight. 
To see and hear it become reality is incredible to say the least. These two monstrous forces in raw/damaged Black Metal compliment each other's styles to perfection. Utterly violent and totally relentless. Everything about this record is pure badassery.

LIST COMPILED BY:
-ABATTOIR/NECRO DOLL-

Tuesday, November 17, 2015

REVIEW - NIHILIST BUDDHA V.S. APERAPER - SPLIT - CASSETTE - C20

NIHILIST BUDDHA V.S. APERAPER - SPLIT - CASSETTE - C20
NOISE CO. 2-13
EXPERIMENTAL NOISE/CRUST PUNK/GRINDCORE/HARDCORE/LO-FI/
BREAKBEAT/SPEEDCORE/GLITCH/CYBERGRIND/ETC
COMES IN A YELLOW JEWEL CASE WITH J-CARD INSERT.
ON BLUE CASSETTE WITH PRINTED BAND LOGOS.


SIDE A.)
NIHILIST BUDDHA:

I.) PLAGUES OF ANTIQUITY:
Both bands here share similarities but for the most part are quite
different beasts. Each delivers around ten minutes of brutality and
fuckery for your listening terror. Side A opens with NIHILIST BUDDHA,
A one man project helmed by Matt Michuda who is the owner and operator
of the Noise Co. 2-13 record label as well as the artist behind the
Harsh Noise project CITIZEN 2-13. Here he offers up a single long
form track. Drunken samples are heard briefly before things kick
into an all out onslaught of lo-fi riffs and shredding. Painfully
screamed vocals come in a messy, frantic mass over equally beligerent
Cybergrind/Speedcore style machine drums.This actually seems to be 
several short tracks all under one title. With raunchy and comedic
samples in between some.This is similar to stuff like PISS JUNKIE
and GOODBYE CRUEL WORLD as well as possibly a much much rawer take
on the style of AGORAPHOBIC NOSEBLEED. Around midway we hear bass
drum plodding that leads nowhere as if done just to throw you off
and leave you scratching your noggin. Spazzy drums and weird bass
grooves are present at times while clockwork toy-like drumming with
rabid riffs and foaming mouth vocals are heard later. All in all it's
an intense ten minute period of audio annihilation. A windswept noise
interlude is present to once again throw the listener into a total
mindfuck. Pulsing beats throb and retreat, Chimes fill the air like
broken, wind-up music boxes, and warped atmospheres appear and morph
into even stranger realms. The noise piece is probably the longest
track here. Cartoon samples come out of left field and abruptly close
the A side. This may be one that will take repeated listens to grow on
you...But it's an interesting experience either way.

SIDE B.)
APERAPER:

II.) THUNDER KNUCKLES / III.) HONKEY THUNDER /
IV.) DOUCHEY D / V.) RAPES FUCKING APES:
With APERAPER we find some basic similarities, E.G. Humorous samples, 
Grindcore/Hardcore style riffs and vocals, Shorter songs, Etc...But
APERAPER is much more on the traditional side of noted genres.The
production is much cleaner as well, giving these four tracks a more
straight forward feel overall. APERAPER is also a full band so it
comes across more like a group beatdown than the one man's madness
approach of NIHILIST BUDDHA. Being that both artists are presenting
two very different takes on the genres, this kind of reminds me of
the "Shit Split" from BLATZ and FILTH in a weird way. We open with 
"Thunder Knuckles." Heavy riffs and hard drums bring us a 90's
Hardcore groove. Throat shredding, raspy vocals are delivered
over excellently timed instrumentation. The band is locked in and
kicking ass. We shift from mid-tempo into slightly faster territory
for a while before interesting breaks hit and send us blazing a trail
to the finish line. Samples of stereotypical hillbillies open "Honkey
Thunger" and then we head into palm muted hardcore with a dual vocal
attack that has a Power Violence/90' Grindcore feel to it. The samples
return along with cowbells and other gimmicks that make this a fun listen.
"Douchey D" rides in on a killer bass line followed by Punk Rock power chords
and blistering vocals with a touch of delay/reverb. The drums are standard
and get the job done. Nothing too crazy but it works for the songs and that's
all that really matters. Slightly anthemic stuff that you can pump your fist
and stomp your boots too if you feel so inclined. "Rapes Fucking Apes" opens
with a pretty cool buildup that sorta reminds me of TOMBS until they step it
up a notch and we go into riffs and pounding breaks that have a bit of a Cross-
over Thrash vibe to em...Like early S.O.D. Group vocals are spit over increasing 
speeds until the end. A cool way to close the album for sure.

BOTH SIDES KILL. GET IT AND DECIDE WHO YOU ROOT FOR:

7/10
-ABATTOIR-

www.noiseco2-13.bandcamp.com

Tuesday, November 10, 2015

REVIEW - BLACK BLOCK - SNAPSHOTS FROM THE EMOTIONAL GUTTER - CASSETTE

BLACK BLOCK - SNAPSHOTS FROM THE EMOTIONAL GUTTER - CASSETTE
NOISE CO. 2-13
POWER ELECTRONICS/HARSH NOISE/HARSH AMBIENT/DRONE
COMES IN A "STATIC SHIELD" ZIP-BAG WITH FOLD OUT
XEROXED DIY ZINE STYLE INSERT WITH IN DEPTH LINER
NOTES. ON YELLOW CASSETTE WITH STICKER ON THE A
SIDE.


SIDE A.)
I.) HOSTAGE CRISIS:
BLACK BLOC has been doing top notch Power Electronics for around eight years now.
Politically charged P.E. with a clear message delivered through the bleeding heart
of righteous anger. Known for a blistering live performance and a dedication and
work ethic that is more machine than man. Sadly, "Snapshots From The Emotional
Gutter" will most likely be the last BLACK BLOC release but damn it's one Hell
of a way to go out. This is probably the best thing I've heard from the project
since the stellar "Strangulation Of Free Expression" album released through the
Smell The Stench label in 2007. Snapshots opens with "Hostage Crisis" where we
are lulled in by deep, resonating drones that blare like war horns. The atmosphere
is similar to the stillness before a catastrophic event. Or to be more cliche, The
calm before the storm. Spoken samples of low conversations are heard but hard to
decipher. Low rolling static comes in slow rushing patterns and scraping movement
begins as additional electronics begin to buzz and hum. The initial drones are 
layered with similar but higher pitched versions of themselves...Lead instrumentation
of sorts...And then the vocals kick in. Rough grunts. No distortion. No effects. Just
pure, raw fury. A passionate and fierce commentary on everything that is wrong in one
man's eyes. Emotional and brutally honest. They are delivered with a rage that you'd
expect to hear from a Grindcore or Power Violence band. Soon an avalanche of dense
low-end noise surges and floods all in it's wake. The sound is immense. The energy
is electrified and coursing like a river of angst and bitterness. Not the harshest
thing you will hear but definitly powerful and relentless. By no means an easy listen.
In fact BLACK BLOC is known for challenging content. I have a BLACK BLOC patch on my
vest and this tape is a good reminder of why I wear it. By the time we reach the half-
way point it's an all out slaughter in slow motion. If any project could inspire you
to stand up, speak out and fight for change...It's this one. After some time spoken
samples are once again employed, This time they showcase an older woman attempting
to file a complaint and get some help for a simple matter only to be met by machines
and excuses. No service. No help. No compassion. A true testament to the state of the
world we live in.

SIDE B.)
WHAT NONE EVER WISH TO SEE 
(LIVE AT AVANT FAIRFAX FESTIVAL AT CANDLEHOUSE, 2011):
Side B gives us a glimpse at BLACK BLOC's live show. Although nothing will compare to
seeing an act like this in person, We can at least hear the energy and dedication that
goes into a live performance. If this recording is anywhere near what we can expect to
experience in the flesh, then it is definitly worth the price at the door. I really wish
I could have caught this act when Don was still playing gigs. It's not often that you get
to witness a Crust Punk performing some of the best P.E. around in the 2000's. In fact this
is the only project I know of where this would have been a possibility. "What None Ever Wish
To See" is an excellent companion piece to track one as it's similar. Long-form and full of
pain and emotion. Between sides A and B this little cassette shows all of what BLACK BLOC is
best known for. A perfect memorial to a project that will be surely missed. Again we open 
with intense and immense drones that fill the room with the sense that something devestating
is on the horizon. Metallic scraping mimicks crashing cymbols adding a percussive element.
Harsh vocals are spewed forth in tones of scorn and contempt. Throat shredding, sick rasps 
that make it sound like Don will be coughing up blood soon after his set. Secondary drones
rise and expand like hazzardous clouds of toxic gas set loose upon an unprepared audience.
You can feel the tension weighing heavy on the air as clashing metallic loops build and
harsh patterns arise and gain momentum. The track has all the force of a hectic tug of
war in progress. One where neither side can afford to lose. The crowd is silent throughout
the performance. No chatter, no bullshit. They're either awe-struck, terrified or both.
Grinding harsh noise movements roll in and lay all to waste...Like a giant wreck on a
busy freeway. Aural devestation with a no quarter attitude. When you are in BLACK BLOC's
house...You know it. Towaards the end it's a cacophonous mess but at the same time precise
and controlled. Chaotic, yet organized. There is a reason for the onslaught and a goal in
mind. One that will be realized at all costs.

I CAN'T THINK OF A MORE FITTING WAY TO MEMORIALIZE SUCH A GREAT PROJECT. 
CONTRIBUTIONS OF MEANINGFUL SUBSTANCE WERE GIVEN TO THE P.E. SCENE VIA
BLACK BLOC. THIS IS A PROJECT THAT WILL BE REMEMBERED AND MISSED:

8/10
-ABATTOIR-

actualize.the.collapse@gmail.com
www.facebook.com/black.bloc.DSPE


Traumatic Static Webzine would like to extend the best of wishes to Don. Wherever the future takes you we hope you are happy and at peace. We thank you for all you've done over the years. Your music will be enjoyed for many years to come and never forgotten.
Happy Trails.

Monday, November 9, 2015

REVIEW - ACTUARY - NAILED TO THE EARTH - CASSETTE - C10

ACTUARY - NAILED TO THE EARTH - CASSETTE - C10
ENEMATA PRODUCTIONS
BLACK NOISE/DEATH AMBIENT/HORROR AMBIENT/DEATH INDUSTRIAL
COMES IN A JEWEL CASE WITH J-CARD INSERT. ON BLACK CASSETTE
WITH STICKER ON THE A SIDE.


SIDE A.)
I.) UNKNOWN CONSEQUENCE:
ACTUARY is a project that I've enjoyed for quite some time now. I have heard about
a dozen releases and have yet to be dissapointed. This is still true with "Nailed 
To The Earth." Although this is a short release at only ten minutes in total run
time, It is an excellent ten minute stay in pitch black territory. Side A showcases
"Unknown Consequence" where we certainly go into the unknown without caution and most
certainly face the "consequences." Dark and dreamy atmospheres with distant clattering
echoing drifts out of the speakers and pulls us with it. Synth drones rise and linger
along with reverb laden percussive elements. The track floats in a ghostly manner like
low fog wavering over ancient graves. Restless voices are heard murmuring within cyclic
distortion. Noisy signals and pulses crawl over the senses like insects blocking out all
light as they tear you apart and drag you down into the hollow depths of the cold, wet 
earth. By the time we reach the end of the track we have been devoured by a harsh cacophony.
A steady, yet heavy hand rests and works on the ENV and cutoff switches. Feedback and harsh
scraping junk abuse lacerate the flesh and wreck the mind until we are carried into the abyss
by phased drones and uneasy ambiance.

SIDE B.)
II.) NAILED TO THE EARTH:
On the B side we journey into the title track. In the brief five minutes of side A we've
already experienced mass amounts of disembowelment and despair. Let's see what ACTUARY 
has in store for our drained husks with "Nailed To The Earth." As we've already been
through expiration and interment it can't get any worse right?...Right?...Think I may
have spoke too soon...Malevolent atmospheres come like wretched apparitions with sinister
intentions. Moaning synths drone out and drop off into silence in repetition. Synth saws
slice fresh wounds in dead flesh. Power tools are utilized to bring all the warmth and 
cheer of a cold industrial abattoir. Blackened vocals spew filth and curses to make our
stay all the more pleasent as we are seperated limb from limb. The vocals are treated
with filters and effects that give them an inhuman/alien quality. It sounds like we
are going from abduction to vivisection to (Insert each and every horrible way to die
through dismemberment here.) Schitsofrentic electronic fuckery is heard along a backdrop
of noise that sounds like a trash compactor doing it's job without care that it's crushing
us to bits. Earthen crucifiction is a terrible way to go out. Be glad this is just music for
your entertainment...

ACTUARY PACK A SHIT TON OF ANNIHILATION INTO A MERE TEN MINUTES.
POTENT AND DEADLY. THIS IS A GREAT RELEASE. HIGHLY RECOMMENDED:

8.5/10
-ABATTOIR-

www.actuarysound.com
www.enemataprods.blogspot.com

Thursday, October 22, 2015

REVIEW - TERROR APART - KNIGHT RIDER - CASSETTE

TERROR APART - KNIGHT RIDER - CASSETTE
QYJPPR RECORDS/QYJ001
POWER ELECTRONICS/DARK ELECTRONICA/POST-INDUSTRIAL
COMES IN A PLASTIC CASE WITH INSERT AND DOWNLOAD CODE.
ON BLACK CASSETTE WITH STICKER LABELS.
TERROR APART IS:
ANNA LEJA


SIDE A.)

I.) INTRO / II.) INTO THE SUN / III.) HEAD IN /IV.) MAMMOTH:
The opening "Intro" is an extended introduction to the album. Quite lengthy
for an intro piece at nearly seven and a half minutes long. Lo-fi psychedelic
guitars play out over the sounds of rattling chains in looped rhythms. Unknown
instruments create middle eastern sounds that drone out as if attempting to 
induce a shamanic trance. Otherworldy beings speak in powerful alien tongues
filtered through pitch shifters tuned down. It sounds like a jealous demi-god
cursing all other gods and belief systems. The backing music sounds like it 
could be an early live recording from a band like CABARET VOLTAIRE at times.
Early Industrial style experimentation. Deep and heavy synth drones rise along
with various tones and textures that could be described as cinematic or horror
ambient. Clanging percussive elements are employed as well as churning sub-bass
movements. A slow throbbing pulse is created on what sounds like tribal hand drums
adding a "mystical" sound to the piece. The audio equivalent of a drugged out spirit
journey. We head into the sun accompanied by a continuation of the immense synth drones 
that we heard in the previous song. Pulsing secondary synths form a heartbeat as things
come alive. Mid-tempo rhythms courtesy of a drum machine begin. The drums have a 90's
Goth-Rock quality. Minimal, cold, miserable and inhuman. Anna Leja's soft vocals come
barely above a whisper. They are however sung in a clean, yet sinister style. Spacey
cosmic synth layers flow, spiral and mutate into a myriad of various sound experiences.
What sounds like distant synth or guitar walls come at you like headlights in a tunnel 
and then vanish leaving room for the next one to pass by. Additional sci-fi/space noise
style textures are added for effect and atmosphere and all eventually flows like a stream
of plasma that weaves and bleeds out from one track to the next. "Head In" is a powerful 
piece that takes us further into the distant suns of another world. Heavy tribal percussion's 
and catchy vocal chants come over pooling synths that ripple and drip. Again we have a very 
90's Goth sound with some similarities to the darker tracks early COCTEAU TWINS or SWITCHBLADE  SYMPHONY. I must note that everything is excellent here but the vocals really stand out. Secondary tribal rhythms come in bombastic slams with an almost militant slant. This is 
the type of sound I had wished ZOLA JESUS would have pursued.Epic and ethereal but heavily 
leaning on the dark side of audio expression. The synth tones utilized here are top notch.
Subdued and controlled, yet fierce and immense at the same time. Everything is perfectly 
balanced to bring you an incredible mix. Anna Leja has an excellent grasp on composition.
Definitly something I'd recommend checking out. "Mammoth" opens with Warped cosmic ambience 
creates an alien world populated by disembodies otherworldy voices and hazy atmospheres.
A vortex spirals around containing the track within. Electro meets Martial Industrial 
percussions echo in time and space until we shift into reverb drenched guitars that jangle 
and dance along with a throbbing bass line. The off-beat and oddly composed melodies remind 
me of MY BLOODY VALENTINE's classic "Loveless" album. Samples feature the alarming  sound of  babies crying adds a strange level of distress and urgency to the piece until clarity comes
as we hear a desperate mother pleading with her child to "Take their hands off their sister." 

SIDE B.)

V.) MY HOUSE / VI.) GRASPING HANDS / VII.) 4X4 IN LEATHER /
VIII.) KNIGHT RIDER / IX.) LAST FROST / X.) FEEDING HOUR:
As we head in to "My House" on the B side we are greeted by hazy and surreal atmospherics, 
wet dripping ambiance and the echoing clang of metallic percussion's.This drops off and we 
awaken in a mysterious realm filled with spacey drones and ascending soft vocals that are 
sung in a quiet and soothing manner as if attempting to lull you to sleep and then change.
Heavy hitting industrial drums slam in repetition and the vocals grow in loudness and 
intensity as the ground rules are laid down with the line "Not in my house." The synths
remain quiet still but add a feeling of lurking malevolence and forboding.Groaning voices
rumble the ground as pin pricks of sound for tiny patterns.Heavy bass and pounding drums
bring early SWANS to mind and then boom! things get even more intense as GODFLESH style
rhythms build along with mechaniacal experimental Industrial layers and textures.If you
are into stuff like YOUTH CODE or OPPONENTS then you should check this one out. Utterly
heavy but not harsh.Whistling wind effects and various other additions are present at 
the end of the track as it slowly winds down into "Grasping Hands." Dark Electro patterns
crawl in from a room away accompanied by fragile chimes and distant object abuse.A mechanical
hum begins to permeate the piece as chants come that sound part Native American, part Gypsy
begin to fill the air.It sounds like a magical meditation in the process. A great work being
completed."4X4 In Leather" comes with a similar "Gypsy caravan" sort of style. This one sounds
very much like DEAD CAN DANCE at first. Mysterious music you'd expect to hear accompanying a
bellydancer or firedancer until the phased out synths are layered on top of it.SIOUXSIE AND
THE BANSHEES style music but done with a different set of instruments.The vocals are dreamlike
and sound like they come from the ecstasy of trance and mystical dance.Blaring brass instruments
suck the atmosphere from the air and retreat.A wide variety of bells and whistles are employed to
create the drum beats and the vocals are airy and ethereal, Breathy and elegant but with a dark
outsider art flavor to them.The title track, "Knight Rider" starts as a cacophonous experimental
jam that sounds like a NURSE WITH WOUND concert is happening in a dingy basement and you are listening from a floor or two up. Muffled drums and smothering drones under mind shredding
jolts of electric sound and echoing, ghostly wails. Not at all what I had expected to hear
but a cool track either way. "Last Frost" begins in a similar style, but slower and once
again featuring shamanic chants and mid-tempo drum rituals. Pan flutes are present as well
as airy choir synths played on deep keys to create a spectral drone. Rainmakers and many other
percussive elements are also featured to give this a really primitive and ritualistic feel.
Certain moments of this record recall LENE LOVICH or DIAMANDA GALAS, At least in terms of 
vocal approach. Mix this with clean Power Electronics drones and drums that fall into Trad
Goth and Industrial as well as World Music categories and you may have an idea of what it
is that TERROR APART does. "Feeding Hour" builds on melancholic singing laced in tremolo
effects until slamming 90's Electro Industrial drums similar to early FRONTLINE ASSEMBLY
stomp on and keep stomping. Disorienting rising/falling synths and loud and miserable
trumpets fill the air giving it this weird COIL meets THE RESIDENTS type of sound. Certain
synth tones here sound like something you'd hear in a film like Videodrome. An anxious ocean
of 80's sounds. Treacherous territory. Dive in.

TERROR APART'S BEST RELEASE TO DATE.SERIOUSLY UNIQUE AND INFECTIOUS:

9/10
-ABATTOIR-

terrorapart.bandcamp.com
caravanrecordings.com

Sunday, October 11, 2015

REVIEW - ACID ENEMA - MISANTHROPIC VISIONS E.P. - PRO CDR

ACID ENEMA - MISANTHROPIC VISIONS E.P. - PRO CDR
SELF RELEASED/DIGITAL DISTRIBUTION VIA: CANADIAN SEEDCORE RESISTANCE
BLACK METAL/SPEEDCORE/BLACK NOISE
COMES IN A JEWEL CASE WITH INSERT
ACID ENEMA IS:
ABHORRENT: 
VOCALS/PROGRAMMING
NOTHAN BLOODSTORM:
GUITAR/BASS


I.) HYMN FOR THE GODLESS:
A brief spoken word sample concerning wreckage and destruction from a celestial
source opens the album and then true destruction follows. Tremolo riffing with 
the perfect amounts of reverb blaze a trail as deep throbbing bass drums kick 
things into overdrive. The drums are programmed and have a Hard Techno quality 
to them but they behave like a machine built for Black Metal drumming. This is 
soon demonstrated in full swing as utterly punishing electro-blast beats pound 
you into a pulp at lightspeed.Sorta.Sorta like ANAL NATHRAKH meets AGORAPHOBIC NOSEBLEED.Rough and raw vocals come filtered through crisp distortion. Similar to CREBAIN or 
TOMHET in style. We shift into a mid-paced groove for a little while which later
features hammering double bass hits that are added without changing the overall pace. 
Rapid-fire machine gun blasts and layered vocals soon assault us as blackened riffs 
are played with blistering intensity.This track comes with the force of a freight 
train and beats you down in ten different ways before it's over. The production is 
lo-fi, but not too dirty or muddy so all the instruments shine through. 90's Electro 
Industrial attitudes also shine through at moments with blasting drums similar to those 
of SKINNY PUPPY's "Fascist Jock Itch" or "Tin Omen." Horrid wails in the vein of LEVIATHAN 
or XASTHUR make their final appearance and then we are eviscerated once again.

II.) EVISCERATING GOD:
The heaviness of early MAYHEM meets the hard Industrial throbbing of PLASMA POOL. 
This one takes off at full speed and shreds the senses without mercy. ACID ENEMA 
have definitely not lost their touch over time. Ultra heavy techno beats throb and 
pound until things shift into full gear once again. The vocals sound like they are 
being spewed fourth from the scorched throat of an ancient dragon. Short segments 
slow things down as if recoiling before the next fearsome strike. "That old serpent"
they tell you about on Sunday mornings growing up may very well be Abhorrent. The riffs 
are sorta similar to Transylvanian Hunger era DARKTHRONE but this never comes across as 
an imitation of anything. ACID ENEMA have certainly blended their influences into their 
own sound and mixing in established traditions and well working formulas isn't a bad thing
anyways. Haunting atmospheres via eerie synths are present at the close of the track which 
perfectly bring the mood down to match the nihilistic subject matter of track three.

III.) TO LIVE MEANS NOTHING:
Samples in favor of cataclysmic events lead us into an oldschool Black Metal build up 
that once again brings the heavy hitters from the second wave to mind. Raw and uncompromising
in the tradition of "Nattens Madrigal" era ULVER with the melodic riffing of early GORGOROTH
or EMPEROR. Layered screams add a brutal dual vocal attack that annihilates in seconds before
going into off-beat galloping patterns and heavy snare whippings. ACID ENEMA stick to a simple
formula on this one. They come, they slay and walk away. It's really interesting to hear so
much oldschool Black Metal sound with super heavy Electro drumming.Kinda like if MUTIILATION were to record using PISS JUNKIES drum machine. However you want to put it...It works in
ACID ENEMA's case. Solid stuff.

IV.) HOLOCAUST REMIXED:
(Original version is titled "Holocaust Reborn" and appears on the Xasthur/Acid Enema split CD.)
This one begins like a stripped down version of the original found on the infamous "Xasthur/Acid
Enema" split cd. The original samples, clean guitars and doomy bass line are present. Ghostly
synth choirs are thrown in the mix like the forlorn spirits of holocaust victims themselves.
After the intro we are treated to a seriously sped up version of the original song. This version
is absolutely relentless. Fierce riffs and fiercer vocals over inhuman, face melting blasts. 
Short (At less than two minutes in total length) but very effective. Mass genocide condensed
into a bite sized morsel.

V.) HURT ME 2015:
(Original version appears on the "Hymns Of Hate" Vinyl E.P.)
Samples of begging, pleading, torment and woe at the hands of an unseen sadistic killer start
track five. The samples are filtered through delay/reverb and are presented against a Death
Industrial/Horror Ambient style background. Mechanical marching drums guide us into mid-tempo
riffing over a heavy stomp. Later things lock into more of a MINISTRY/KMFDM style groove that
fucking rips. Tortured screams are looped over fragmented beats and palm muted guitars to create
a slaughterhouse experience that MORTICIAN would be proud of. Definitely a badass little interlude
here. Gorehounds, Industrialists and Metal Heads alike can appreciate this one.

VI.) MISANTHROPIC VISIONS:
The title track builds on sinister guitar leads, Heavy and over-distorted Doom Metal riffs and
drums so hard they sound like they were played on an industrial sized, heavy duty dumpster. 
Militant and forceful stuff that shreds until all are dead. Dismal atmospherics are heard in
the background, making this one even more terrifying. The drums are thick as lead and hard as
nails. The vocals are sparse but deadly and the riffs and bass guitars are pure fucking doom
and death. Similar in style to much of MAYHEM's "Deathcrush" E.P. but with the ferocity of
early BEHERIT. An utterly bestial and mechanical onslaught that more than lives up to it's
title. This transcends simple misanthropy. This is pure hate.

VII.) BRO HYMN (PENNYWISE COVER):
I'll be honest...I've never been much of a Pennywise fan and doubt I ever will be. But this
cover is pretty damn good. Anthemic Hardcore Punk riffs and deep, grouchy vocals complete
with a gang vocal chorus and fist pumping rhythms. This may seem like an odd choice to end
the album off with...Especially after the last track...But it fucking works. An interlude
features the sounds of a crowd at a punk show and adds to the spirit of the track. Music
for good times and brews with your crew. The Hard Techno style drums really stand out on
this one but even that works out and makes it a unique version of the song. Any band that
can cover a band I don't much care for and make me like the song gets points in my book.
Well done guys.

AFTER BEING MOSTLY DORMANT FOR THE LAST THIRTEEN YEARS, 
ACID ENEMA MAKE A TRIUMPHANT RETURN. MISANTHROPIC VISIONS 
IS ALSO AVAILABLE ON CASSETTE VIA LEGS AKIMBO RECORDS UK 
IN AN EDITION OF 100 COPIES AND VINYL THROUGH CROWDFUNDING 
VIA QRATES CAMPAIGN IN AN EDITION OF 100 COPIES:

8/10
-ABATTOIR-

abhorrentbm@gmail.com 
facebook.com/aesangre
soundcloud.com/acidenema
https://qrates.com/artists/acidenema/items/11079

Saturday, October 10, 2015

REVIEW - A SCUMBAG'S GUIDE TO LIFE - OBJECTIVE REALITY - CASSETTE - C45

A SCUMBAG'S GUIDE TO LIFE - OBJECTIVE REALITY - CASSETTE - C45
QUIET BODIES/QBS004
POWER ELECTRONICS/HARSH NOISE/HARSH INDUSTRIAL/EXPERIMENTAL
COMES IN A PLASTIC CASE WITH J-CARD INSERT AND INSERT CARD.
ART AND LAYOUT BY: DAVID COCCAGNA
ALL WORDS AND SOUNDS AND HOSTILITY
BY: SGL


SIDE A.)
I.) A FURTHER ABUSE OF BEAUTY / II.) CAMBRIA COUNTY WAR MEMORIAL /
III.) AND WHAT THEY SAW WAS SO DISSONANT THEY COULD REGARD IT AS ART /
IV.) INTERLUDE 1 / V.) SHOW ME THE VOID:
Rhythmic noise scrapping over a lo-fi Death Industrial canvas. Burried vocals
are smothered neath churning waves, but their anger and disgust is still
very apparent.The overall recording quality is very oldschool and brings to
mind artists like SLOGUN and RAMLEH. Ghosts of feedback resonate and vanish
beneath the murk. This sounds like a long-lost relic from the early 90's if not
earlier. Desperate and angsty narratives are nearly hidden behind dreary drones
and electronic chirps and signals. A swirling tornado of harsh, hissing noise 
tears through and dissapears. This disaster occurs multiple times. It sounds like
this was recorded in a nearly destroyed studio in a post-apocalyptic hell-hole
using all analog equipment. Echoing drum loops play out as if coming from a distant
boom box in a place with natural acoustics. Similarities can be drawn to the early
pioneers of Industrial and Noise music like THROBBING GRISTLE, SPK, TEST DEPT, NON, 
MONTE CAZAZZA, VAGINA DENTATA ORGAN, and so on. Truly a revival in motion. Warped
tones and hazy atmospheres blend to bring us a mass mix of confusion and sensory over-
load.If you were to take late 70's and early 80's Industrial/Experimental recordings
and early to mid 90's Power Electronics ferocity and throw it in a blender...The end
result may be something like this. The vocals arrive as throat shredding yells...full 
of anger and bitterness. This is raw primal fury in full swing. Odd interludes consisting
of almost tribal drum plodding and swampy drones are present. Filled with bird-like chirps 
and Junk percussion's that clang and rattle in controlled patterns. The drums are minimal 
but serve their purpose well. The overall atmosphere is weird and miserable...The overall
vibes here almost remind me of THE RESIDENTS at times as strange as that may sound. Feedback 
and pure noise clash along with manic vocals and strange rhythms. Forced signals screech through
over-stressed amplifiers. Tension builds. Paradigms shift and stars align then fall from the sky
impaling all who reside below. Weird music with a highly experimental flavor. These are indeed
strange times we live in...Why not have strange music to match it.

SIDE B.)
VI.) POST-FUTURIST INTONATIONS / VII.) A MISINTERPRETATION OF FUTURIST
IDEALS / VIII.) A SCUMBAG'S GUIDE TO LIFE PERFORMANCE 1:
Blarring noise and roaring bass tones flood out. Broken rhythmic noise that
sounds like an old fax machine dying in extreme agony and blurred mumbles
and murmuring. A programmed sentinal place a lonely snare drum in a pre-
determinded pattern. Mountains crumble and are swallowed by a sea of 
pulsating pulses. Things become quieter and more focused. Honed in to
the sounds of the drum and reverberating vocals. This brief relief is
raped and torn by further shredding and harshness and then the cycle begins
anew. It sounds like the organized revolt of dead technology from a 90's
scrap heap that's become self aware, conscious and militarized. A spoken
line is heard. "I wan't to destroy this tape...Destroy this tape." From
where I am sitting it sounds like this tape wants to destroy the listener.
Lucky Me. Anti-melodies play out over heavy drones and distorted feedback 
and vocal fuckery. Glitching synths flicker and fade. SGL's drunken vocals
sound like he's tripping out on some potent shit while trying to swallow
his mircophone whole. Oldschool 90's Industrial microphone distortion is
utilized. That sound you get when you cut out the highs and lows and crank
the mids up. Synth blips repeat until they form tapping rhythms. Microphones
are devoured and regurgitated. The tone in SGL's voice is somewhere between
sarcastic and too depressed to give a shit. Haunted soundscapes from the
technological graveyard peak to ear shattering harshness. Hissing static
and shrill feedback pierce the cranium and attempt to rip it wide open.
To put it simply...This is some fucked up shit. Depressing and miserable.
Clicking percussion's similar to really early CABARET VOLTAIRE add nostalgic
vibes as shouted vocals (or maybe samples?) are played along with electronics
dripping with reverb and echoing endlessly. Whistling sounds are heard along
with drums filtered through "Ping-Pong" effects. Mechanical whirs and sounds
like those of humming engines hang in the air. Antagonized shouts followed by
the cheering of a live crowd end this one. Drop curtains. End scene.

OLDSCHOOL SOUNDS/NEWLY FOUND:
8/10
-ABATTOIR-

quietbodies.bandcamp.com

Friday, October 9, 2015

REVIEW - BOAR - IN HORROR - CASSETTE - C20

BOAR - IN HORROR - CASSETTE - C20
PETITE SOLES/PS58
HARSH NOISE WALL/EXPERIMENTAL NOISE/SOUND COLLAGE
COMES IN A PLASTIC CASE WITH J-CARD INSERT.
ON BLACK CASSETTE WITH PRINTED GRAPHICS.


SIDE A.) 
I.) LAST GASP / II.) PHOBOS (PART I) / III.) FROZEN BLACK /
IV.) DEIMOS:
I've been hearing a lot of hype about BOAR's live performances lately.
Apparently the man is a beast to behold. Though a cassette recording
rarely captures the same energy as a live performance...That doesn't
mean it's any less lethal of an experience. "In Terror" opens with
"Last Gasp" where we are battered by a barrage of Harsh Noise that
sounds like a bulldozer just powered through your living room.This
shit will wreck you. Pounding sub-bass bursts come like a landslide
of jagged rocks falling above your humble abode.Hissing static and
grinding electronic experimentation strike out and recoil, allowing
lacerating feedback to slice the senses.Raw and uncompromising material
featuring heavy handed knob abuse and some hardcore pedal destruction.
In other words...this absolutley rips! "Phobos (Part I)" is a very
different animal. Deep ascending/falling synth drones infect the air
with nauseaus atmospheres.Meditative and maniacal material that will
leave you feeling like you need to take a shower sooner than later to
wash the grime off.This short piece ends quickly and we are launched
into "Frozen Black." Harsh, corroded atmospheres and bass heavy booms
drop off into a grinding iron works filled with hostile tones.Pulsating
synths lash out and vanish as everything is grinded into a fine powder.
Slight touches of feedback come when needed to enhance the experience.
All in all it can be best described as "Controlled chaos." Lo-fi static
and humming machines battle with dense energy surges until the mid-range
takes over and crushes all else."Deimos" sprays out like a mist of poison
from a crop-duster above.A field of static that obscures dismal hints at
melody.This one is very short and pretty much serves as an outro to the
A side. 

SIDE B.) 
V.) LAST VISION / VI.)FOREVER IN FEAR (IN HORROR) /
PHOBOS (PART II):
The reverse side begins with "Last Vision" which offers up moaning,
experimental electronics that are soon torn apart by shredding Harsh Noise.
It sounds like BOAR is trying to cut the listener into a million pieces and
then chop those pieces into smaller bits and morsels.The audio equivalent of
a swine taking a fatal vacation trip to the slaughterhouse.Dense sub-bass 
layers roar beneath and push you further into agony until the whiring sounds
of a machine slowing down and speeding up come to take you on a dizzying ride.
Crackling HNW caliber noise ends this one off and "Forever In Fear (In Horror)
picks up where track one left off.This one comes as a soundscape of pure static
and electricity...Like someone flipped the switch to an electric chair and recorded
the sizzling sounds of a horrible death.Powerful rivers of corrosive noise that flow
through and wear everything down to nothing.Like pouring acid into your ear canals.
This one is pretty much an HNW piece. The type of stuff that could strip the paint
from the walls or kill plants and wildlife if they came into contact with it.I find
it interesting that BOAR chose to place this piece here as it sorta works as a late
album interlude."Phobos (Part II)" is like a re-imagined and reversed version of
part one on the A side. Dreary, melancholic drones to fill you with enough doom 
and gloom to join a SUNN (O))) tribute band. Miserable, semi-melodic downer drones
to end it all.

THE ONLY COMPLAINT I HAVE WITH THE WHOLE ALBUM IS THAT I WISH IT WAS LONGER. BOAR IS ONE TO KEEP AN EYE ON. A FORCE NOT TO FUCK WITH IN THE HARSH NOISE SCENE.EXCELLENT ALBUM.RECOMMENDED:

10/10
-ABATTOIR-

http://petitesoles.blogspot.com/
https://www.facebook.com/petitesoles
http://pukepink.storenvy.com/
boarnoise.blogspot.com