Saturday, May 9, 2015

REVIEW-GHOST MINER-SHADOW FACTORY-CASSETTE

GHOST MINER-SHADOW FACTORY-CASSETTE
OUT OF BODY RECORDS/O-O-BR014
POST-INDUSTRIAL/EXPERIMENTAL ELECTRONIC SOUNDSCAPES
COMES IN A PLASTIC CASE WITH INSERT PRINTED 
ON SHINY PAPER.ON BLACK CASSETTE WITH LABEL STICKERS.LIMITED TO 100 HAND NUMBERED COPIES.
GHOST MINER IS:
NICK GABRERA


SIDE A.
I.) OBSIDIAN MIRROR / II.) CEREMONIAL HISSING /
III.) HOUSE OF TRAPS / IV.) UNFINISHED BUSINESS /
V.) SLITHER / VI.) VACANT EYES / VII.) VOID WITHIN
THE REAL:

The second release in the new batch from Out Of Body records.I have been writing
reviews for Out Of Body records since their second series of releases and they
have been consistently releasing interesting, high quality tapes covering a wide
variety of electronic styles since day one and GHOST MINER's "Shadow Factory" is
no exception.This album is simply awesome...Short, but one that will be spending
a lot of time in your tape deck."Obsidian Mirror" kicks things off with sinister,
seething synths that sound like the beginning of a bad dream set in a 70's horror
flick.Next comes mid tempo drum rhythms that boom and slam over distant electronic
echos and minimal vocals under light distortion.This stuff has infectious grooves
and toe tapping beats all over.Most of it is in a dark Electro Industrial vein that
is somewhat similar to the really early days SKINNY PUPPY when they were perfecting
their "Brap" craft.Delay and reverb are applied in the appropriate places and each
track tends to flow straight into the next.At times this is similar to stuff like
NEGATIVE EIGHT and at others resembles the breakbeat stylings of VALVEGOD.Rhythms
form and mutate in repetitive drum, bass and noise tracks along the lines of some
of the more beat oriented work of COMPACTOR.GHOST MINER takes a pretty minimal
approach to the accompanying electronics and lets everything ride the beats which
makes this a perfect album to put on when you're winding down after a long day or
driving late at night.This has a little in common with some of the early Witchhouse
recordings that used to circulate in the underground but is quite seperate from that
style.Bassy synth lines flow over steady tempos and anxious ambiance.Spooky sound
manipulations create the effect of a warped tape repeating on a broken deck.These
are grimey basement jams for outsiders and weirdos.Music for nightstalkers and
misanthropes.A great alternative to all the garbage hipsters label as experimental
or electronic music.

SIDE B.
VIII.) SHADOW FACTORY / IX.) CRUMBLE / X.) SCREENS /
XI.) EVASION:

Side B continues in the beat oriented direction that most of side A dwells in,
but it seems like there is more experimentation here.Dizzying synths and harsh
crashes of stretched static and noise create a corroded anti-symphony.You can
hear a little bit of a lot of influences here...Sometimes it sounds like the
mid era COIL and at others is closer to more modern bedroom electronics.This
would be an awesome soundtrack for a short, obscure indie film.Surreal loops,
disembodied and fragmented voices filtered through effects and digital weirdness.
Sometimes it feels like a really dark pop record...Almost like a sarcastic mockery 
of what is accepted as entertainment and other times things almost go into a Death
Industrial direction with clicking noises, heavy bass drums that rattle the ground
beneath your feet and unsettling synths that fill the air with generous amounts of
dread.Noise that sounds like it could be generated from power tools can be heard
grinding away during some tracks as engaging drum patterns that sound like early
CABARET VOLTAIRE plod on in artificial obeyance.The whole album creates the feeling
of something hostile and intelligent lurking in the shadows...Like a 1980's slasher
soundtrack.You can almost feel the breath of a killer on the back of your neck as
eerie synths shimmer like the knife of a madman.It also sounds like a lot of analog
equipment was used to create this or possible gear that mimmicks that type of sound.
Everything has a really badass oldschool vibe and the gentle application of dreary
vocal moans and low end overtone really brings it all together.

DRUM, BASS AND SYNTH JAMS FOR SERIAL MURDERERS, GHOULS AND GRAVEROBBERS.
THIS IS SOMETHING YOU STALK TO RATHER THAN DANCE TO.DIG OUT THAT OLD WALKMAN,
RUBBER MASK AND MECHANIC OUTFIT AND DON'T FORGET TO SHARPEN YOUR MACHETTE.
GHOST MINER PROVIDES THE PERFECT SOUNDTRACK FOR A NIGHT OF HACKING AND
SLASHING:

8/10
-ABATTOIR-

OUTOFBODYRECORDS/BANDCAMP.COM
OUTOFBODYRECORDS.BLOGSPOT.COM

REVIEW-ARVO ZYLO-SEQUENCER WORKS VOL.1-CASSETTE

ARVO ZYLO-SEQUENCER WORKS VOL.1-CASSETTE
OUT OF BODY RECORDS/O-O-BR013
EXPERIMENTAL ELECTRONICS/HARSH NOISE
COMES IN A PLASTIC CASE WITH INSERT AND A 
TRANSPARENT PLASTIC COVERING WITH ART PRINTED
ON IT.ON BLACK CASSETTE WITH STICKER LABELS.
LIMITED TO 100 HAND NUMBERED COPIES.


SIDE A.
I.) HYPNOCHONDRIA:

First off...Rob Buttrum is a fucker and a half for making me review this
one.We love ya man but this one was a pain in thee ass to put into words.
There is just so much going on to write about here.But anyways.Moving on.
Out Of Body records kicks off their latest batch of audio atrocities with
the first volume of sequencer works from ARVO ZYLO.What we have here is some
truly twisted electronic experimentation.Total schitso music.This tape is a
fucking trip.A vivid and lucid nightmare experience.I can't remember the last
time a release has left me with my jaw dragging on the floor and my eyes bulging
out of my head like this one has.Don't even get me started on how my ears reacted
to this shit.Too late, I've already started.The A side contains a single track 
of brain melting music that feels like a sexual assault on the senses...And like a
whore working the streets to pay for her next fix, you'll find yourself completely
hooked on this shit.Even the cover art was met with protest as some closed minded
fucks deemed it morally corrupt or some bullshit.At first it sounds like the tape
is fucked up but that's just how ARVO ZYLO sounds.Hypnochondria is manic and all
over the place like a really violent cartoon.Circus style rhythms are looped and
sped up to the point it feels like watching clowns on speed perform under a big 
tent full of some kind of nerve gas that causes you to flip the fuck out.Heavy
beats pound and break apart and pound again until they break your mind into a
million pieces of twitching mush.It takes a special kind of psychopath to make
music like this and someone even more derranged to enjoy it.I never said I was
normal did I? Pulsing bass drums blast off at light speed as glitched out melodies
play in chaotic patterns.Things speed up and then slow down so dramatically that
in less than a minute you find yourself on the opposite end of the spectrum as
where you started out.At certain points it sounds like the tape is being fast
forwarded and at others it sounds like a 90's computer game like Doom or something
similar.Wind up music box melodies and Nintendo style synth music make this sound
like one of those fucked up art videos you stumble upon on Youtube from time to 
time and then everything will shift into something totally different before you
even know what hit you.Machine gun tempos are heard like an instrumental Digital
Grind record going off the deep end.Reversed rhythms and psychedelic paradigm shifts
transport you into dimensions beyond human comprehension.If a bad acid trip somehow
left you comatose at a carnival it might sound something like this.Oldschool organ
music plays like the phantom of the opera lost in the fringes of cyber space...And
then silence...But it's not over.The massive multi-layer mindfuck continues as a
slow funeral dirge on synths that sound like a haunted house level in a Super Mario
Brothers game.Rhythms are tinkered with and sound like they are being created on
glass objects and cow bells...This whole thing is just bizarre but totally addictive.
Off tempo music that sounds like something between a school marching band and a gypsy
caravan is heard for a while until heavy synth bass blasts like a fog horn over ghastly
graveyard ambiance.Sorta sounds like it could have been in the movie Creepshow at times.
Low budget horror soundtrack stuff until cool beats and minimal noise takes over.After
this it's more creepy ambiance but much more minimal and moody.Industrial drums are
thrown in the mix and were spinning through a soundscape like something you'd hear
from FOETUS back in the day.Heavier drumming is applied to smash things up in broken
blasts and backwards beatings until we end with a slower ass kicking with equal amounts
of pain and bruising.

SIDE B.
II.) PLASTHMA (PART II) / SHIZOPHILIA (MALFUNCTION
COMPOSITION):

Ready for more? Of course you are.Trauma is what we do here at Traumatic Static and this
time we have a double dose! Two tracks of terror starting with "Plasthma (Part II) and 
the music is just as odd and creative as the track titles! This titty twister of sound
begins with dense loops and hazy synths that flow in like a fuzzy fog.Booming bass and
distortion hisses over buried beats like a white hot steam engine that doubles as a drum
machine.Phaser effects are applied to create a nauseating effect like your stomach cliff
diving over and over again.This fades into mid tempo rhythms and pretty keys playing another
video game style melody.The way ARVO ZYLO goes from chaotic to calming and everything in
between is pretty awesome.Alien electronics rise and fall like otherworldly insects buzzing
and bobbing up and down around your head.The track shifts and warps countless times but stays
close to central themes to build off of.At it's core this is another glitchy noise album but
it was created and composed in a way that is really unique and really entertaining.For quite
a while we find ourselves in a territory closer to harsh, rhythmic noise.Metallic percussion's
and scrap metal beating over deep bass movements corrupted with distortion.Yawning stretches
of sound over long periods of time.The sort of stuff that makes you sleepy and causes you to
space out for a while.Ultra dense and lo-fi like a live recording of a band that is too loud
for the device that recorded it...Cyclic loops like what we heard at the start of the track
reappear like book ends to contain and close the piece and then "Schizophilia" finishes things
off with some really weird improv style noise featuring heavy phaser and filter abuse.It kind
of sounds like a space craft struggling to fire up it's engines while deep underwater.Stretched
and clipped electronics pulses punch and grind like broken bicycle chains and harsh blasts of
pure noise rip through the speakers.Most of the track is slow and kinda creepy in a weird alien
kind of way.Just when you think it's over it continues with heavy bursts and glitchy bleeps and
bloops like a fax machine dying a slow death.I could see this being in a surrealist or avante-
garde film during some of the weirder scenes.Sloppy synth notes flip on and off like a light
switch as muddy beats come and go.At the end it sounds like the tape is a living organism 
struggling to breath during the throes of death.A bitter creature that refuses to lay the
fuck down and die already.Not saying it's a bad thing or that I wish the tape would hurry
up and end...It just has this strange struggling vibe going on.As it reaches it's demise
we hear squishy and wet sounds...Bubbling regurgitations and synths that bring a sense of
impending doom.The tape feels like it ends a dozen times before it actually does.It sounds
like synths and sewage coming up through a kitchen garbage disposal as a halloween haunted
house cd plays in the next room.A miserable end to a magnificent beast.I swear to God I feel 
like I can hear colors and see sounds after this one.

FOR THOSE SEEKING SOMETHING REALLY DIFFERENT AND OUT THERE OR SOMETHING TO GET 
HIGH AND TRIP OUT TO...THIS IS THE ONE FOR YOU.FOR EVERYONE ELSE...ARVO ZYLO'S
SEQUENCER WORKS VOL.1 IS A DRUG IN IT'SELF.YOU CAN HEAD OVER TO OUT OF BODY FOR
THIS ONE.ONLY 100 COPIES SO GET TO IT:

7/10
-ABATTOIR-

OUTOFBODYRECORDS/BANDCAMP.COM
OUTOFBODYRECORDS.BLOGSPOT.COM

REVIEW-CURSES-AND THE SKY WENT BLACK-CDR

CURSES-AND THE SKY WENT BLACK-CDR
SELF RELEASED/RAI1
POWER ELECTRONICS/DEATH INDUSTRIAL/DARK AMBIENT
COMES IN A THIN SLEEVE WITH ARTWORK STICKERS
AND SMALL INSERT.ON BLACK CDR WITH HAND PAINTED 
LOGO.
CURSES IS:
A. VISSER - TAPES/METALS/LOOPS/SYNTHS/VOCALS



I.) IMPLOSION / II.) THE ESOTERIC ORDER OF THE
BLACK DIADEM / III.) OF THOSE WHO COME AFTER /
IV.) MONOLITH OF ARCANE NECROMANCY:

CURSES is a fairly new project here to show what the
underground has to offer if you dig deep on the DIY front.
"Implosion" opens up the disc by inviting us to experience 
sonic explorations themed around the occult and the macabre.
Out of the silence crawls dungeon ambiance and scrapping noise
along with echoing percussion's that sound like a murderer preparing
his tools of the trade.The recording quality is quite good and all
seems to be mixed well.Rolling quakes and sub-bass thunder blares out
over murky dirges that sound like they were created in a dingy, wet
cellar or basement.All is dark, dreary and strangely inviting like
the yard of the old house in your neighborhood rumored to be haunted.
You know you shouldn't go there but a sense of adventure stirs causing
you to disregard danger and throw caution to the wind.Power tools are
revved up and send sharp bits of shrapnel into the mind's eye as they
grind and sand away at unseen objects which are more likely than not 
human bones or carcases.Dark ambient undertones float smoothly beneath
the harsher tones and before you know it they have dragged you deeper
down into the dismembered rabbit's hole."The Esoteric Order of the Black
Diadem" is a little shorter than the previous track but equally effective.
Harsh and ripping static peels the skin from your eyelids as reversed horror
ambiance gathers over pitch black synth drones.This sounds like the music you'd
hear in a horror film right before the big reveal of something truly horrid.This
would be perfect for a film like Saw or Hostel in which victims die in the most
gruesome ways possible.Rushing gusts of noise and glitchy electronics stir.Knives
are sharpened and prepared and inhuman creatures moan and growl as bubbling muck
rises from phantom faucets.Imagine being in a sewer...Left sightless and out of
breath as rats and other vermin scurry around you and gnaw at any exposed skin.
That's kind of what this feels like."Of Those Who Come After" is the longest of
the four pieces here at almost nine minutes.The music is as cryptic as the song
title.This is similar to some works from artists like NYCTOPHILIA or PHANTASM 
NOCTURNES sounding like isolated incidents of torture and death caught on audio 
recording.Bleeping electronics and more glitchy weirdness rises as billowing winds
rise with them.Faceless figures clumsily knock into hidden objects and hazy walls
of washed out noise contaminate the already putrid air.CURSES has the ability to
transport the listener into lightness realms where the concepts of hope and comfort
are a faded memory at best.Pulsating synths creep out from the depths and grab at 
your ankles as clouds of static separate skin from muscle.Sudden bursts of ultra
harsh noise attack and retreat back to the shadows as otherworldly clicks like the
speech from the organisms from the films Alien, Predator and Signs fill the room.
It feels like something very hostile is breathing over your shoulder as you listen
to "And the Sky went Black." Something formless and yet utterly terrifying.Whatever
entities inhabit the darkness rushing out from my speakers...I don't want to meet
them.If the band name is any indication then I'm fucked either way as these four
tracks most certainly sound like they'd curse the listener.The sound is huge and
cavernous and seems to expand endlessly until the tracks come to a close.The final
manifestation of aural evil, "Monolith of Arcane Necromancy" Is a little over four
minutes in yet another realm of all out terror.It's almost like CURSES took the ideas
built on in the three previous tracks and combined them into one living nightmare.
Elements of each are present like the booming static, Surreal and uneasy Ambiance
and glitched out electronic pulses and signals.Metallic vibrations fill the air
with chilling tones and white noise like malignant voices on EVP recordings scream
and loudly voice their woe.If you're into stuff like MORTUARY WOMB and the like then
this is one to check out.Strange sounds mirror the thoughts of the icy legs of spiders
crawling across your skin and other primal and inborn fears present in most humans.
The disc almost ends suddenly and only slightly fades out during the last few seconds
leaving you almost confused and asking "Is it really over?"

AN AWESOME FIRST RELEASE FROM A PROJECT SURE TO HAVE A PROMISING FUTURE IN
THE NOISE AND AMBIENT SCENE IF THIS DISC IS ANY INDICATION.GRAB ONE WHILE YOU
CAN.WE ARE CERTAINLY EXCITED TO SEE WHERE CURSES GOES FROM HERE:

6.5/10
-ABATTOIR-

WWW.SOUNDCLOUD.COM/CURSES-2

REVIEW-JOSEF NADEK-BLUATIG HART-CASSETTE

JOSEF NADEK-BLUATIG HART-CASSETTE
FALL INTO VOID RECORDS/FIVNMBR63
EXPERIMENTAL NOISE/AMBIENT/FIELD RECORDINGS
COMES IN A PLASTIC CASE WITH A BEAUTIFULLY
ILLUSTRATED J-CARD INSERT.LIMITED TO 50 HAND
NUMBERED COPIES ON BLACK CASSETTE WITH LOGOS
PRINTED ON THE TAPE.COMES WITH A BUTTON AND
AN ART CARD.



SIDE A.)

I.) WALDGEISCHTA / II.) NIMMA DA:

"Bluatig Hart" is a short release that somehow manages to pack 
a lot of interesting ideas into a little cassette.One of JOSEF
NADEK's countless releases but a great place to start if you're
new to his work.Side A takes us into two experimental soundscapes,
The first being a strange trip through a dark forest as a crisp
ambient soundtrack guides your way.Synths shimmer over the natural
sounds of birds congregating and communicating in the trees.Slight
textures play and hide like children peaking from behind tree trunks.
Overall it's a hauntingly beautiful work.The kind of stuff that feels
like a dream.Ominous undertones lurk in the corners but never take
over totally.Everything just sort of floats along with the organic
sounds of organisms in the thrall of life.Dull thuds end the track
like man come to cut down and destroy and then we go into track two.
Electronic pulses that form quiet rhythms mixed with crystalline
synths and hazy textures.This sounds a lot like COIL and if I was
told it was an un-used instrumental from somewhere between their
"Music To Play In The Dark" and "Worship The Glitch" albums, I
would totally believe it.The track feels like it creeps and
crawls like something secretly spying and observing.So far
this seems to be a common theme for JOSEF NADEK.Let's see if
this is carried on to the B side.

SIDE B.)

III.) S WILDE GFAHR / IV.) D BLUATIG N:

Feedback and warped noise.Wasn't expecting this.Shrieking signals
stream like rockets and powerful synths come and go.Periods of
ear mind numbing high end fuckery come in skin melting intensity
then vanish to be replaced by filtered experimentation that sounds
like the wet, dripping jowls of some hideous horror slowly chewing
you into chunks and bits.This one is frantic and all over the place
like a nervous rodent trying to escape a predator.Spinning blades of
static slow to their demise and swirling, pulsing sounds spin like
tiny twisters.Obviously much different from what we heard on the A
side.Obscurred voices are heard if you listen closely until they
are murdered by feedback and spacey, cosmic sounds.The final track
is another one that is quite similar to a COIL instrumental.Strange
rhythms and patterns played on stranger electronics.Grinding synths
are stretched and downtuned until they sound like growling bowels
pushing filth downward.A slow sludge of gurgling and regurgitation.
A great departure from the sounds of nature we began with.It sounds
like a symphony of sewage.Like a still river of filth come to life
to mimic an acapella choir rehearsal.The sounds of swine being
slaughtered and hacked to bits are heard and then the heavy thud 
of slabs of meat hitting a hard surface bring it to a bloody end.

THIS ONE IS PRETTY OUT THERE.A HARD TO CATEGORIZE RELEASE THAT
KEEPS YOU GUESSING.IF YOU'RE INTO THE MORE EXPERIMENTAL STYLES
OF NOISE AND ELECTRONIC MUSIC THEN THIS IS FOR YOU.SIMILAR TO
SOME OF THE STUFF YOU'D HEAR FROM THE C.I.P. LABEL.WHATEVER
YOU WANNA CALL IT, THIS IS CERTAINLY INTERESTING STUFF:

6.5
-ABATTOIR-

REVIEW-RAPE-X-FALSE (RE-ISSUE)-CASSETTE

RAPE-X-FALSE (RE-ISSUE)-CASSETTE
URGENT TELEPATHY RECORDINGS/UTR013
POWER ELECTRONICS/HARSH NOISE
COMES IN A PLASTIC CASE WITH INSERT.
ON RED CASSETTE WITH TITLES PRINTED IN
BLACK INK.



SIDE A.)
I.) TWAT CANCER / II.) YOU ARE AT RISK / III.) HOME DEPOT /
IV.) GRAND LARCENY / V.) ARSON:

This one is a reissue of an early RAPE-X release."False" is largely
responsible for getting RAPE-X a lot of recognition.From the video
of "Kidnapping" seeing thousands of views on Youtube, to the overall
onslaught of the album itself."False" is a testament to how far a
record in a mostly unknown genre of music can take you.Multiple live
gigs were played after this one and now the world of underground 
electronic music knows the name RAPE-X very well.Side A offers up
four blistering lessons in sonic violence as well as the monolithic
track "Arson" which is quite different from what you'd typically
expect to hear from these guys."Twat Cancer" opens with a bang as
loud, distorted screams and a whirlwind of harsh noise blast in an
all out attack on the listener.It sounds like one pissed off mother
fucker going off as a storm rages."You Are At Risk and "Home Depot"
are fairly similar.Both being full of piss and vinegar..The 
starts off with a spoken passage concerning suburban life and 
it's hardships and then dense currents of noise flood beneath harsh 
rasps.The tracks are fairly minimalistic and tell raunchy tales that 
are darkly comedic...At least to someone like me who's totally fucked 
in the head.Light static and bleeping electronics surge like a river
of filth flowing towards civilization to carry the rage of RAPE-X
into the streets.This is the kind of shit that will terrify your
neighbors or make you're parents feel like failures upon hearing.
This album feels like it demmands to be listened to.The vocals
lash out like fists to the face.Like audio assault and battery.
"Grand Larceny" offers shrill walls of harsh noise that spiral 
in your face and relentless vocals that are spit out like bitter
venom.Midway through everything falls into a pit of dense noise
and disorienting ambiance.Dizzying bass movements pulse in rising
and falling motions as feedback filtered through otherworldly effects
drones on like the music of a distant, alien world.A surreal nightmare
of sound that has an unnatural effect on the state of the listener.Like
when you space out and stare at something terrifying and find that you
can't look away and don't want to.I'm not even sure if this is the same
track after a while or if we've drifted into "Arson" without realizing
it.Everything is a hazy blur of sound like something you'd hear in the
slow and spooky part of a 1970's B horror flick.A seemingly endless
passage through a hall of mirrors where every reflection is a hideous
truth that can't be denied.Disembodied voices haunt the distance but
their messages are unclear.Fevered and anxious noise builds and decays
in a hopeless cycle of misery.This is bleak stuff.Like a slow death via
overdose on hard drugs.It feels like the room is spinning around you and
your equilibrium has left the building.Like I stated above this is not
your usual RAPE-X track at all.

SIDE B.)
VI.) KIDNAPPING / VII.) THE ROUTINE / VIII.) BURNT CHORE /
IX.) LOCKED UP / X.) NOT WRONG / XI.) ALL YOUR SECRETS ARE 
MINE / XII.) STOP PRETENDING YOU'RE CRIPPLED:

Side B takes us back to the blood soaked, brass knuckle style we all
know and love.RAPE-X tends to bring out your inner massochist and makes
you ready for punishment with all the eagerness of an asian slut tied to
the bed-post.Our second round of brutal beatings begins with the abduction
themed audio annihilation of "Kidnapping" This stuff has all the brutallity
of bands like ATRAX MORGUE, TAINT or NICOLE 12 but in a style that belongs
only to RAPE-X.Harsh waves of fading noise rush through the room as angry
rants and demmands are shouted in deadly serious tones of urgency.A short
story that lists off the ransom demands of a man that will go to any length
necessary to get his next fix.RAPE-X provides brutally honest social commentaries
that would give your grandmother a stroke.My favorite lyric in the entire album 
is "Whith nothing to eat but a kick to the face" I thought that was pretty damn
great.Next we are treated to sludgey noise and a spoken narration about a man
stalking a family day in and day out.In your face screams amp up the severity
of the situation.I won't reveal too much as you should check this shit out for
yourself.The next track comes with powerful electronic drones that buzz on synth
saws as sub-bass movements churn like a slow tide.Vocals come as sounds of struggle 
and confusion that fit the music perfectly.This is another one that is quite different
from the usual style of RAPE-X. Much more dark and sinister.A track that creeps and 
crawls.Following this one were met with long, raspy screams that loop over washed
out static and humming machinery.A repetitive piece that comes like the cold sweats
of a panic attack for a brief moment that feels like forever until the short track
"Not Wrong" sends us into a field of live wires and buzzing electricity over noise 
that sounds like flesh being ripped open and pissed off shouts."All Your Secrets Are Mine" 
features robotic voices and violent screams over hazy drifts of noise.Another short one that 
has a Power Violence/Grind-Core aesthetic."Stop Pretending You're Crippled" is another raunchy
number with all the intensity of a white track brawl in the most run down trailer park.Pulsating 
drones and accusations that tell it like it is.No bullshit will be tolerated.Another great lyric 
is recited here."I sprayed her fucking pussy with lemon juice." That shit cracks me up.The fucked 
up shit usually does.High end electronic frequencies hover above true Power Electronics cloaked in 
dozens of effects and filters.An outro piece wraps things up and toe tags this son of a bitch with
ascending synths that reach like the hands of a dying victim towards their killer.Complete with 
screaming feedback and quaking bass.Harsh distorted slabs of noise blast off until everything winds
down to seal the lid on the coffin.A final fuck you from your friends at RAPE-X.

YOU CAN PRETTY MUCH CONSIDER THIS ONE A CLASSIC AT THIS POINT.
A VIOLENT DEMONSTRATION OF PURE POWER AND RABID RAGE:

8/10
-ABATTOIR-

MBDCONTACT160@GMAIL.COM
URGENTTELEPATHYRECORDINGS.BLOGSPOT.COM

REVIEW-ODOUR SONOUR/STONE WIRED-EARTH BURIAL/ALL SHALL BE DEAD, ALL SHALL BE NOT-PRO CDR

ODOUR SONOUR/STONE WIRED-EARTH BURIAL/ALL SHALL BE DEAD, ALL SHALL BE NOT-PRO CDR
EXABYSS RECORDS/SNO30
DEATH INDUSTRIAL/DARK AMBIENT/POWER ELECTRONICS
COMES IN A SLIM 4 PANEL DIGI-PACK.


THIS RELEASE FEATURES TWO ALBUMS ON ONE DISC.
THE FIRST BEING:

ODOUR SONOUR-EARTH BURIAL:
I.) ALGOR MORTIS / II.) DEFROSTAL / III.) ADERLATING PALPABILITY /
IV.) THE CORTEGE / V.) ASPIRATING SOUL FROM THE ABDOMINAL CAVITY /
VI.) BEREAVED AND ABANDONED / VII.) WAKE OF THE REMAINS / 
VIII.) FINAL RITES:

A black fog rolls in in the form of thick sub-bass rumbling and chilling
ambience.In the distance industrial percussion's are pounded in rhythm like
the lifeless machines in an oil field.Pulsating bass drum beats jab at your
ear drums as wandering noise explores the quiet edges of an open void.A barrage
of percussive blasts comes loud and with force followed by distorted, raspy vocals
that seem to swirl in the mix like a feather in a vortex.Things quiet down into low,
quaking ambiance and the sounds of city traffic and a camera taking pictures are heard.
Rattling gates are slammed as heavy footfalls and the jingle of keys fill the air.It's
like being at a crime scene as a gruesome act is documented.Strange mumbled vocals drop
clues of the horrors that took place here but never go into detail."Defrostal" sweeps in
on wings of dark ambiance on lush synths.Echoing percussive elements and minimal electronics
flow as the ambiance drifts with gusts of wind.Lonely and depressing stuff.Warm waves of
vibrating energy course through in controlled surges.This is a really cold but beautiful 
piece.Spoken vocals come in fragmented transmissions layered upon each other.White noise
sprays like a poison mist that penetrates everything and simple bass drum beats add a
tempo and sense of movement until we go into "Aderlating Palpability" Buzzing drones
come along with pops and clicks over distorted radio transmissions.Fragile ambiance
squeals like bad brakes on a highway in the middle of nowhere.There is a pace to the
track that comes like a slow heartbeat as it fades into death where it is met with
deep, low growls from the otherside.Hazy textures are applied for atmosphere and it's
a nice touch here.Nothing is overdone and everything is in check which imitates a
feeling of suspense."The Cortege" starts with quiet tapping rhythms over a clear
river of flowing synth ambiance.Words echo in the distance but you can't make out
what they are saying.Samples words come and go along with screams of suffering.
Layers build and samples of an extremely pessimistic girl talking are heard.This
sounds like something NAVICON TORTURE TECHNOLOGIES would have done in the 90's.
Self hate and a glass not only half empty, but shattered on the floor sort of
outlook.The music stays pretty minimal while enhancing the narrative which makes
for an emotionally engaging listen."Aspirating Soul..." is a slow moving mass of
surging wires and white noise over shifting sub-bass and whispering winds.Water 
or some other liquid can be heard struggling to go down a clogged drain as the
slow sludge-like bass movements crawl at the speed of mud.A lot of this record
is fairly quiet but without coming across as boring or uninspired.It is all dark
and moody and works great as a negative ambient album."Bereaved And Abandoned"
is another slow and depressing crawl towards the grave that sort of reminds me
of ADERLATING...Dungeon ambiance filled with deep growls and the creaking of
dry throats.Churning bass and dusty breezes fill the corners of this one as
static flutters like the wings of a struggling moth or dying bird.The bass
currents grow thicker and greedily take over the track followed by haunting
synths that wail like restless spirits.This is sorta similar to stuff like
ISOLATOR at times.Black waves of sound that cover everything like blood 
running down a window."Wake Of The Remains" sticks with the hopeless themes
and starts out slow and eerie.Deep drones rise after a brief intro and make
it feel like we're building towards some climatic event.Lite ambiance plays
on the edges of the darkness like a lunar eclipse right before completion.
Static in a mid-tempo rhythm crunches and rolls into the spotlight along 
with spacey noises and cyclic swirls of sound.Layers and textures gather 
in the fashion of a TERRA SANCTA or CRYO CHAMBER release.Synth choirs offer
sad laments and stretch towards the heavens like a plea for help.The answer
to their prayers comes in the final piece of the "Earth Burial" portion of
the record."Final Rites" hits the nails into the coffin.Once again slow synths
vibrate and slowly awaken.Cycles of wind dance in the air as synths flow like
blood in veins.Chilling winds gather like despondent voices crying out but all
remains empty and desolate.Industrial percussion's and manipulated sounds come
and violate the senses.The mixing is cool so it goes in and out of both ears like
some ghostly entity whispering hushed verses into your ear.Distant blasts of static
in timed bursts enter the picture as well as a myriad of voices cloaked in distortion.
One last stretch of ambiance and a few final screams to wrap things up and we're on to
the collaborative side.

THE SECOND HALF CONTAINS A COLLABORATION ALBUM
BETWEEN ODOUR SONOUR AND STONE WIRED:

ALL SHALL BE DEAD, ALL SHALL BE NOT:
I.) PEOPLE TRUST, PEOPLE KILL / II.) THE END IS JUST AN EXIT,
THE BEGINNING IS JUST THE END / III.) LET THE WORLD SINK INTO
THE DUST / IV.) YOU SEE ALL IN VAIN / V.) IN THIS WORLD WHERE 
WE HIDE / VI.) FEEDING THE GRAVE / VII.) HANDS THAT NOT MINE
(DEAD HANDS):

The collaborative half is quite different from the other stuff."People Trust"...
opens with robotic voices and moody ambiance that sends electricity down your
spine.Various noises that sound like nocturnal birds of prey circle above and
eventually a slow calm washes over.Semi-distorted bass movements shift for a
while and then the distorted vocals of Mortum come like carrion to a fresh grave,
bringing with them a cloud of static that infiltrates every crack and corner.The
vocals are covered in filters and effects and at times throughout the release have
a 90's style Electro Industrial flavor to them.Like early SKINNY PUPPY or FRONTLINE
ASSEMBLY."The End Is Just An Exit..." is one of my favorite tracks here.Quaking drones
and lite touches of static greet us and throbbing, punchy bass drums strike and shake
the sub-woofers.Distorted rasps come and fade into time-stretched female vocals that
create discomfort.It feels like your equilibrium is being set off balance at times.
Some kind of sonic seasickness.The track is riddled with anxiety as well as depressing
beauty.A really stunning piece as a whole."Let The World Sink Into The Dust" starts out
in a more Death Industrial direction.Metallic percussion's and gaping black holes that
shove out streams of sub-bass.Hazy vocals buried beneath distortion spell out our doom
and phased electronics dance like stars in the throes of vertigo.Standard Death Industrial
with no gimmicks.Slamming metal on metal echoes and layers of sound bounce off of one another.
"You See All In Vain" is an equally dark and dreary piece, but this one is filled with howling
winds and heavy synth saws.Waves of static peel away at the senses like a tide of corrosive
acid as nauseating bass synths rise and fall like the ocean tossing a ship like a ragdoll.
The vocals come in malignant tones neath the haze of effects and an accent that somehow make
them feel a little more hostile.Again we have a prime example of Death Industrial done right
and once again you can hear some 90's industrial undertones in the mix.The track grows harsher
as it persists and makes it clear that ODOUR SONOUR and STONE WIRED have come to unleash a 
lethal combination."In This World Where We Hide" opens with an electric whirlwind and deadly
vocals that come in commanding tones.Vocal processors are used to full effect to make this
one sound utterly threatening.Like multiple voices speaking in unison...An anti-human, daemonic
entity that seethes and lurks within your shadow.The music is kept low and sinister.Black ambient
that dwells in the darkest corners."Feeding The Grave" is a little weird at first.Weird pulses
gather and build as patterns are formed.Additional synths in the same vein help things build
along with spoken samples and groaning sounds like croaks emanating from wet throats.Minimal
drums add an inhuman element making this sound like a cold machine plodding off as regulations
mindlessly come through a loudspeaker.Like a day in a dreary factory with no future other than
death after a life with no accomplishments."Dead Hands" finishes us off with pounding bass drum
rhythms and low vocals through filters similar to something you'd hear from STEEL HOOK PROSTHESIS.
This one is another favorite of mine here since it feels so cold and mechanical.Strange vocals,
rumbling sub-bass, rushing winds and dense distortion...Death Industrial done right in every way.
The drums have the feeling of a tribal rite of passage of some sort and the overall darkness of
the piece gives it a Voodoo vibe that makes this a perfect pestilence to part with.As a team,
ODOUR SONOUR and STONE WIRED are an awesome duo.When the grinding, blistering, white-hot noise
at the end of the track rips through, you can't help but feel excited.A face melting finish to
leave the listener satisfied and ready for more.

EXABYSS RECORDS HAVE BEEN PUTTING OUT SOME PRETTY GREAT DEATH INDUSTRIAL 
AND DARK AMBIENT RELEASES FOR A WHILE NOW AND THIS ONE IS A PERFECT ADDITION
TO THEIR ARSENAL.A FULL RELEASE FROM ODOUR SONOUR AND A TAG-TEAM ATTACK ON
ONE DISC?! YOU NEEDED TO GET THIS MONTHS AGO.WHAT ARE YOU WAITING FOR?!

7.5/10
-ABATTOIR-

REVIEW-SEWER GODDESS-PAINLUST E.P.-CD

SEWER GODDESS-PAINLUST E.P.-CD
BLACK PLAGVE PRODUCTIONS-INFECT14
BLACK INDUSTRIAL/DEATH INDUSTRIAL/INDUSTRIAL DOOM
COMES IN A JEWEL CASE WITH BOOKLET FEATURING
EIGHT PAGES OF ARTWORK.
SEWER GODDESS IS:
KRISTEN ROSE - VOCALS/MACHINES
JASON BECKWITH - GUITARS
MIKE BECKWITH - DRUMS
CARL HAAS - BASS



I.) PLAGUE AXIS:
Painlust drags us into the darkened depths with an intro type piece that
approaches as a dreary dirge played on gloomy synths.Somber but with an
uneasy vibe.Heavy industrial beats pound in the distance as Kristen Rose's
fierce screams flow through a haze of static and force their way to into 
your attention.The track ends with looped samples filtered through robotic
effects and dark ambience.Next stop...The grave.

II.) MY GRAVE:
Kristen Rose's clean and doomy vocals greet us as mid-tempo drums and churning
riffs are played over currents of static and electricity.Her vocals are like a
more emotionless, female version of mid to late era CHRISTIAN DEATH (The Rozz
Williams version) Moody and with no trace of a silver lining. Comparrisons can
be drawn to Greed/Money era SWANS as well as early MY DYING BRIDE but with a
more mechanical and Industrial vibe.Cold and inhuman.Droning riffs are all that
remain towards the end of the track and come like black strands of death reaching
over the sky.There are not really any bands that sound quite like Sewer Goddess so
if you are new to these guys you'll have to check em out for yourself.

III.) FLOG:
Guitar feedback and loud mid-paced drums with metallic cymbals that sound like they
are made out of leftover factory scraps bring us into heavy slow riffing.Down-tuned
vocals offer a grim, blackened narrative as the band plays like programmed drones.
There are traces of Sludge, Doom, Industrial Metal, Black Metal, Death Industrial
and more.SEWER GODDESS somehow blend various styles to perfection kind of like how
GNAW THEIR TONGUES does but with a totally different sound.So far these are total
downer jams...The type of shit you'd listen to during a lonely night of heavy drinking
and wrist slashing.Halfway through all becomes an empty plane of moaning, hissing and
daemonic bellows over harsh winds until the drums slowly work their way back into the
picture and bring us back to another sonic boom of chronic doom til the end.

IV.) BLACK MEAT AND BONES:
Horror ambient and intro samples pave the way for some faster paced drums that pound
like hammers to nails.The guitars wail and scream over powerful riffs and rhythmic
noise and the vocals come like bouts of sickness crawling out of Kristen Rose's plague
ridden throat.Like a darker and more demented PHARMAKON with an attitude like DEATHSTENCH
if they were playing in the style of GODFLESH.The tracks are all fairly repetitive but 
not in a bad way.They build upon a well thought and composed direction and see it through
in an earth scorching manner that will leave you nothing but a charred pile of bones.

V.) GET THE ROPE:
Not to be confused with the FIRE IN THE HEAD track of the same title...This is an original 
piece.Synth drones and slow, booming drums with the perfect amounts of delay and reverb are
heard over either soaring guitars or synths...Hard to tell but the notes reach straight for
the sun and replace it with their own magnificence.Spoken vocals come through radio wave
distortion and phasers like commands on a loudspeaker in a cold, frozen bunker.A militant
anthem of declaration played as a destructive death march.The feeling throughout this record
is like one that something seriously terrible is about to happen and nothing can change it.
The track ends with distorted blasts like bombs exploding on a field of blood and carnage.
Strap on your helmets.The are falling down.

VI.) HELENA'S MASK:
Harsh noise rattles the senses until it's replaced by programmed drums as well as actual
drumming.Evil riffs and screeching leads with a 90's UK Death Doom quality to them play 
on as vocals come in scornful spoken phrases, high pitched shrieks and dismal moans.This
track is a little faster than most of the others and is the perfect one to seal the tomb.
Percussion's like angry thunder come in segments of double penetration and pestilence.
The vocals towards the end are utterly wretched and sort of remind me of MONARCH.Filled
with agony and blistering at the same time.Like the others, this one builds to it's own
demise and leaves you lusting for more aural punishment.

SEWER GODDESS PROVIDE A PUNISHING LESSON IN CROSS GENRE MUTATION.
A SHORT BUT EXTREMELY SATISFYING RELEASE.YOU CAN GET THIS ONE AS
WELL AS A TON OF OTHER GREAT RELEASES OVER AT MALIGNANT RECORDS:

8.5/10
-ABATTOIR-

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

REVIEW-THEOLOGIAN + STROM. EC-HUBRIZINE-COLLABORATION-CD

THEOLOGIAN + STROM. EC-HUBRIZINE-COLLABORATION-CD
MALIGNANT RECORDS-TUMORCD68
POWER ELECTRONICS/DEATH INDUSTRIAL/DARK AMBIENT
COMES IN AN OVERSIZED DELUXE FOUR PANEL DIGIPACK
FEATURING ARTWORK, QUOTES AND LINER NOTES.
"HUBRIZINE WAS MANUFACTURED BY THEOLOGIAN
PRIME USING SOURCE MATERIAL PROVIDED BY JASSE
TUUKKI AND TONI MYOHANEN 2010-2013."



I.) INVOLUNTARY DILATION / II.) EM-19 /
III.) UBIK / IV.) HUBRIZINE / V.) EXEGESIS /
VI.) WORLD WAR TERMINVS / VII.) FLOW MY
TEARS (FEATURING VOCALS BY: AURORA):

THEOLOGIAN and STROM.EC team up to offer up a solid slab of unique 
ambiance and punishing power electronics.We kick things off with
"Involuntary Dilation" which takes us into ten minutes of crystal
clear ambiance played on ghostly pianos that echo over time stretched
synths and hazy textures.At times this sounds like something COIL would 
have done around the "New Backwards" era.Ultra dark ambiance similar to
LUSTMORD or a CRYOCHAMBER release haunts the far reaches in the background
as THEOLOGIAN'S trademark synth sound adds a thick and throbbing substance
to the piece.You can easily identify elements of both artists here while they
create something a little more unexpected at the same time.Sad and elegant
themes play around like moths on fragile wings as the track builds along
with gentle piano notes that are stretched and disfigured.A truly beautiful
piece."EM-19" is a different entity entirely.Playful clean tones dance like
feathers on air at first and then BOOM! Distorted rhythms and harsh vocals
followed by what sounds like slap bass in timed segments.Pulsating electronics
grind out over murky ambiance and once again we have a unique piece of work 
that fucking works.The vocals come in a bitter voice that tells us that "we
are programmed to die." Choir voices are used to full effect and come in
waves to wash out the memory of human existence.My only complaint is that
I wish the track was longer."UBIK" is around the same length and opens in
a similar fashion.This time denser and darker.Hazy ambient that swoops and
drifts around the room like an insect looking for a place to hide and metallic
industrial rhythms take us into secondary industrial beats until they both blend
in an artificial intercourse.The vocals are cleaner in tone but wrapped tightly
in wet phasers and filters.Heavy sub-bass and stunning ambient work flows under
it all.Distortion and drum fills suddenly assault the distant atmosphere of the
track somehow creating a sinking feeling like your entire world is coming down
around you and there is nothing you can do to restore it.The title track, "Hubrizine" 
is over eighteen minutes long.Stark and lightless.Wave after wave of rolling dark
ambiance encased in lite touches of crisp distortion.If you're into stuff like 
SHOCK FRONTIER or SCHLOSS TEGAL then you'll really dig this.Slow and cinematic,
yet suspenseful.Total isolationist stuff here...The kind of music I'd listen to
if I was walking alone beneath a white winter sky.Both artists know how to use
restraint and pacing to their advantage while at the same time, not boring the
listener to death.After a considerable period of meditative drifting we are
treated to distorted currents of energy.Charged surges that form powerful drones.
Another movement takes place and all fades into a minimal soundscape.A bleak and
dreary void filled with bubbling electronics soaked in warped effects and alien
phasers that ascends to the point of madness before falling back to earth in a
slow spiral.Once it hits it mutates into pissed vocals that come in harsh bursts
of rage over rhythmic noise.Similar to IRM, NYODENE D, SEKTOR 304, Etc. Loud and
angry just as power electronics should be."Exegesis" is an interesting one.Ambiance
floats and harsh vocals strike out a combination of sounds on totally different ends
of the spectrum.Added to this we have distant metallic beats and heavy bass bursts.
It feels like oppossite emotions blending together to create a new state of existence
as the "Programmed to die" themes from earlier are repeated.Fragile static and choir
synths participate once again.Very strange and surreal but it works."World War Terminvs"
takes us into a wondrous clean ambient soundscape in a shoegaze haze.Pretty drones in
an obscure cloud like something NADJA, BIRCHVILLE CAT MOTEL or FEAR FALLS BURNING would 
do, just on different instruments.At times it sounds similar to stuff like BLOOD FOUNTAINS
or URAL UMBO as well.A very calm and transcendent piece that could easily lull you to sleep
if you listen to it late at night."Flow My Tears" sends us off in a saddened state.Pretty
synths flow in currents as reversed layers glide within them.Some really interesting electro
industrial beats carry us in deeper and soaring female vocals float like sorrowful ghosts.
It almost sounds like a MASSIVE ATTACK style remix of a chamber ambient track.Hard to describe
but very easy to listen to.This one as well as some of the others tend to send you into a deep
daydream type of state.Punchy bass beats start throwing hits back and fourth and various layers
of experimentation swirl around them.The vocals are lush and gorgeous and everything flows and
blends into a perfect mix until it slowly fades into oblivion.

A VERY INTERESTING DIRECTION FOR BOTH ARTISTS INVOLVED.FANS OF EITHER WILL
BE BOTH SURPRISED AND PLEASED:

9/10
-ABATTOIR-

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