Monday, April 27, 2015

REVIEW-ACTUARY/THE BLACK SCORPIO UNDERGROUND-METAMORPHOSIS OF THE TRANSGRESSOR-SPLIT-CASSETTE

ACTUARY/THE BLACK SCORPIO UNDERGROUND-METAMORPHOSIS OF THE TRANSGRESSOR-SPLIT-CASSETTE
LOVE EARTH MUSIC/LEM59
BLACK NOISE/DEATH INDUSTRIAL/HARSH NOISE/POWER ELECTRONICS
COMES IN A PLASTIC CASE WITH J-CARD INSERT.ON CEAR CASSETTE
WITH TRACK NAMES PRINTED ON THE TAPE.



SIDE A.) ACTUARY:

I.) STRICKEN HOST LIES DOWN:

ACTUARY starts this one out with a single track that opens with fragmented
loops of static and drones that seem to glow and shimmer like radiant crystals.
The overall vibe is unsettling.It feels like entering a strange, otherworldly
realm where all is foreign and uncertain.Electronics swirl like fireflies but
offer no illumination to what's safe and what isn't.Distorted currents of noise
ebb and flow as the electronics become more playful and reveal their true nature.
Spinning like Japanese throwing stars that slice at the thick ambiance and cut
their way towards the listener.The bass on the drones is cranked up to ten causing
the speakers to shake and the floors to vibrate.I wouldn't call this harsh compared
to a lot of stuff out there but it is still very effective.Monk-like chanting begins
and reveals a glimpse of the obscure creatures that inhabit this odd world but their
words are cryptic and the noise that accompany them only aid to the confusion.At times
ACTUARY transcend into harsher territory as layers multiply in a rabid intercourse of
audio adrenaline.Scraping noise and fidgeting distortion combine and warp into walls
of insanity.Everything eventually becomes a dark and twisted mass of formless terror.
Feedback is flung out of a vortex of distorted madness in every direction.Grinding
sub-bass movements devestate all in their wake like molten lava sweeping through and
charring a landscape.Towards the end it sounds like everything is being burnt until
only ash and cinders remain.A fitting end to the piece.

SIDE B.) THE BLACK SCORPIO UNDERGROUND:

II.) GENITAL MINOTAUR /
III.) IMMOLATION/REVELATION:

THE BLACK SCORPIO UNDERGROUND entertain and/or frighten us with
another face of darkness to both rival and match the diseased
soundscape we've just endured with ACTUARY on side A. The oddly
titled "Gentital Minotaur" (Which reminds me of an idea the early
surrealists used to play with in various zines and paintings) begins 
with bleeping electronics and feedback tightly wrapped around obscure 
chants and clanging metallic objects that sound like some ancient ritual 
or burial rite in progress.A gathering of voices and slow but hectic clanging 
that soon transforms into spoken samples of a preacher discussing biblical 
passages and theories on God abandoning mankind...Almost as if summarizing 
the fall of pagan ways to a new doctrine in an attempt to bring "civilization"
to those whose ways were seen as "unfit." High end noise squeals like  unoiled 
engines struggling to breath in a stressed attempt that will likely end in failure.
The mixing is pretty interesting and reminds me of old WHITEHOUSE recordings where 
the audio comes in split channels, One in the right ear and one in the left with 
headphones.Deep bass currents like booming winds pick up and usher in hissing blasts 
of noise that come like bursts of steam from busted pipes until we end with further 
sermons as they fade into silence."Immolation/Revelation" is quite different but still
captures the overall direction of the album without straying too far from the themes
presented here.Static rhythms play out over a haunting but empty resonance as spoken
samples can be heard in the distance as if they were coming from a television in another
room.A second series of rhythms is layered over the first and dense, bass-filled static
currents spill out into the atmosphere causing a claustraphobic effect.This track feels
"dirtier" than the previous and hangs like a cloud of ash that refuses to dissipate.Bleak
and minimal which works well as a closing piece for this release.The sampled conversations
are muffled and obscured which adds a sense of mystery or hidden truth.Not the darkest or
the most violent track from THE BLACK SCORPIO UNDERGROUND but it's still interesting and
feels at home here.

NOT A BAD PAIRING.BOTH ARTISTS DO SOMETHING A LITTLE DIFFERENT FROM
WHAT YOU MIGHT EXPECT FROM THEM.IF YOU'RE IN THE MOOD FOR SOMETHING
SLOW AND DARK THIS IS WORTH CHECKING OUT:

6.5/10
-ABATTOIR-

WWW.LOVEEARTHMUSIC.COM

REVIEW-BRANDKOMMANDO-TWO SIDES OF VIOLENCE-CASSETTE

BRANDKOMMANDO-TWO SIDES OF VIOLENCE-CASSETTE
PHAGE TAPES-PT209
POWER ELECTRONICS/DEATH INDUSTRIAL/MINIMAL NOISE
COMES IN A PLASTIC CASE WITH J-CARD INSERT.ON BLACK
CASSETTE WITH LOGOS PRINTED ON THE TAPE.



SIDE A.)
I.) NEW LIFE / II.) THE ENEMY / III.) NOT FOR LOVE:

Since this is a Phage Tapes release, chances are it's gonna be a
great one.This is a label that has put out countless quality albums
on various formats over the years.Since it's a BRANDKOMMANDO release,
it's pretty much a guarantee."New Life" kicks things off with loud
synth drones and samples from The Excorcist from the famous excorcism
scene.Other spoken samples showcase rants on the insanity of society
as drones cloaked in light distortion breath in slow breaths.Blasts of
distorted sub-bass synths and harsh vocals in booming tones lash out as
slight touches of feedback play in the air.This is pretty violent in
comparrison to a lot of stuff I've heard from BRANDKOMMANDO in the past.
"The Enemy" opens with political speeches and deep, pulsating synths that
are quickly overpowered by crunchy static loops.The tracks stick to a simple
formula that is very effective and serve their purpose.Washed out walls of 
pure noise are erected and stand tall over the pulsing movements beneath until
they force them out of the picture.Various harsh textures arise and crackle as
industrial percussion's and rolling sub-bass waves eclipse what was before.
We've got some grade A electronics here kids.This is sorta similar to the
last album from GNAWED in terms of composition.Distorted rhythms that sound
like Black Metal style shrieks repeat and stretch in a hideous manner until
phased out electronics vibrate til the end."Not For Love" opens with dense 
walls and more phaser abuse.Dreary vocals come in moans wrapped in lite 
distortion and static pops and cracks throught the speakers.Blades of
phased noise are thrown in your direction until they're replaced by spoken
emergency samples and rhythmic, rusty scraping.Like a cement scraper being
ran over dry concrete to form a mid-tempo beat.The panicked voices of a
large crowd are heard along with obscurred speeches through megaphones.
The source of the clatter is unknown but whatever it is, people are 
freaking the fuck out.Side A ends with the crowd flipping their shit
until silence cancels out their anxieties.

SIDE B.) 
IV.) MADAME AGHATA AND MITTERRAND /
V.) INTERAHAMWE / VI.) HUTU POWER:

On the B side we go into "Madame Aghata and Mitterrand." Corroded noise that
flows like a dense toxic cloud come to strip everything it touches until all is
wreckage.After the hazzardous breeze rips through we are met with brooding ambiance
played on deep strings.This too passes into a third movement of minimal wind-like
sounds and then returns and resonates deeper.Buzzing high energy electricity comes
from out of nowhere and intensifies the atmosphere with powerfull, charged volts.
This is the darkest piece on the album so far.The energy is so strong that you can
feel it surging through you as you listen.Chaotic frequencies of feedback and fuckery
spill out and violate the atmosphere in a surprising twist.It feels like it penetrates
into your nervous system and makes a mess of things the first time you listen to it.
Just pure noise at work here guys.It is controlled however and forms patterns from 
time to time to rationalize the madness."Interhamwe" is a dizzying display of warped
electronics and heavy filter abuse.Phasers are on full blast as disorienting ambiance
does a seesaw of sickness.Deep and distorted vocals growl out over heavy sub-bass ran
through some really nice distortion.Sorta like a more managed and Death Industrial take
on some of the ideas WHITEHOUSE played with in the early days.All in all it's a really
cool track.The underlying ambiance sounds like it's played on pipe organs in a lurching
rhythm.A sort of Phantom of the Opera type vibe...Meaning a disturbed guy playing creepy
shit in the dark...Not an actual opera...The vocals get pretty vicious towards the end
and come in raspy wisps through reverb and delay effects."Hutu Power" grinds into your
mind on thick synths that sound like massive turning cogs accompanied by distant feedback
and brittle ambiance that makes up a chilling atmosphere.This one is also quite dark and
sinister.There is an eerie quality that adds an unsetteling element as well as suspence.
It just feels like something bad is about to happen.There are some really interesting
vocals that come in low growls through some real cool effects.They sound like some evil
entity whispering incantations through a throat filled with gravel to complete a dark ritual
of some sort.Must be that Hutu power at work.BRANDKOMMANDO seems to have found a simple approach
that really works for them.Hope we get more of this in the future.

MINIMAL YET VERY EFFECTIVE.DARK SOUNDS TO DROWN IN.IF YOU'RE INTO
STUFF LIKE THE BIRDCAGE THEATER OR LIGATURE IMPRESSION THEN HEAD 
OVER TO PHAGE TAPES AND PICK THIS ONE UP:

8/10
-ABATTOIR-

PHAGETAPES@YAHOO.COM

REVIEW-ENDOMETRIUM CUNTPLOW/THE BLACK SCORPIO UNDERROUND-SPLIT-CASSETTE

ENDOMETRIUM CUNTPLOW/THE BLACK SCORPIO UNDERROUND-SPLIT-CASSETTE
HATEMAIL RECORDS/HM005
DEATH INDUSTRIAL/HARSH NOISE/POWER ELECTRONICS
COMES IN A PLASTIC CASE WITH FOLD OUT J-CARD 
INSERT. ON TRANSPARENT PURPLE CASSETTE.
LIMITED TO 98 HAND-NUMBERED COPIES.



SIDE A.) ENDOMETRIUM CUNTPLOW:

I.) STORMS OF LONELINESS I / II.) STORMS OF LONELINESS II /
III.) SHALLOW GRAVES:

For a name like ENDOMETRIUM CUNTPLOW I was really expecting to be
hearing some brutal Grindcore oriented stuff or maybe gorey Death
Metal or even ultra Harsh Noise so I must admit I was quite surprised
with what I heard when I popped the cassette in.Though the cover art
depicts mostly naked chicks in bondage gear and rope knots and comes
across as some perverse WHITEHOUSE or ANAL CUNT looking release, the 
music contained on the A side is nothing like what I had expected.
"Storms of Loneliness (Part One)" opens with minimal noise that hums
in a vibrating drone with very subtle changes.Additional textures are
added seemingly for atmosphere alone.Synths ring and reach to infinity.
It feels like you've just stepped into a negative plane of existence.
A void devoid of any material thing of structures.An endless flat place
of non-matter.Some of you are gonna find this to be very boring while 
others will think it's genious.You can find out for yourselves.After
a while were greeted by yawning and moaning electronics that add a
form of somesort but it's dimmensions are unclear and unmeasurable.
Some bubbling mass of buzzing noise that exists only to exist.It sorta
sounds like a grinding tool softly chipping away at unseen metals for
an unknown purpose.Descending tones take it's place until all is a
single note that whines and shifts qualities like a single cell trying 
to decide what it wants to become."Storms of Loneliness (Part Two)" is
an equally bleak and similar piece but with more movement.Bubbling tones
filtered through phasers and various other affects build up and vanish as
echoing taps and hits vibrate and ring in long strands of spacey noise.So
far this has all been fairly quiet stuff with an experimental vibe to it.
Stronger electronics emerge but don't stick around long until all turns
to feedback for substance.Clicking and scrapping tones echo and bounce
off your eardrums.What sort of sounds like buildings collapsing far in
the distance is heard.Part two definately has more going on but it still
feels like a daydream or an afterthought.Almost like the pedals are in
control of the musician and are just using him as a parasitic host to
accomplish agendas we are not meant to understand.Another word that comes
to mind is absent minded as that is how this leaves you feeling.Sharper
tones slice in long stretches as layers build and build towards a goal
that is left unknown.Strange people need strange music so perhaps that
alone is the purpose.Shifting sounds like miniature rock slides followed
by banging objects and warped electronics bring this one to a close and 
then were off to "Shallow Graves." Slightly harsher and frantic.Low end
rumbling under heavy handed knob turning.Screaming frequencies fly around
the room like an open balloon and screaming feedback along with it.Pure
instrumental noise for your entertainment.There are a ton of projects out
there doing similar stuff but that doesn't make this any less enjoyable.
The last track is the shortest but probably my favorite here.

SIDE B.) THE BLACK SCORPIO UNDERGROUND:

IV.) RAPIST DIPLOMAT / V.) TEMPORAL ECLIPSE / VI.) TRANSMORPH:

THE BLACK SCORPIO UNDERGROUND side opens with absurd spoken samples that
sound like a 1950's "educational" video discussing the perils of encountering
a homosexual.It's pretty comedic and shows that even a project as dark as TBSU
can have a sense of humor.Low static and shrill feedback accompany our little
lesson as the track builds with booming sub-bass, distant radio transmissions
and noise that sounds like fingernails scrapping brick walls in a vain attempt
to escape some dingy hell-hole.The sounds are split into two tracks and come at
you in two assaults, one in each ear if listening with headphones.Rattling and
clanging objects can be heard like a tribute to the early experimentation of the
forefathers like NURSE WITH WOUND, EINSTURZENDE NEUBAUTEN or Z'EV.This one clocks
in at almost eight minutes so prepare yourselves.Static and hissing that sounds like
plug in manipulation comes and goes as various types of feedback play in the air around
you.Dense distort noise floods like a toxic river of garbage until it sounds like waste
circling a sewer drain clogged with sludge.Feedback and electric pulses stretch towards
the end and we go into "Temporal Eclipse." Sliding and shifting noises loop over quiet
bass noise.Dark and stirring synth ambiance clouds overhead and time stretched drones
reach out towards an unseen goal.Moaning synths lurk below like stagnant black water.
Rhythms like the ticking of antique clocks repeat as if time is running out and a
countdown to annihilation has begun.The recording quality is very Lo-Fi which is 
quite fitting for this kind of music.Loud bouts of harsh static through strange
filters come and go, sometimes in short rhythmic segments.The track ends with those
time-stretched drones still reaching for something we will never know."Transmorph"
closes the album with harsh blasts of powerful noise and strange clicking like the
mandables of a deadly insect quickly chewing the flesh of it's prey.This task of
devourement and lightning fast noise strikes out over and over in rhythmic loops
as singing like what you'd hear during an islamic religious service can be heard 
wailing in a ghostly a mournful tone.Additional layers of noise hang like a thin
veil over the ceremony.This is a pretty unique track and a neat way to end the
record.It's almost like some kind of metamorphosis taking place.What manner of
organis emerges from the cacoon will remain a mystery.

THIS ONE IS A LITTLE OUT THERE AT TIMES AND QUITE DIFFERENT FROM WHAT I HAD
EXPECTED.BOTH ARTISTS PRESENT TOTALLY DIFFERENT APPROACHES TO NOISE BUT IT
WORKS AND KEEPS THINGS INTERESTING.LIMITED TO 98 COPIES SO GET ONE WHILE
YOU CAN:

6/10
-ABATTOIR-

WWW.HATEMAILRECORDS.COM

REVIEW-OBSENE NOISE KORPORATION-SELF TITLED-2XCD

OBSENE NOISE KORPORATION-SELF TITLED-2XCD
MALIGNANT RECORDS-TUMORCD78
HARSH NOISE/RHYTHMIC NOISE/DEATH INDUSTRIAL/POWER ELECTRONICS
COMES IN A GATEFOLD DIGIPACK WITH LINER NOTES
AND LYRICS.DISC ONE CONTAINES THE 1997 RELEASE
"PRIMITIVE TERROR ACTION" AS WELL AS A RARE 
COMPILATION AND UNRELEAND TRACK AND PREVIOUSLY 
UNRELEASED DEMO TRACKS. DISC TWO CONTAINS THE 2013 RELEASE 
"THE RAPE OF THE BLUE PLANET" FEATURING A GUEST APPEARANCE
BY JOHN STILLINGS OF STEEL HOOK PROSTHESIS/VERMIIN.
THE SOUNDS ON THESE TWO DISCS ARE PURE ANALOG AND LO-FI,
RECORDED DIRECTLY UNTO TAPES WITHOUT PASSING THROUGH ANY
COMPUTERS OR OTHER DIGITAL EQUIPMENT.
O.N.K. IS:
PETER NYSTROM (NEGRU VODA/MEGAPTERA)
CARL II. BRANIGAN



DISC ONE: PRIMITIVE TERROR ACTION:
I.) NOISE TERROR / II.) BREAKFAST AT WEST'S / III.) TEARS /
IV.) THE HAULER / V.) ROSEMARY'S BEDROOM / VI.) I NEED YOU /
VII.) EXPLODE / VIII.) INNER VOICES / IX.) DESTRUCTIVE POWER /
X.) IN MONOTONE TRANCE / XI.) BRICKS COVERED WITH BLOOD /
XII.) ONE HAPPY GRAVEL PIT AND THE DEATH / XIII.) SUTTEE BARBEQUE /
XIV - XXI.) LEFTOVER DEMOS:

Ok so first off...This is a rough and challenging listening experience,
Especially if you go straight from start to finish. You're gonna need some
down time and and solitude to really take it all in. Disc one is like an
endurance test at times and lingers mostly in Harsh Noise territory. We
begin with "Noise Terror" which is really close to HNW in terms of both
harshness and structure...For about four minutes ONK pummel you into submission
with corroded textures that come in seemingly endless waves of sonic destruction.
After the initial kick in the teeth of the opening track we move into nearly seven
minutes of grinding electronic pulses and harsh bursts of Lo-Fi noise that will leave
you in a catatonic state by the time you reach the end. Not that it is boring as there
is much to experience with building layers and strange rhythms to keep the listener 
engaged...But noise of this quality and consistency tends to send you into a state of
day-dream more often than not...Especially towards the end of the track when we are
treated to pulsating synths that come in cascading bouts of otherworldy vibration.
The simply titled "Tears" is quite unique at least among the album tracks and shares
more in common with the leftover demos at the end than most of what makes up "Primitive
Terror Action." Drones surge through multiple effects and filters amongst a backdrop of
buzzing electronics and swarming static. I am reminded of some of the slower and more
mellow tracks from FIRE IN THE HEAD while listening to this one. A virtual mind-fuck that
lasts a little under three minutes and leaves you feeling displaced and disoriented before
"The Hauler" Sweeps through to wreck your senses. The next seven tracks are all under three
minutes in total length so they come across as short explorations in audio experimentation.
Like exploring various rooms in the halls of someones mind as their darkest dreams and secrets
are exposed.Track four starts with powerful drones carrying churning noise like concrete being
mixed before it is poured out to create a quick drying river of gravel. If we stay here too long
we'll surely be trapped. Hissing noise like white-hot steam alarms us of the danger present and
foreshadows the approach of alien sounds that rise until the end. "Rosemary's Bedroom" hits hard
like a raging blast of wind as the storm gathers. Haunting dark ambiance can be heard buried far
beneath the debris of the storm and adds a sense of anxious anticipation. Lashes of static assault
the listener as the various tones mingle in a nervous and unsure intercourse ending before climax.
"I Need You" comes like a continuation and provides the orgasm we've been waiting for. Harsh noise
that blares out over what sounds like weird moaning vocals. Desperate and yearning. "Explode" quickly
puts all longing to an end with white noise currents and mortar fire explosions. Shrill strands of
feedback sound like a trumpet to announce the arrival of further weirdness as spacey electronics and
muffled voices form a cacophony without reason or purpose. Spoken words in a foreign tongue leave the
impression of war time transmissions and seem to carry on into the next track. "Inner Voices" is almost
like a memory of past trauma. Decaying noises break down and crumble behind a wall of static and throbbing
bass rhythms. Spoken vocals echo and bounce off the inside of your skull until the track abruptly ends 
without warning. "Destructive Power" isn't as harsh as you'd might expect but it is a pretty powerful 
piece. Again we have grinding rhythmic noise that pulsates until it fades away and again we have spoken
word vocals that come in echoing disembodied verses. "Bricks Covered With Blood" rushes through like a
white rapid river and laces the atmosphere with sharp tones that cut at the ears like a contraption 
composed of rusted scrap metals. Heavy use of static and resonating high end noise drift and float as
deep bass rhythms roll underneath. The track seems to be split into two segments...The second ending
in what sounds like the splatter of acid rain on pavement. Not a safe place to dwell but before any 
irreversible damage is done we move into the oddly titled "One Happy Gravel Pit and the Death" which
starts out with low and muffled downtuned vocals. Spoken words that invoke a hazy daze in the mind.
This is accompanied by low drones and pulses beneath sounds that can be compared to the speech of
insects who gather after sunset. Suddenly loud blasts of noise punch through and smash any walls
of comfort that you may have built around yourself. Live-wire crackling electronics and static
electricity make this one a high voltage danger zone. It feels like everything is falling apart
around you as you listen to this. Might wanna put on a hard-hat...You're in the hazard area with
this one. This track as well as the next are a little longer than most on here so prepare yourself.
"Suttee Barbeque" is similar to the previous track and lives up to the "Primitive Terror Action"
title. All is dust, rubble and debris here that comes in a chocking cloud of smoke and ash. Bells
ring in the distance as pressurized air bursts through broken containers. Like being trapped neath
a job site as whatever structure is being torn down crashes upon you. Odd tones and layers of can
be heard and sound like windchimes composed of otherworldly crystals swaying in the chaos. This 
is a bonus track of sorts so it wasn't originally on the album so that explains the departure into
a new area of sonic fuckery. Spacey synths that sound like they came from a 1950's sci-fi film are
added to the mix making this one stand out quite a bit from what we've heard so far. The next eight
tracks are "Leftover demos" and sound quite different from the album tracks as well. These seem to
be closer to what you'd expect to hear from Nystrom's other project NEGRU VODA and have similar
patterns and drum beats although they retain a level of lo-fi harshness that makes them feel
equally at home on an ONK album. At times I am reminded of early work from artists like SPK
or perhaps even EINSTURZENDE NEUBAUTEN. Early industrial style when industrial music was a lot
more noisy and the use of metallic objects and shredding power tools was still common. These
last few tracks also seem to have more ambiance by means of synths and various types of drones.
All in all this is a great disc and showcases a few sides of what ONK are capable of.

DISC TWO: THE RAPE OF THE BLUE PLANET:
I.) STORNING/STORUNGSGEHALT Z141OU / II.) RODGLODGAD SKITHUSSTOL /
III.) FOLD OUT LONG PLAY MACHINE WAR / IV.) WALTER AND THE TURTLE
RIDING GOSPEL PREACHER / V.) HJARNTVATTERIET / VI.) FILTHSANG (SERGEJ) /
VII.) SHUT OFF!:

If you managed to survive disc one...congrats...But it's not over. While disc
one features tracks recorded in the late 1990's, Disc two contains much more
recent works. Obviously there have been some changes over the years but the core
sound of ONK is very much intact. Everything is still all analog and still a test
of wits and endurance. We are invited in to "Storning" by rattling objects and spoken
downtuned vocals soaked in delay and reverb. Harsh walls of static rise and fall like
an empiric legacy condensed into a seven minute history lesson. Low winds rush through
like gusts coursing through a cave. The vocals contain traces of woe and suffering but
the origin of such feelings is unknown. Building layers arrive and writhe until they
form a vortex of sound that seems to be all around you. This drones on for quite a while
and like many of the tracks on the previous disc leaves you in a dream-like state. It's
strange how harsh music can have such a soothing effect but it often does and this proves
it. At times I think ONK is intentionally trying to lull you to sleep but usually right as
you begin to drift something raw and crunchy slaps you wide awake. "Rodglodgad Skithusstol"
Offers up drones that whine in the distance as razor winds lacerate and puncture the eardrums.
Blaring electronics blast like horns of war. Sharp tones punch through like a fist jabbing at
you with a boxcutter. The blasts come in timed intervals that are released to form rhythms or
a sense of pace until the sounds of a machine powering down and struggling to start up again
takes over giving way to spoken vocals. Blurring sheets of noise shift in like an icy landslide
and carry us to the end of the track. "Fold Out Long Play Machine War" (Trust me the track titles
get stranger) is an all out symphony of apocalyptic glory. Mortar fire bass drums stomp and pound
loudly over thick, dense noise that sounds like it's been dug up from broken pedals buried neath
countless feet of mud and muck. Murky drones that are forced along by industrial grade percussion's
that beat you without remorse. Black clouds of locusts gather and tear away at anything containing
life and just when you think it's over you're met by even louder drums that sound like tribal drums
made of concrete being struck by giant hammers of God's nearly forgotten. OBSENE NOISE KORPORATION
is certainly a fitting name for an act like this. "Walter and the Turtle Riding Gospel Preacher"
builds on drones that pick up the tempo until they sound like the spinning blades of some industrial
sized fan or turbine. Disembodied voices are heard over ambiance that sounds like it was crafted 
using large sheets of glass or ice. Cool tones that put a chill in the air. The vocals seem to be
reversed and offer cryptic phrases but nothing more. According to the liner notes, the original 
version of this track was rejected but being that this is one of my favorites on the album I'm
not complaining. "Hjarntvatteriet" takes us through fourteen minutes of scorn and anger starting
with spoken samples and a haze of static and over a raging crowd. Resonating percussion's boom 
like the thunder of a storm on the horizon as black clouds of negativity expand until all is
darkness. Rumbling drones quake underneath until they break through to the surface like an
omen of misfortune. Dreary and bleak. Razor winds shred the senses as the deep distorted
raspy screams of John Stillings from STEEL HOOK PROSTHESIS force themselves to attention.
His tone is bitter and beyond upset. This is a man with a point to get across and he does
so with throat burning potency. Some of the most ferocious vocals you'll hear which comes
as an unexpected treat on this record. Electronics move like shifting sands charged and
guided by an unseen energy. There is an urgent brutality present throughout the duration
of the piece that keeps the listener engaged. A howling power courses through the track as
additional layers come and go to keep things interesting. After a while all fades into a
slow and quiet death march. Minimal but effective, like something you'd hear in a Silent
Hill game soundtrack. This fades beneath static and samples like those from the start of
the song but never fully vanish. Torrents of echoing ambiance play in the background and
add a sinister and uneasy vibe until we go back into the creeping funeral march from earlier.
We end in with this theme with the addition of weird electronics to really creep you out.
"Filthsang" sounds like a nationalist anthem played over industrial bass thuds and dizzying
static. Minimal drones are present but almost go unnoticed as the rallying anthem grabs most
of your attention. It sounds like a passionate war piece from WWII Germany. "Explode" also
starts with heavy industrial bass drums but this time they bring with them sharp electronics,
fields of static, raging gusts of wind and distant ambiance. Additional percussive elements
are thrown into the mix as well as textures that add a sense of intensity and direction. It
feels like a ticking time-bomb building up to that big boom...Like someone who's had enough
nearing their breaking point. Frothy seas of anger soon to spill over unto the land and
unleash devastation in massive quantities. Broken feedback and dying analog equipment come
like a warning or alarm that you might wanna get the fuck out before it's too late...And
then everything just fades away before any explosion takes place...Guess it's your lucky
day. There is an unlisted bonus track at the end that takes us into the minds of sick men.
Desperate clean and screamed vocals and maniacal laughter echos over a rain soaked ambient
soundscape. Feedback screams as madness grows. Samples glide over electronics that sound
like machines grinding metal. This sort of reminds me of some of the D.S.B.M. projects 
that center their songs around mental illness and suicidal insanity like SHINING or 
maybe even SILENCER in a way. It's an interesting end to the album that leaves you feeling
like you spent hard time in the halls of a deranged man's mind...And in a way, you did.

A GREAT SHOWCASE OF THE MANY FACES OF O.N.K. AND A GREAT ADDITION TO THE COLLECTION
OF ANY FAN OF PETER NYSTROM'S WORK AS WELL AS ANOTHER TESTAMENT TO HIS INCREDIBLE
ABILITY TO CREATE INTERESTING SOUNDSCAPES:

7/10
-ABATTOIR-

WWW.MALIGNANTRECORDS.COM
WWW.FACEBOOK.COM/MALIGNANTRECORDS






REVIEW-PHANTASM NOCTURNES-VOMIT, VIOLENCE AND MAYHEM-CDR

PHANTASM NOCTURNES-VOMIT, VIOLENCE AND MAYHEM-CDR
OCCULT SUPREMACY PRODUCTIONS-OSP005
HARSH NOISE/POWER ELECTRONICS
COMES IN A SLIM PLASTIC CASE WITH INSERT.
ON A CLEAR DISC SPLATTERED IN RED SPRAY PAINT.
PHANTASM NOCTURNES IS:
BETTY KOSTER



I.) VIOLENCE II.) VOMIT / III.) DESTRUCTION /
IV.) MAYHEM / V.) TORTURE / VI.) PESTILENCE:

Like the song titles this small run release is short 
and to the point but sometimes those end up containing
some of the best stuff when it comes to violent, underground
music.PHANTASM NOCTURNES has been terrorizing people with horror
themed harsh noise and experimental electronics for some time now
and this particular release is no exception."Violence" builds slow
on dark ambient passages filled with brutal real life samples of
domestic abuse requested with consent and narrations from a self
loathing girl with no self worth.Dense static clouds around the
samples like a cloud of negative energy come to brew up a storm
of painful memories until the samples become a hazy cacophany.
Like being in a crowded room where doctors surround a patient
in absolute agony while chilling winds swarm outside cold windows.
The sounds of wretching and vomit splattering can be heard and were
not even to the track titled "Vomit" yet.Things turn darker as satanic
rites of initiation take place.The initiate weeps while declaring devotion
to the regions of Hell.Blasts of rumbling static come and go and objects
clatter until were back to heaving and vomiting.Creepy whispers and horrid
shrieks bring it all to a close and then were off to the second bout of
sickness."Vomit" is a dark and moody ambient piece at first with timed
blasts of noise and spoken samples concerning hard drugs, gang bangs and
sodomy until a distorted blasts takes us into a slow frenzy of wet sounds.
Gagging and choking as chunks of filth soak the room.This sounds utterly
disgusting.You can almost smell what these sick fucks had for lunch.Harsh
tones and moaning electronic drones form a frame around a picture of a long,
slow death.This track is a plague of vile sounds with high pitched electronic
chirps and confessions of incest and whoredom."Destruction" starts with a loud
mess of electronic fuckery.It sounds like a mass of live wires going haywire.
Industrial percussions and punchy blip drums guide us into rhythmic noise laced
in heavy distortion.Pulses and feedback tear your room apart and bass-filled 
synths mow down anything that's left.It is clear that PHANTASM NOCTURNES has
come to wreck your shit.The amps are cranked up to ten and broken glass is
flying everywhere.Swarming masses of noise become broken engines revving and
choking until "Mayhem" starts.Large slabs of noise slide in like plates beneath
the earths crust as hazy samples of suffering and madness begin.Pulsing drones
are heard for brief periods until they are assaulted by huge bursts of pure static.
Grinding electronics come and go all the while the sounds of human carnage fill the
air.Multitudes of women scream as they die of panic and mutilation.Blades are sharpened
and mental patients try in vain to comfort themselves as the madness continues.Sounds
similar to spinning blades rotate as dreary ambiance drifts under screams of death until
they are cut short like the lives of those making them."Torture" strikes out with harsh
high end tones that fade into thick electronics and churning pools of sub-bass.Samples
of a woman torturing a frantic man with no remorse are heard and seperated by harsh blasts.
The girl seems to take pleasure in the slow killing which gives the track a dark erotic vibe.
Disorienting noise and static send you into a blank state of mind like being a fly on the wall.
Helpless to do anything to help the victim's situation but it seems like he deserved it anyways.
It's hard not to laugh as he cries like a bitch towards the end.Horror noise often sounds cheesey,
but PHANTASM NOCTURNES execute it in such a grim and relentless manner that it works perfectly.The
last track, "Pestillence" crashes through as a harsh mass of static and rumbling electronics as
noise like rushing winds obliterate everything in their path.Cords are unplugged and left to buzz
and noise like moths hitting a bug zapper fills the spaces.This entire track is just a mess of 
humming electronics.Pure energy with no compromises.No samples are present.Just straight power
that speaks for it'self.

ONCE AGAIN PHANTASM NOCTURNES PAINT A BLOODSTAINED PICTURE OF WORST CASE
SCENARIOS IN AN R RATED FASHION.THESE ARE LIMITED SO GRAB ONE IF YOU CAN:

7/10
-ABATTOIR-

WWW.PHANTASMNOCTURNES.BANDCAMP.COM
WWW.OCCULTSUPREMACY.BLOGSPOT.COM

REVIEW-RAPE-X/GRANDPA LIES AGAIN+LIFEWASTER-SPLIT-CASSETTE

RAPE-X/GRANDPA LIES AGAIN+LIFEWASTER-SPLIT-CASSETTE
SELF RELEASED
POWER ELECTRONICS/HARSH NOISE
COMES IN A PLASTIC BAG WITH FRONT AND BACK
INSERTS.ON A YELLOW CASSETTE.NO STICKERS.
A AND B INDICATED WITH SHARPEE.LIMITED TO
50 HAND-NUMBERED COPIES.
RAPE-X IS:
JESSE KLING
DAVID DECARME



SIDE A.) RAPE-X:

I.) ALWAYS YOUR FAULT / II.) CRYBABY /
III.) CUTE LITTLE PET NAMES / 
IV.) I LIKE TO HURT WOMEN /
V.) MY PERSONAL FUCKTOY /
VI.) THESE DRUGS AREN'T WORKING (LIVE):

RAPE-X open this one up with mind grinding electronics in a two minute
killing spree with "Always Your Fault." Lacerating noise cuts deep as
raw, distorted vocals rub your face in your own wounds.Warped frequencies
echo as they're forced through heavy doses of delay and reverb.This sounds
like a bad trip.A nightmare induced by the use of heavy psychedelics.Once
the skull rattling of track one comes to an end, "Crybaby" drags you right
back into the ring so RAPE-X can continue beating your ass.Lo-fi noise set
to spin cycle rolls around your head as pure static pulls you into David
DeCarmes brand of vocal rants.His vocals come across like insults from a
childhood bully as Jesse Kling cranks the knobs past ten and we go into
hyperspace.It feels like you are going at full speed through a tunnel into
a dimension where you get your ass kicked for all eternity.It just gets
harsher and weirder as it goes on.Loops and rhythms form and transform
into time-stretched drones that creak until the end."Cute Little Pet
Names" showcases the dark sarcasm that's become the trademark of RAPE-X.
It's only 25 seconds long but that doesn't make it any less of a threat
in their arsenal.Dense noise like a jet engine as it takes off fills the
air and warps into stretched segments of weirdness as David DeCarme starts
the name calling again.These dudes talk more shit than anyone but from the
looks of them I am pretty damn sure that they can back it up."I Like To Hurt
Women" is around a minute and a half of blasting noise like rockets in flight.
The explosion comes in the form of distorted vocals that point the finger and
place the blame where it's due.Creative pedal noise can be heard all over this
thing and proves that Jesse Kling works hard at his job."My Personal Fucktoy"
is another short track about fucking shit up that hits you between the eyes with
punchy jabs of sound over floor shaking sub-bass movements.The vocals are a bit
different on this one.They sound more angsty and have an oldschool Hardcore/
Power Violence vibe to them.Deep drones hang around and dive down in sonic
swoops until it's time to wrap this one up."These Drugs Aren't Working" is
a live recording taken from one of the countless shows RAPE-X have attacked
at.A little over a minute of frustration and fury that fits with the rest of
their tracks perfectly.Rising synths take off at full speed and drones stretch
until they sound like they're about to fucking snap like a rubber band.Harsh
vocals proclaim just what the title suggests.A member of RAPE-X off of their
meds can't be a good situation for anyone around them.R.I.P. fuckers.

SIDE B.) GRANDPA LIES AGAIN+LIFEWASTER:

VII.) ABUSE MAKER / VIII.) SHIT TAKER:

On the B side GRANDPA LIES AGAIN teams up with LIFEWASTER in a collaborative
effort to fuck shit up.This is my first time hearing anything from either of
these projects so I'm not sure who is adding what to the mix but I'm excited
to hear it either way.This one starts out harsh right from the first second.
Massively distorted, rumbling bass noise blasts out under echoing screams that
sort of have that cookie monster Grindcore thing going on but not to the point
that it sounds laughable...In fact like some of the RAPE-X side it's a little
closer to Power Violence style.Overall this is pretty crushing stuff.The singer
sounds pissed the fuck off and has no problem sounding off about it.Musically
there is a lot of movement but it never strays too far from the same tones so
this isn't the most interesting or creative stuff I've heard but I don't think
it was ever meant to be."Shit Taker" opens with pulsing drones and short bursts
of thin static and seems to have a little more going for it in terms of different
textures.The synths sound pretty powerful and add a great intensity to the track.
This one builds up slow and holds your attention as you wait to see where it goes
from here.The drones shift into mid-paced rhythms that fade in and out of your
speakers.Distant machine gun blasts of sound shoot out as if on command.Static
comes through tremolo effects and just when you think the vocals are about to 
kick in it cuts to silence which was kind of an interesting way to end things
actually.Either way the B side is pretty violent at times and works well with
what RAPE-X contributed here.

ALL IN ALL THIS IS A PRETTY SOLID RELEASE AND WORTH CHECKING OUT.
YOU CAN PROBABLY PICK THIS ONE UP FROM THE GUYS OVER AT P.E. MAFIA:

6.5/10
-ABATTOIR-

REVIEW-WET NURSE-LACRIMOSA-CASSETTE-UK TOUR EDITION

WET NURSE-LACRIMOSA-CASSETTE-UK TOUR EDITION
SELF RELEASED
POWER ELECTRONCS/DEATH INDUSTRIAL/HARSH NOISE
COMES IN A PLASTIC CASE WITH INSERT.HAND WRITTEN
TRACK LIST AND INFO.INCLUDES A BLOODSTAINED LYRIC
SHEET AND A RAZOR BLADE STAINED WITH PAUL'S BLOOD.
ON WHITE CASSETTE WITH NO LABELS.STRICTLY LIMITED
TO 30 COPIES.MASTERED BY: JOHN STILLINGS AT STEEL
HOOK AUDIO.OFFICIAL CD RELEASE AVAILABLE FROM:
ANNIHILVS POWER ELECTRONICS.
WET NURSE IS:
PAUL K.



SIDE A.)
I.) LACRIMOSA (SEVEN SISTERS) / II.) CHASTITY /
III.) HER SCARS BECAME ORNAMENTS OF MY DESIRE:

We begin with the title track which comes across like an extended
intro.Nearly four minutes of misery that takes us into the disturbed
alleys of a sick mind opening with low drones and a mournful piano
melody.Pulsing synths open the doors for despondent vocals that come
as painful grunts.Semi-distorted loops rise from beneath as semi-clean
guitars laced in effects add another layer of sadness to blend in with
the self-loathing tones that spill into the room like a river of tears.
Additional layering is applied to the vocals in deep tones that sound
like a gathering of traumatic memories as they are forcefully re-lived.
A few last piano measures are played until we spiral further down into
"Chastity." The next two tracks linger within the 6 to 7 minute range.
The first being a woeful piece that opens with ringing feedback.Soon
this gives way to distorted bass dirges that drone on and hum.Screamed
vocals ran through a heavy amount of filters fill the air.Similar to the
vocal effects used by IRM.Vibrating rants that will drain any hope from
your body and leave you a useless shell.Static and noise struggle for
dominance in the distance but the depression is too thick to be conquered.
WET NURSE has a great ability to use non-conventional instruments (In terms
of a noise release) and apply them with constraint to really add to the 
compositions without ever distracting from them.Screeching guitar feedback
and warped electronics swirl over scraped strings and disorienting synths.
This truly sounds miserable in every way."Her Scars Became Ornaments of My
Desire" opens with similar string scraping and guitars ran through rotary
effects along rhythmic bursts of electronic noise crafted with a heavy hand
on the cut-off switch.Screamed and spoken vocals in malevolent tones force
and demand your attention as seething drones crawl and writhe beneath.This
track is like a narration of a rape in progress.Layers build along with
momentum as the vocals become fiercer as rage fuels black flames of disgust
and contempt.Scornfull and bitter.Harsh and high end noise points it's fingers
in accusation as WET NURSE tells it like it is.If you're into stuff like REGOSPHERE,
NAVICON TORTURE TECHNOLOGIES, HUMAN LARVAE, Etc then this is something you need to
check out.A vile release that seems to get better with each track.Haunting clean
guitars add additional layers of unease towards the end as glitching bouts of noise
finish off the A side...If the B side is anything like what I've just experienced then
this will be a solid release.

SIDE B.)
IV.) VALE OF TEARS / V.) MEANING AND PURPOSE /
VI.) KILLING HILLARY / VII.) ANTICIPATING EVENTS
THAT WILL NEVER OCCUR / VIII.) SEWING SHUT THE CAVITY:

As if we weren't down enough, side B amps up the despondency and opens with creeping
violins that rise over deep drones.Rough, semi-spoken vocals and scrapping guitars
inject us with an overdose of dread in an attempt to force the tears to climb to the
corners of your eyes.Dizzying synth drones rise and fall like a seasick stomach as
some of the most hopeless lyrics I've heard in a while are recited by a voice drenched
in regret.It sounds like WET NURSE despises life more than whatever the most "kvlt" D.S.B.M. 
artist the kids are praising these days.Rhythmic static and other slight touches can be found
buried beneath until they are swallowed whole by experimenting and fuckery on synths and guitars.
"Meaning and Purpose" honestly took a toll on me.Warped noise and cello-like drones drift out and
expand as feedback rings and dies...All the while a sample of a 9-11 call reporting a suicide 
witnessed by the "victims" family plays out over the piece.My wife's brother commited suicide via
gun to the head a couple years ago so I must admit this one hit close to home and was an emotional
experience but anything that makes you feel something on a level this deep is music done right.No
one ever said it had to be pleasant."Killing Hillary" is the best track on this record in my opinion.
This one is just perfect.Dark ambiance brings the feeling of an approaching wave of darkness.Something
rustles in the distance and then pulsating electronics and screams wrapped in fury are shoved in your
face and demand your attention.WET NURSE has something to say and you're going to listen.Additional
vocal layers growl beneath as dark piano melodies appear and vanish.At around seven and a half minutes
this is the longest track on the album.The lyrics are brilliant and the delivery is perfect for the piece.
Paul K. sounds like a man who has been totally broken, yet has crawled unto his soapbox despite agony and
torment to stand illuminated in the darkness and shine like a beacon of rage.A fractured candle that still
manages to burn his enemies and torch their remains.There is an urgency and worth to his phrases that draws
you in as his somber sounds lull you into a reverent state of contemplation.WET NURSE is like a mirror and
despite how ugly the reflection...You can't seem to turn away.Crumbling static and decayed drones persist
as strange noises come like carrion to rend your flesh from bone."Anticipating Events that will Never Occur"
is a dripping mass of wet sounds and cavernous liquids raining down upon flowing electronics that induce
anxiety and unease.The vocals here seem angrier somehow.Thick synths rush out like oceanic waves and slowly
retreat in a repeating cycle.Frequencies are transmitted in rhythms that march on like time rapidly coming
to an end.Midway through the undertones replace the overtones as their former place of occupation is filled
with brooding ambiance that almost seems to put a chill in the air.Minimal bass drums and snares create an
inhuman pace that makes the track seem even colder as the vocals become spoken poems of sarcasm and dread.
Sewage and a heart monitor flatlining takes us to the final track."Sewing Shut the Cavity" opens with well
placed feedback and deep synth drones.Lead guitars wrapped in fuzzy distortion screech and raspy screams
covered in reverb and delay echo in the air.The vocals have a very D.S.B.M. sound and are quite different
from the rest of the album.Humming synths resonate creating a similar vibe to some of Wrest's work with
LEVIATHAN and LURKER OF CHALICE but with a strong Power Electronics aesthetic.As before the compositional
skills of Paul K. are in full bloom.Everything knows it's place and acts accordingly.A lot of times when
an artist attempts to add guitars to a noise oriented release it ends up sounding like a mess that seems
like more of an afterthought, but luckily that is not the case with Lacrimosa or any of the previous WET
NURSE releases.Here however, it seems like Paul K. has perfected his craft.

THIS IS THE BEST RELEASE WET NURSE HAS PUT OUT TO DATE.IF YOU'RE A FAN YOU WILL 
SEE THAT ALL OF THE KEY ELEMENTS THAT MAKES UP THE WET NURSE SOUND ARE INTACT.
IF YOU'RE NEW TO THE PROJECT THEN THIS IS A GREAT PLACE TO START.KEEP AN EYE
OUT FOR THE CD VERSION COMING SOON FROM ANNIHILVS:

9/10
-ABATTOIR-


Sunday, April 12, 2015

REVIEW-BIG CITY CLITS-CANDY CUNT-CASSETTE

BIG CITY CLITS-CANDY CUNT-CASSETTE
P.E. MAFIA PRODUCTIONS
POWER ELECTRONICS/HARSH NOISE
COMES IN A PLASTIC BAG WITH FRONT AND BACK
INSERTS.ON A BLACK CASSETTE.NO STICKERS.
A AND B INDICATED WITH BLUE AND PINK SHARPEE.
LIMITED TO 35 HAND-NUMBERED COPIES.
BIG CITY CLITS IS:
JESSE KLING (RAPE-X/RECTOCEL/SUB-DUST/SHELLEY DUVAL)
VONNIE (G.G. LOHAN)



SIDE A.) 
I.) BIG CITY CLITS / II.) CANDY CUNT /
III.) PUSSY WORSHIP / IV.) ARE YOU A PERVERT?
SIDE B.) 
V.) MY ORGASM>YOU / VI.) DTF / 
VII.) KLEPTOMANIAC / VIII.) YUM-YUM CUM /
IX) PENETRATE ME:

This album sounds absolutely filthy. BIG CITY CLITS is a two peice
Harsh Noise/Power Electronics project consisting of Jesse Kling on
electronics...Known mostly for his work with RAPE-X and the raunchy
vocal stylings of Vonnie from the band G.G. LOHAN which is some of
the nastiest stuff you'll hear anywhere.Together they team up as BIG
CITY CLITS to deliver some of the sickest shit to hit the underground
in some time. Musically the album is quite similar to RAPE-X and hits
hard with powerful distorted electronic soundscapes with a very DIY
aesthetic in the vein of some of the more perverse and Lo-Fi artists
from the early 90's.The sound is huge and loud and comes in floor shaking
waves of intensity.All the knobs are cranked up to ten.Vocally this thing
oozes in a kind of sperm-soaked hatred you'd expect a bitter ex porn star
to unleash upon whatever poor fucker fired her before her contract expired.
Punkish, snotty shouts and in your face rants on subjects that you would
never wish to hear from your teenage daughter.After listening to this I
had the urge to go down to the nearest local clinic and get tested for every
S.T.D. known to man.The subject matter is so vile and over the top that it is
pretty damn hilarious at times. The type of dark comedy that is considered in bad
taste by most...Like what you'd expect from an ANAL CUNT or AGORAPHOBIC NOSEBLEED
album. BIG CITY CLITS hold nothing back and unleash like a lusting load to the face.
Most of the tracks clock in at under-two minutes long so it has that hit and run type
of vibe you'd get from Hardcore Punk or Grindcore. There is a lot of bass here that
rattles, shakes and vibrates in your ears like a housewife hosting a sex toy party
that went terribly wrong. Soaring frequencies and feedback join in an auditory 
intercourse with rhythmic bouts of destruction and pounding Punk Rock percussion's.
The only down side here is that it's a short tape offering around thirteen minutes
of stimulation before it's over so consider this a quickie...But unless you're a tight
ass upstanding citizen then I am sure you will enjoy it...I doubt anyone reading a webzine
promoting music of this sort is gonna be surprised to see a positive review of a release with
song titles such as "Pussy Worship", "Yum-Yum Cum" , and "Penetrate Me." The last being a slower
track with sleazy and seductive vocals that leaves the listener shamefully panting for more.

TRASHY POWER ELECTRONICS WITH FEMALE VOCALS THAT SOUND LIKE A RABID METH-ADDICTED PROSTITUTE
ON A RAMPAGE AGAINST ALL SETS OF MORAL VALUES. A GREAT WAY TO INTRODUCE YOUR CHILDREN TO THE
REAL WORLD:

7/10
-ABATTOIR-