Monday, April 27, 2015

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-

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