Wednesday, September 30, 2015

AN INTERVIEW WITH DETEST



Original interview conducted via conference call  - 9-26-2015 -
By: Mike Hernandez 
Rendered to print  - 9-28/9-30 2015 -
By: Dave Mills
All visual art: 
Gordon Lazarus


        Detest is : Aaron Burke and Gordon (Mark) Lazarus.

Why did you pick your band name? How did you form? Why did you decide to play the genre or 
genres you do?

Aaron: Detest is a rather old project I originally started around the summer of 89 while spending time in a mental health facility, however due to various unfortunate circumstances I didn’t have the means or time to do much of anything with it, keep in mind I was spending most of my time either in hospital care or on the streets battling bulimia and other ongoing physical/mental health issues I carry with me today. Detest grew from this and all the other personal shit I was dealing with, the name came naturally with the years of abuse I have put my body through long before I started creating the basis of the project, it was almost second nature to adopt it as my own creative outlet. This past year things seem to have fallen into place just enough to where I was able to bring in an additional member/close friend (Gordon Lazarus) and focus on writing and recording material that carries a personal aesthetic.This being the case we don’t focus on working under a specific genre of music, or focus on a specific sound rather then what we are feeling and how both the audio and the visual art coincide to represent Detest in all areas of creativity.


After listening to the amazing sound sample’s from what is to be your debut release “Confession” and reading lyrics sent to us from your project member Gordon Lazarus I almost feel Detest carries a since of self-hatred and concentrate’s a great deal on topics such as self-harm to living with bulimia and dealing with mental illness from anxiety to paranoia from what seems like a woman’s point of view. Would you say such topics are all focal points for Detest?

Aaron: You are absolutely correct, Detest is woman, a woman scorned beaten and ruined not by man but by self, we see how women today are consumed with looks and how damaged they have become to look like that 90 lb air brushed corpse on the cover of Vogue magazine. It is sad watching most live under such pressure thanks to the hypocrisy and scrutiny of T.V shows that force women to feel less about themselves unless they fit into a certain size and category.

Gordon: There is still a nurturing aspect we are also concentrating on, woman as power, that survival instinct men do not embrace as much as a woman protecting her child, her home. Detest may be self-infliction of womanhood but also she is the voice of reasoning when things start to make very little sense, as with the closing track on the “Confession” e.p, it may come across as abrasive but that’s the point, there is a sense of beauty in hatred and with that beauty we are hoping to allow women to feel less alone and connect to what it is we are doing and possibly understand the importance of why.


Do you write out your lyrics? Do you ever change a song’s lyrics in live sets?

Gordon: Aaron and I write lyrics together and edit each other’s work until we feel they are complete and make enough sense to us both though we each lack confidence when it comes to recording vocals, something he can further elaborate on I’m sure, regardless we do work on everything with the objective of bringing in outside vocalists depending on what a specific track may call for.

Aaron : Lyrics are always a personal challenge so a majority of what is written Gordon handles, working together is also still pretty new and we are still learning the best methods of writing and recording together as partners rather than him or I working separately and coming together later and seeing if what we have done individually works or not. It is a unique situation since we both have our difference’s and opinion’s how things should be done but mesh rather well when it comes to getting material completed on a timely schedule, lyrics are the most important part of Detest, being such whether we are recording at home or eventually playing live the lyrics and audio will remain the same as presented on tape, the only difference will be who may be handling vocals on a CD to performing them live. One of the main reasons for this decision aside from the obvious fact that I hate my voice on tape, in the very beginning for these and other personal reasons Detest was never supposed to involve vocals or have any “:human (more so male)” sounds involved aside from an occasional sample. Gordon changed that in me with my admiration I have towards his style of writing and how he can take a simple subject and make that much more sense of it by allowing just enough breathing room for our listener’s to an artist involved to follow what we are doing without getting lost in words that make absolutely no sense at all. Performing live is going to be a challenge but one I am interested in seeing happen within the next few months, we both have our inhibitions and insecurities regarding playing our material in a live setting however we both agree for one to grasp what it is we are doing and why it is almost a necessity.

Where do you usually gather songwriting inspiration? What is your usual songwriting process?

Aaron: Depends, I gather almost all inspiration from personal experiences, whether it be something that hit me hard in the past or something I could be dealing with currently, everything I put into the project has to come from inside myself otherwise I feel like what I would be doing wouldn’t be authentic or a valid representation of Detest as a whole. Song writing also is done with the same principles involved, there are times I may be feeling a certain way and Gordon isn’t or vice versa and nothing gets done sense there is nothing that needs to be poured out onto tape at that very moment, as with lyrics we work together either at my place or his and we both have to be in a similar head space, working with a person who shares so many similarities we are able to feed off of one another no matter how fucked up things may be, it’s almost like playing with fire at times, I have literally watched him completely fuck himself up and he has had to deal with all of my emotional/physical baggage yet things somehow always get accomplished without anyone getting carted off to the Emergency Room.

Gordon: Inspiration is drawn from a lot of the same things Aaron already touched base on, there are other things I try and incorporate into the project as well taken from other less personal places, music is a good place to start for example and weather an artist chooses to admit it or not anything a person listens to becomes a part of that person’s sound, as with “Confession” there is huge Industrial Ambient undercurrent that lends a nod towards Skinny Puppy’s earlier confrontational atmosphere’s to Aaron’s own musical influence’s that bleed onto the album. Recording is always sporadic and un discussed, only time we can’t get our shit straight is when one of us is having a good day (laughs), at that point everything goes to shit and we end up either reading Batman comics,whacking off to German midget porn or completing avoiding each other all together.

Do you have a band website? Why or why not? Do you have a Facebook or Twitter? Do you use Bandcamp, Spotify or SoundCloud to share your music?

Aaron: Personally I despise social media and refuse to use it, Gordon took it up on himself to utilize Facebook for promotional purposes but I try hard to avoid that place, Twitter and Instagram like the plague.

Gordon: As much as Aaron hates Facebook and all social media outlets I believe it is a tool to at least house our music and share our thoughts with people who have similar interests as ourselves. Eventually once “Confession” is completed I plan to create a bandcamp for streaming/purchasing full albums and maybe post a track or two off of  the full length on Soundcloud. Nothing has been set in stone yet but we have toyed with the idea of launching an official website sometime early next year, though Aaron isn’t fully convinced there is a good chance this could very well happen…

Do you think that online presence is important for fans to find you and critics to find your music to write about?

Aaron: No.

Gordon: Definitely, we live in times where social media has made it easier for artists to build intimate relationships with their fans, general media and labels that may cater to a specific genre of music help find artists easier.

What do you think about online music sharing? Do you ever give your music away for free? Why?

Aaron: Legal downloads are the best thing the internet has to offer musicians, especially in certain scenes of music where labels and artists work on a strict budget, this creates a means for releasing quality music for those who no longer care about purchasing physical releases. You will always have a specific few who look at downloading as ruining the music industry but in the same token there are plenty of people of still like to buy albums. Most of the releases under Detest will in fact be digital downloads, we may charge a bare minimum to go towards touring and gear but we honestly don’t care about making much if anything back, people taking the time to listen to our work is payment enough.

Gordon: We have discussed this many times amongst ourselves and in the past I have had issues with the idea of downloading, within this last year alone I started to realize many artists are actually quite successful in delivering their music through this medium and it does work for helping maintain an audience, if your putting out top notch releases people won’t so much care about the format, the music is what’s important and the conviction behind your project. This does not mean we are opposed to the idea of physical albums, we have more than a few we plan to release such as a couple limited cd-r/7’ packages through my own label Oppressive Resistance, we also have hopes of seeking out a larger label to help with our full length album we will start shopping around early Spring.



If you can list 10 influential albums you may consider being beneficial factors within Detest:

Aaron: SPK -Last Attempt at Paradise, THROBBING GRISTLE – The Second Annual Report, BRIGHTER DEATH NOW – Innerwar, SEWER GODDESS – Painlust, LEVIATHAN – Scar Sighted.

Gordon: SKINNY PUPPY – Remissions, NWA – Straight Outta Compton, SKM-ETR –The Rugged Meat Cleaver, GENOCIDE ORGAN – Leichenlinie, ABJECTION RITUAL - Psychiatric Failures

Anything you would like share, from new merch to upcoming shows/tours or songs/albums?

Gordon: Currently we are wrapping up our debut e.p “Confession” due out years end on limited cd-r through Oppressive Resistance, we are also recording our half of a split 7” vinyl project with STEEL HOOK PROSTHESES we will self-release around the X-mas holidays as well as mixing down material for a free digital download entitled “Dog Food” consisting of Detest remixes of a couple Skinny Puppy tracks to include a 45 min mega mix due out Spring of the upcoming year. Early December we plan to begin recording our first full length album entitled ‘An Intimate Repulsion of Human Flesh” we hope to find a label interested enough in releasing it sometime mid-2016.

Aaron: Touring is going to happen at some point next year regardless how I feel about playing live, this is something I have to make happen, as I mentioned this is a must and just as important to Detest as any one release we are working on. Merch is something else happening in the form of high quality posters, stickers and girly tees around the same time we start working on “An Intimate Repulsion….”,I have no artistic bone in my body but Gordon and I have put our heads together and have a couple different designs in mind that follow the themes of the project without being stylish or overtly attractive.

Can you give our readers an idea of what can be expected sound wise on the “Confession” e.p to the difference’s if any at all that can be found on the full length album?

Aaron: “Confession” is more in tune with traditional Death Industrial/Dark Ambient sonically then the concepts regarding our approach to the full length. With the e.p we focused more on creating a slow moving rather personal palette that has taken a huge emotional toll on myself as well as Gordon, same with the work we plan to finish for the split with SHP. Both of these releases will greatly differ then the more guitar driven Industrial aspects of the full length which is the ONLY album besides the Skinny Puppy remix project where we are not fueled by emotions and physical struggles rather than approaching this particular project with an open mind. “An Intimate Repulsion….” Will be a bit different and much heavier, with this release we plan to incorporate actual percussion, I started off as a drummer by trade and this last year have rarely left my kit, this album will also include some pretty interesting guitar/synth arrangement’s, and hopefully the addition of female vocals, in between midget porn and comic books we have started fucking around with different arrangement’s and we pretty much know what to expect when we get into the studio and begin the recording process.

Who creates your artwork, do you do your own or do you venture outside of Detest?

Gordon: It is not uncommon for Aaron and I to sit down for hours and discuss our ideas I try and lay out into a simple rough draft, once we have decided on a visual concept we have someone who knows what they are actually doing, take these ideas and create a professional looking product. Eventually we would love to have the means and know how to do a majority of the work ourselves.



If you had the chance to collaborate with anyone one person in any genre of music who would it be and why?

Aaron: Sonia Dietrich (BRUT) “Woman is a weapon”.

Gordon: Same as mentioned above……

Thank you for taking the time to answer our questions and we look forward to hearing more Detest, we will be keeping our eyes and ears on the progression of the project, any final words?

Aaron: Null form sexual device.

Gordon: Bubbler.







Thursday, September 17, 2015

REVIEW-APOCRYPHOS+KAMMARHEIT+ATRIUM CARCERI - ONYX - COLLABORATION - CD

APOCRYPHOS+KAMMARHEIT+ATRIUM CARCERI - ONYX - COLLABORATION - CD
CRYO CHAMBER/CRYO022
DARK AMBIENT/ISOLATIONIST SOUNDSCAPES
COMES IN A SIX PANEL DIGI-PACK
WRITTEN, PRODUCED AND PERFORMED BY:
SIMON HEATH
ROBERT C. KOZLETSKY
PAR BOSTROM



I.) IMMEMORIAL:
This is a three way collaboration between some of the most dedicated artists in
the Dark Ambient underground.Vivid and surreal music that takes you on a journey
to and through bleak regions and black nethers.We begin with "Immemorial" which
builds from the sounds of falling rain and cold atmospheres graced by a gorgeous,
yet gentle piano melody.Rich string ambiance falls slowly and remains like a fresh
blanket of snow.Distant thumps are heard like a slow heartbeat as it is flooded with
emotion to the point of awe and overflow.I am not exaggerating when I say that this
is the most beautiful Ambient piece I have heard in a long time.Reversed textures 
spiral to the center of the ear and disappear. Nostalgia, Loss, Heartbreak and hope
are invoked in unison.This track is the audio equivalent of walking among rain streaked
tombstones in a state of deep thought.Mourning not for a loved one, but rather, all that
could have been had you made better choices in the past.I don't know what the word is for
the emotion this captures...But it is on display, Naked and flourishing here.

II.) ONES ATOP THE UNKNOWN:
Deep strings twist upwards as hazy clouds of sound rise.Semi-distorted, but by no means
harsh.Exhaling synths let out slow sighs as warm tones form semi-melodic patterns that
weave throughout empty atmospheres.This track creates a void that pushed air out of your
speakers as if filling the room with a gaseous substance like winter fog settling over
an icy lake.It seethes like a dwelling beast, forlorn and misunderstood.An entity with a
permanent expression of hurt and woe...Grief and sadness...And deep contemplation.Synth
saws are used at a minimum and to the best possible effect.Everything here has it's place
and doesn't overstep it's boundaries.The overall quality of the piece eventually becomes
like a mirrored pool.Reflective sheets of quicksilver.The swirling sounds being the circular
ripples that expand and search for a better existence, only to fade away and be forgotten.

III.) NIGHT SO CLOSE TO THE TONGUE:
Not only is this one of the coolest song titles I've heard in a while...It's also a really
great piece.Moody Dark Ambient that evokes Noir vibes and greyscale visions.Distant synth
choirs float within rich brass-like ambiance that moves with the motion of grey clouds
floating slowly by on their way to nowhere.Timed vibes vibrate at their predestined intervals.
Regretfully doing their jobs with gleaming eyes towards the horizon.Stirring strings cause the
heart to swell and drop.The feelings brought to the surface here are somewhere in between the
positive and negative.Love and loss, Hope and the dread of becoming stagnant and unfulfilled.
The vibrating chimes from before begin to break their routines and shoot for new moons in
melodic attempts to become something beautiful.Death comes before dreams are fully realized.
And a lonely strain soon fills the soul.

IV.) A LONELY STRAIN:
Close to ten minutes in length, "A Lonely Strain" builds on deep, resonating drones populated
by ghostly air choirs and shimmering tones that gleam like pale moonlight upon rain soaked
streets and sidewalks.Cavernous hums and yawning gulfs of expansive sound are filled with
brass synths that carry themselves like fleeting specters and cool reflective synths that
put a chill in the air.Frail as glass and yet powerful enough to cut deeper than the most
jagged shards.Angelic choirs sing with drooping wings.Songs of abandonment and loneliness.
Sorrow for the pitiful creatures that dwell and suffer in the forsaken world below.Every
sound chosen shines in it's own particular way and nothing is added without reason.Airy
voices hover above as we float away into the blissful ignorance of oblivion.The track
flows like a river of souls through the realm of the dead.Glowing and unchained.Brittle
as snow flakes falling to their demise and becoming a cold blanket upon the paths wear
the despondent take long walks at night.

V.) APHOTIC:
Nocturnal ambiance builds.Inquisitive and restless winds rattle windchimes and settle
down in cyclic repetition.Synths behave in the manner of low tides long after sunset
when no one is watching.Spreading and snuffing any light that still persists from
nightly sources.Deep and subterranean soundscapes to drown in in the dead of the night.
Muffled pulses come like sonar devices looking for signs of life in a seemingly lifeless 
dimension. An underwater world where the predators are well hidden and they prey pray
at home.Minimal textures and tones that pool rather than expand.A riptide become an
endless void.Long stretched chimes expand into pitch black as sharp synths pierce the
murk like trenches exhaling earthen gas.An exploration into depths where the sun is
nothing more than a myth.

VI.) CAVERN OF IGNEOUS FLAME:
Low fires roar as twigs crackle in quiet agony.Windswept ambiance flows like wind
across the desert dunes.The track transports you to this place.The only human being
for countless miles.Like Abdul Alzahred's journeys that later became known as the 
stories and experiences that made up the dreaded and fabled tome of necromancy entitled 
"The Necronomicon".Humming ambiance mimics nocturnal stillness.All lower lifeforms watch
from a safe distance in curiosity, fear and hunger.Isolationist Ambiance that fills
you with a profound feeling of loneliness.A mirror that reflects our place in the
grand scheme of things.The chosen tones are low and come in rumbles and roars.The 
sounds of far off regions where death reaches for miles in each direction until
nightfall when predatory creatures gather and roam.Highly imaginative music that,
like good music should, transports you to another world.

VII.) ONYX:
The title track is quite unique here.Cold ambiance and crisp static make way for
rising strings and a truly awesome bassline that recalls the main theme from John
Carpenter's The Thing, Although here the sound is more ominous than malevolent.
A brooding piece that shambles on through haunting atmospheres that bring gloom
and a curious suspense...One that grows from distant stirring strings, Minimal
pianos in reverse and that seething bassline.After a while things drop off into
a pit of despair.A free fall from atop a waterfall that falls in slow motion.
Right before we hit the bottom the bass rhythm returns along with church organs
and chilling atmospheres.Like awakening from one strange dream and finding yourself
in another that is just as odd.

VIII.) A PALE SIGN REVEALED:
A lengthy piece at over thirteen minutes."A Pale Sign Revealed" begins with murky
atmospheres and distant cavernous static soon followed by turning, drill-like
rhythms and bleak ambiance that reminds me of GODSPEED YOU BLACK EMPEROR! during
their calmer passages and interludes.Everything is bathed in a resonant hum that
only adds to the overall feeling of despair this track evokes.Much of this one have
an unmistakable similarity to the dreariest moments of the LURKER OF CHALICE album 
and even more so to the "Silhouette In Splinters" album by the same artist done under
the name of his main project, LEVIATHAN.Deep bass drones and sparse strings that echo
and fall away in endless repetition.The track momentum builds over long periods as well
as an odd feeling of tension, but one that is accepted rather than dreaded.Like accepting
the inevitability of death or disappointment.The percussive bass elements here are a great
addition and really do a lot to add a sense of movement to the song as a whole.Dark Ambient
that borrows tricks from Death Industrial and cinematic soundtracks.I could see this working
great as music for a darker film.Something with bleak lighting and obscure camera angles.Lars
Von Trier might wanna give this one a listen.

IX.) AVENOIR:
Flowing back to the start, "Avenoir" serves as a companion piece to the opening track.
Similar sounds are employed though many are played in reverse to honor the track title.
Tracks one and nice collectively form a brilliant concept that is executed perfectly here.
This album seems to be largely inspired by and themed around obscure sorrows, empty feelings
and hopeless regrets.I have never heard anything that was able to capture the feeling of
such strange aspects of the human condition this effectively.In closing, These recordings
form a masterpiece that will be hard to match.

Released by the stellar Cryo Chamber label, Onyx is a three way collaboration
between APOCRYPHOS (Robert Kozletsky of SHOCK FRONTIER), KAMMARHEIT and ATRIUM CARCERI. Though this is certainly not the first mass collaboration to be released
by the label, It's certainly a great addition to the roster.Stunning, evocative
and extremely well composed.Onyx is a stunning experience from start to finish:

-10/10
-ABATTOIR-

http://www.cryochamberlabel.com/
https://cryochamber.bandcamp.com/

Sunday, September 13, 2015

REVIEW - IN SEARCH OF DEATH - III - CD

IN SEARCH OF DEATH - III - CD
DEATH CONTINUES RECORDS/DCRCD007
HARSH NOISE/POST-INDUSTRIAL/RHYTHMIC NOISE/DEATH INDUSTRIAL
COMES IN A JEWEL CASE WITH INSERT BOOKLET.
IN SEARCH OF DEATH IS:
XAVIER H.



FEATURES TEN UNTITLED TRACKS, OR SIMPLY
I-X:

This is the third album by IN SEARCH OF DEATH, but the only to be released 
so far.Albums two and then one may possibly be released in that order, going
backwards, sometime in the future...But this hasn't been decided upon 100%.
No tites. No gimicks. Just filthy audio structures that decay and collapse
in repeating loops of sonic destruction.Track one creeps up on us and introduces
the album with dense, windswept textures and low pummeling rhythms that climb in
volume.Faint traces of melody can be heard if you listen closely but the overall
sound is very grim and forboding.Like being in the heart of a mechanical structure
as it exhales slow, deep breaths in it's sleep.Number two is an entirely different
animal.Loud, pounding industrial rhythms.Fierce and mechanical.Like tribal drum
patterns being mimicked by heavy duty pistons with great force.Static comes in
tones that sound like forcefully peeling back skin.Nerve shredding and anxious.
Musical machinery.Clicking patterns repeat as if to say that time is precious as
spoken samples in a foreign tongue narrate a situation that is probably better left
untranslated.I am reminded of the works of MIND OF GOD at times.Mostly due to the 
repitition found here.Track three builds on the claustrophobic blasts of black winds
that rumble quietly, yet with force.A void of ambiance lies within and brings us into
percussive segments that sound like something being hammered down to form a tempo.What
sounds like the spinning wheels of an antique sewing machine is heard creating secondary
rhythms as the billowing ambiance persists.Synth strings with a Funeral Doom quality to
them are tossed in the mix to create an experience like listening to a nightmare as it
slowly unfolds.Number four comes on harsh static over pulsing beats and harsher static
textures that once again sound like they are ripping their way into you.Muffled metallic
percussion's join in and add momentum.The tracks so far are built on a similar foundation
as the works of NON, but done in a more "Industrial factory" type of way.A song is heard
in the form of men whistling as they clash in labor at what sounds like a train yard or
coal mine. That whole "Whistle while you work" thing.The sounds of the Industrial Revolution
are in full swing here.Dirty and grimey stuff.The fifth of these ten tracks begins with hazy
sonic blasts that build on repetition over a deep undercurrent of black ambiance.Looped static
meditations that feel like they dig deep into your sub-conscious.What sounds like loud steam
powered constructs begin to pound out in primal fury only to be crushed in the wake of huge
slamming rhythms.It sounds like iron fists punching reinforced steal doors.Rapid fire machine
gun blasts are looped and fire off in your direction.For a brief period things quiet done a bit
to let the machines shine as they demonstrate their fury...But only until the next cacophanous
assault.Track six is a little longer and a little different.It starts with what appears to be
a ceremonial song playing on an old record.Chants and hand drums fill the air in celebration as
a man narrates the event in a dialect I don't speak.Afterwards we are once again tossed into the
sounds of heavy machinery.A mantra of churning mechanical rhythms.The language of the factory in
full swing.Grinding, squealing, buzzing, un-oiled and cold creations that serve one purpose and
know nothing else.Truly hypnotic...You will find yourself drifting away into a world of cogs,
wheels, belts and pistons.At the same time there is a strangely "organic" feeling to this record
as well.Like each part is a living organism...That they all work together to complete a single
task.Like carrion all chewing on one stinking corpse.From an unseen speaker we hear what sounds
like a WWII era orchestral demonstration.This closes the piece and brings us to the relentless
rhythms of number seven.Dense, bass-heavy blasts with the recklessness of an out of control
panzer tank rolling through a surburban neighborhood.Brass synths add even more of a militant
vibe and help the pace, flow and overall movement.A building essence of suspense you could say.
Vibrational metallic ringing chimes in the distance and static bursts come like blades to skin
you alive.Lacerating with the demand of bloodshed.Foreign voices speak in unison as if repeating
back a command to show that it has been understood.Eight is a demonstration of organized chaos.It
sounds like some ancient contraption spiraling out of control in it's last moments.Reckless and
dangerous.This comes in looped intervals as another machine is heard clunking like a jackhammer
of some sort.Screeching devices scream out over and over like enraged prehistoric beasts.Circular
rhythms spin in slow and heavy movements.Thumping thuds join in and all becomes a mass orgy of
animated rust and metal.Industrial intercourse in progress.Number nine is the longest track on
the album at nearly nine minutes.It starts with large, dull thuds like those of Roman war drums.
Strange semi-melodic notes match the tempo and almost sound like carnival music.Punchy synth 
strings only add to the circus vibes.The drums slowly pick up the pace over time but it still
sounds quite miserable even then.Heavy and corroded bass synths bleed out in dense, muffled
displays of deep distress only to soon vanish and start all over again.This one certainly
stands out among the rest.It almost sounds like it could have been an extended intro to an
earlier DEATH IN JUNE record.We end with ten...Moaning sub-bass and whining high end tones
in a sea-sick up and down motion.Like the audio representation of nausea.Sounds of weapons
and war are heard echoing like long lost memories or Post-Traumatic flash backs.Scenes of
death and violence over an anxiety inducing soundscape.The last two tracks are sort of a
strange turn in a way but, oddly enough, it works.

ALTHOUGH I AM NOT SURE WHY IN SEARCH OF DEATH CHOSE 
TO RELEASE THE THIRD ALBUM FIRST...I AM GLAD TO HAVE 
IT IN MY HANDS.AN EXCELLENT DEBUT.CORROSSIVE INDUSTRIAL
SOUNDSCAPES FOR ALL YOUR POST-APOCALYPTIC NEEDS.
GREAT STUFF:

10/10
-ABATTOIR-

http://deathcontinuesrecords.blogspot.com/
https://www.facebook.com/deathcontinuesrecords

Sunday, September 6, 2015

REVIEW - STADINGERS - DEADLY SILENT IMPULSE - CD

STADINGERS - DEADLY SILENT IMPULSE - CD
DEATH CONTINUES RECORDS/DCRCD004
MINIMALIST NOISE/HARSH AMBIENT/ISOLATIONIST AMBIENT/POWER ELECTRONICS
COMES IN A JEWEL CASE WITH INSERT BOOKLET
STANDINGERS IS:
NOERU ZBORATORE



I.) DEADLY SILENT IMPULSE:
We open with the dreadful and dreary title track.Brooding Dark Ambient
structures arise like black towers and bad omens.Energy surges and courses
throughout the piece as haunted wails repeat in the distance and eerie whispers
brush past your ears in malevolent tones.A seamless blend of Occult Ambient,
Doomy Power Electronics, And Blackened Noise aesthetics.Drones are played on
what sounds like electrified church organs.Forceful, yet ominous.The atmospheres
conjured fourth here are like that of a long night's stay in a hotel of horrors.

II.) MY EYES:
"My Eyes" starts slow and heavy.Ringing feedback with an almost melodic quality
drifts over churning Death Industrial bass poundings at mid-tempo.Obscured vocal
sampled come in loops, filtered through distortion and cloaked in textures that
I can only describe as "Horror Ambient." Cold and sinister music with hints of
lurking terror and awaiting monstrosities.A stormy night in it's early stages.
A gloom on the horizon.Uneasy and uncomfortable sounds rush past like fleeting
specters...Their presence felt lingering after they've vanished.Towards the end
things fade into billowing, distorted winds and what sounds like a dial tone 
manipulated into a child-like melody.Rising synths saw their way through as
resonating feedback and warped electronic signals pulse and froth.

III.) STRANGLER OF FETAL AVATAR:
Strong synth saws and hazy atmospherics.Minimalist ambient droning on in it's
own particular manner.Murky and moody music for a quiet night in solitude.This
track does however bring with it the feeling that something is lurking over your
shoulder.That you are being watched.Even more so once we go into movements of
warped, psychedelic, synth work that sound like they came from a 1950's science
fiction film, or possibly an old episode of The Twilight Zone or The Outer Limits.
Daemonic voices moan, wail and growl as an old grandfather clock chimes in a darkened
corner of the room.You can hear it's hand ticking, creating a feeling of suspense.
High end pulses scream and are soon mimicked by the distorted voices of inhuman
entities.Proper vocals come through dense distortion and manifest like a looming
apparition with a dire message to deliver.Cold atmospheres only enhance the overall
bleak vibes.Deadly stuff for sure.

IV.) 
Samples from the film "The Prophecy" are looped out over disorienting ambiance that
rises and falls in seasick motions.The vocal clip is one of the Lucifer in the film
saying "God?, God is love. I don't love you." Burried beneath all of this we hear
muffled and distorted sub-bass and churning Death Industrial percussion's stomping
and grinding.Things eventually drop off into a black pit of twisted sound.Harsh,
freezing winds and dense scraping noise rhythms filtered through cavernous amounts
of reverb.All this while a blurred gathering of voices is heard muttering words that
can not be made out or understood.The winds turn to rage but remain downtuned and form
a heavy rumbling soundscape that wraps around plodding rhythms like tendrils and tentacles.
All is darkness.

V.) HILLSIDE CANNIBAL:
This one builds on really strange and dizzying tones and textures that almost sound
like warped, distorted carnival music.Samples tell a tale of murder and bloodshed as
screams are heard in the midst of struggle until they too become a testimony of murder.
Police reports echo like traumatic memories as dark clean ambient tones play in reverse
and heavy Power Electronics drones buzz and swarm.The overall vibe is hostile and track
is filled with visions of fears come to life.True crime electronics.A house of mirrors
that reflects the cruel and sadistic nature of man.

VI.) TIME IS THE DESTROYER:
The sounds of a heavy thunderstorm...Freezing winds and icy rain.Dense drones rise as
if from the deep, muddy puddles beneath our feet.Again there is a feeling of something
bad on the horizon and quickly approaching.Cavernous calls from beyond the crypt fill
the air with echoes of woe and misery.The whole track moves like black blood slowly
gushing from an infected cadaver.Carrion winds hover like vultures above fresh death,
waiting for the perfect moment to go in for the kill.Synth leads in come in tones of
classic maccabre cinema.Like something out of a Kenneth Anger film and bring to track
to a close.

VII.) SKELET-OFF:
Obscure ambiance floods the senses and sounds like something that would accompany a
scene from a 1970's film about occult rituals, witchcraft and devil worship.Midtempo
pulses and pounding serve as a heartbeat to keep this beast alive as cymbals clash
and ritual bells chime in the deep distance.The sounds swirl together like the smoke
of incense.Necromantic conjurations to raise the dead and destroy the living.

VIII.) NO REASON TO LIVE:
Chanting winds and abstract ambiance come as liquids of an unknown substance drip
into unseen pits.Warped cries of terror and manipulated gasps appear and vanish.
Rough croaks and whispers are heard muttering incantations as hooves run across
streets of stone.Heavy synth leads flood like a river of blood in every direction.
Sci-Fi synths screech and moan and paint the visions in your minds eye black and 
white.STADINGERS certainly has it's own sound and this is another great example.

IX.) WERTHER EFFECT:
The shortest track on the album.A brief, minimal interlude that almost recalls
early CABARET VOLTAIRE or the "quieter" tracks from the early days of THROBBING
GRISTLE.Dense and hopeless atmospheres that pull your mind to the far reaches of
thought and audio experience.What sounds like brass instruments play dreary leads.
Funeral ambient to be forgotten in.

X.) RESTLESS CORPSE:
Similar atmosphers to the previous track bleed out.This time accompanied by 
repeating bass string vibrations and raspy vocals cloaked in dense distortion.
Vocals that go from ear scraping to harsh lashes.Feedback fuckery fills the air
and creates claustrophobic vibes that weigh heavy on your chest and steal your
breath.Another short piece that leads us to the end.

XI.) ANTILIFE:
This album in it's entirety can be a tough listen depending on your mood.Either
way by the time you've made it this far you probably won't feel too cheerful.The
final track takes everything that we've just heard and condenses it into one gloomy
pile of misery.Bass heavy synths, piercing feedback, ringing organs and oscillating
movements that drag you down and leave you there.All goes silent until a second 
movement begins.Ghostly synth tones fed through wet filters and effects create
chilling, minimal audio nightmares.Cold chimes and machines that sound like ghastly
voices are heard over humming tones.This has a bit of an improvised/experimentation
type of quality to it.However it was composed, it serves as a great piece to wrap
up the album.

DEFINITELY AN INTERESTING.REPETITIVE AT TIMES BUT THAT'S NOT ALWAYS A BAD
THING.IF YOUR INTO OLDSCHOOL HORROR SOUNDTRACKS OR EERIE SOUNDSCAPES IN 
IN GENERAL THEN THIS IS WORTH CHECKING OUT FOR SURE:

8/10
-ABATTOIR-

http://deathcontinuesrecords.blogspot.com/
https://www.facebook.com/deathcontinuesrecords

Wednesday, September 2, 2015

REVIEW - STREICHER - ANNIHILISM - CD (20TH ANNIVERSARY RE-ISSUE)

STREICHER - ANNIHILISM - CD (20TH ANNIVERSARY RE-ISSUE)
OLD CAPTAIN/OCCD10
POWER ELECTRONICS/HARSH NOISE
COMES IN A FOUR PANEL DIGI-PACK
ORIGINALLY RELEASED BY ZERO CABAL
IN 1995
STREICHER IS:
ULEX XANE:
NOISE/ANALOG SYNTHS/VOCALS




I.) NIHILIST ASSFUCKS MANIFESTO:
If the album art, title, song titles and dedication on the back of the disc
(Dedicated to nothing, nobody. fuck you. scum. die.) Are any indication of
what to expect here, then I'd say we're in for a rough ride.Taking into 
consideration the genre and time period of this release...It's pretty much
a guarantee.The first track opens with a spoken sample of a woman reciting
a poem concerning noise and destruction delivered through a nihilistic viewpoint.
An introduction to the bleak, annihilating soundscapes ahead.The only accompanying
sound to be heard is the quiet static created from whatever means this was recorded
by until soft layers of additional noise are heard hovering in the distance like a
soothing mist.Luring and lulling you into your own self slaughter.

II.) HOLOCAUST, HARVEST:
track two begins with a brief spoken sample that introduces the coming of Sheets of 
static noise which sound as if they are being blown by violent winds until they forcefully 
wrap themselves around you.A short piece at little over a minute that seems to serve as an
additional introduction to the coming storms.

III.) RECTIFY OR CEASE:
Track three is where it really begins.Dense walls of static and distorted movements of
noise grind out and form a powerful vacuum of pure aggressive sound.Feedback stirs and
wails like the cries of countless souls dying in agony.Crumbling bass tones wash over
you like a river of decay bursting fourth as the dam breaks.Powerful bass blasts are
heard beneath it all like gusts of steam bursting fourth from the earth itself.This
track rolls along with the force of a panzer tank on it's way to cause some heavy
damage.A war wagon approaching the battlefield.The overall tone is hostile and
confrontational even without the addition of vocals.Instrumental weaponry as a
means of sonic warfare.This one rages on for a little over six minutes, building
and gaining force as it persists.Heavy winds blow like an omen of death to come
until we finally end in silence.

IV.) MUTILATION VICTIM:
One simple phrase is grunted over samples of a woman moaning in the throes of
orgasm and ecstasy.That phrase being "Fuck authority,Fuck the law,This is 
fucking Streicher, So fuck you!" Nuff said. A pure and primal intro that takes
us into white static over the sounds of explosions on the war front.Mortars
crack the skies and rockets burst in cascading flames.Gusts of dense noise
roar as feedback forms whining rhythms in the smoke filled sky above the
killing field.Massive detonations quake and rumble and rifles fire off.
Nearly eight minutes of total fucking destruction.Not the harshest thing
by any means but it most certainly showcases the grim realities of war
and combat.The distant, squealing patterns created by what sounds like
feedback are a nice touch and have a mechanical and thoughtless quality
to them.Like a reflection of soldiers on the battlefield.Trained to carry
out there purpose like hive minded sentinels.The track closes with barrages
of gunfire and the sadistic laughter of Ulex Xane as he voices his opinion
on your war time suffering.

V.) DECOMPOSED WHORE:
Samples of a female describing being "attacked by noise" bring us into over
six minutes that display her "attacker." Deep drones pulse and rise like the
festering waters of a bubbling swamp until they rise from the murky depths
and take on the form of a distorted and horrific entity.The type of stuff
that grinds it's way into your eardrums until you can almost feel it in
your teeth.The distortion does it's job and turns everything into a mechanical
mass of sound.Deconstructed industrial noise in all it's glory.Similarities can
be drawn to other legends and pioneers who were very active in the scene alongside
STREICHER like THE GREY WOLVES and GENOCIDE ORGAN.
Raw soundscapes that eat away at the listeners senses much like the insects
and organisms that slowly devour a body as it rots.

VI.) NOTHING HAS ANY MEANING:
Another short interlude at just over a minute in length, But by far one of the
harshest tracks on the album.A loud assault of pure noise that drops off into
a screamed mantra stating that "Nothing has any meaning." The vocals gather in
layers to get the point across.The overall sound is very similar to WHITEHOUSE.

VII.) NULLIFY/OBIT:
World War Two era orchestral passages serve as a backing track as a spoken speech
is recited by Ulex Xane.You can think of this one as a "Nihilist Manifesto." 
Brutally honest and totally pessimistic.What many would call an unapologetic 
asshole sharing his bleak world view.In other words, the very spirit of Power
Electronics at it's core.

VIII.) DESTROY YOU MOTHER FUCKERS:
Harsh and disorienting high end noise rings out with the force of a drill to
the skull.Feedback and whipping lashes of distortion tear things apart as
muffled war drums pound out in primal fury.Like the title suggests, Pure
sonic destruction.Once again I am reminded of the early days of Power
Electronics.In your face walls of rage with no compromise.Every fan of
classic P.E. should be familiar with STREICHER, and if you're not, This
album is a great place to start, Especially since it is finally widely
available once again.Distorted vocals growl out commands like a power mad
tyrant enforcing his policy of worldwide genocide until the track closes
with quieter tones within cold gusts of wind.The winds of war.

IX.) BLOOD BANNER SS:
Another short track.Once again World War Two era samples are used.This
time they are a distorted anthem meant to inspire and celebrate victory.
I am reminded of the early work of Boyd Rice with NON on this one.Warped
noise and warped samples in a display of early experimentation.

X.) NICHT SCHULDIG (NOT GUILTY):
Lo-fi samples bring us into hazy sounds of what appears to be the manipulated
audio of a war propaganda cartoon.Piercing feedback over low rumbling tides of
dense noise serve as a soapbox for Ulex Xane as he pleads the innocence of the 
man who'm the project is named after.Again there are traces of influence from 
WHITEHOUSE and even ideas that were later reflected in the works of artists like
 ATRAX MORGUE present here.The feedback is high pitched
and maddening on this one.Lucky for you it's not the longest track on the
album but it's not the shortest either.The vocals have an almost sinister
quality to them.Emotionless and enraged all at once, Like a snarling animal
patiently waiting to escape as it tries to hold back the aggression in it's
voice to fool whoever is holding it captive.

XI.) I DON'T GIVE A FUCK:
My personal favorite track on the album.Low noise rumbles like armored
vehicles as they make their departure to whatever mission or operation
awaits beyond the guarded walls of base camp.A repeating mantra of "I
don't give a fuck" is recited in hostile grunts as schizophrenic sonic
experimentation fills the air with wild tones and textures.A warped and
uneasy noise track that hammers it's point into your head until you find
yourself repeating it in your mind long after listening.Sampled female
shouts appear and vanish as the point is hammered home a few last times.

XII.) PARADE FASCISTI:
Bombastic war drums boom and thunder in this final outro piece.They persist
until they slowly fade out to silence.Inspirational in a way.The second half
of the track consists of massively distorted screams of "Fuck you!" to end
it all on a misanthropic and violent note.Furious noise for furious people.

IF YOU ARE NEW TO STREICHER, I CAN'T THINK OF A BETTER PLACE TO
START THAN RIGHT HERE.THIS PROJECT HAS BEEN AROUND FOR OVER TWO
DECADES AND IS SOME OF THE RAWEST MILITANT NOISE THE UNDERGROUND
HAS TO OFFER.ULEX XANE HAS ALSO WORKED WITH DEATH PACT INTERNATIONAL
(AUSTRALIAN UNITS) RECOMMENDED FOR FANS OF THE GREY WOLVES, GENOCIDE
ORGAN, CON-DOM, WHITEHOUSE, AISCHROLATREIA, ALFARMANIA, WERTHAM, ETC:

7/10
-ABATTOIR-

http://oleghkolyada.com

Tuesday, September 1, 2015

REVIEW - TOVARISH - THIS TERRIBLE BURDEN - CD

TOVARISH - THIS TERRIBLE BURDEN - CD
ARGONAUTA RECORDS/REX24
BLACKENED NOISE/DEATH INDUSTRIAL/DRONE DOOM
COMES IN A FOUR PANEL DIGIPACK.
TOVARISH ARE:
DIMITRI MYSHKIN - VOCALS
IVAN REYSKALNIKOV - ELECTRONICS/DRUMS
ROMAN VOLKOV - GUITARS



I.) SOYUZ:
This first track is an extended intro piece that slowly starts with the sounds
of someone rummaging through scrap metal and wreckage.Stirring ambience rises,
Created by a mass of woeful voices.Church bells ring in a vain attempt to call
down hope from the heavens as a lone drifter continues to search through the
metallic waste.I envision a Post-Apocalyptic filled with mountains of debris
and garbage against the backdrop of a red-orange sky.Most are dead and the rest
are dying.Rhythms are formed by what sounds like massive stones being rolled 
back as if opening the doorway to a giant crypt.Brittle music boxes spill out
their last melodies as the backing ambient work reaches a type of fragile 
beauty that can only come with loss.We then travel over the mountains of
human failure into "A Land Of Coffins."

II.) A LAND OF COFFINS:
Track two begins with a spoken word intro addressing the current state of
church and state in America and then hits HARD. Rolling waves of thunder,
dissonant guitar riffs that rise like oceanic walls and blackened growls
that sound like they are being bellowed out of the charred volcanic throat
of some ashen monstrocity.This is dark stuff.Death Doom style drums pound
at an extremely slow, yet heavy tempo.Feedback rings and hovers like a
pestilence that dwells within the track.Everything pauses at moments to
allow the vocals room to breath, and when they do, they release a toxic
smog-like substance like a cloud of dust and rot pouring out of an ancient
mass grave.Similarities can be drawn to WELTER IN THY BLOOD, DEATHSTENCH and
other related projects as well as ADERLATING or GNAW THEIR TONGUES.Seriously
grim stuff.

III.) THRONE OF BAYONETS:
Spoken samples address political concerns with grim clarity.Death industrial
drums throb in slow motion as wretched vocals come as black clouds of death,
choking the breath right out of your lungs.Electronic humming paves the way
for dark and brooding synths that form a cinematic backdrop to the spilling
terror.Clean guitar passages are woven in to add melodic notions of grief 
and sadness.The march of combat boots on their way to war is heard in the
distance and all grows silent.

IV.) ORDER 227:
Similar samples to what we heard in the previous track introduce this one
and then we are off to battle.Militant marching drums are played by inhuman
sentinals with no conscience, only a sense of duty.Wailing guitar leads scream
skyward as corroded riffs lurk below.Heavy bass thuds and rumblings add meat to
the bones of this war machine as the figurehead growls and grunts commands to
fight and annihilate.Once again all is silent as the feared and respected leader
speaks (Or screams rather) until those awesome leads return and usher in the rest
of the band.Spoken war-time samples are heard but not distinguished.Traces of melody
drift and dissapear but never add any "hopeful" tones or nuances.We end in samples,
feedback and flames.

V.) WHISPER CMPAIGN:
(Featuring Yoshiko Ohara of Bloody Panda)
Yoshiko Ohara's haunting, yet beautiful vocals open track five.A stunning piece as
a whole and an excellent addition to the album as a whole.Dreary ambiance and slow
tribal percussion's fill the empty spaces.Death rattles in the form of thick bass
string vibrations rumble beneath Ohara's soaring vocals.Her voice is clean yet
tremendous sort of like DIAMANDA GALAS.As far as the music and composition,
similarities can be drawn to artists like KAYO DOT (Though MUCH darker here),
AETHENOR, WOLVSERPENT, AELTER, and the like.The piece lingers but never really
reaches a climax in the way many Drone Doom styled tracks often do but that is
not necessarily a bad thing here.Ohara's raspy screams at the end bring the
track to an excellent close however.

VI.) CALL OF THE KURSK:
War-time speeches and Death Industrial soundscapes quickly become monolithic
riff that fall with tidal force.Mid-paced drums take us into a total Doom Metal
style groove and lock in for a while as incredibly deep growls and raspy highs
instill terror on anyone walking in my neighborhood.Death Drone in the tradition
of KHANATE or MOSS. A brief interlude is played by a moody pianist.Gloomy tones
that are backed by the addition of spoken samples and then we are locked into
annihilation and blood boiling madness once again.The multi-layered vocal treatments
are fucking awesome here and remind me of DRAGGED INTO SUNLIGHT at times.By far one
of the heaviest and most punishing albums I've heard this year.

VII.) URSA MAJOR:
This one starts with the cold ambiance of synth choirs and other resonating tones.
Lead guitars wail over deep, yawning expanses of quaking sub-bass that create deep
pits that will engulf you whole.Ghostly piano melodies play out over object noise.
An instrumental interlude to give you a few moments before the destructive force
of the previous tracks returns in well-rested might.An interesting and captivating
ambient track nonetheless.

VIII.) DYATLOV PASS:
Crashing of war and riot in the streets.Echoing bass rhythms, frantic dialog and
DEEP vocal grunts.This is terror in audio form.Much of this album is immensly heavy
and this track is no exception.Once the drums and main riffs kick in it's like a sledge
hammer (Or should we say "Sludge Hammer?") To the to the chest and a steel toe boot firmly
planted in your face.My only complaint here is that this one seems to go by too fast but
repeated listens will do just fine.

IX.) DECLINE IN EMPATHY:
Following the now established TOVARISH mode of slaughter, we once again open with a brief
sample followed by huge decaying riffs and sub-bass undercurrents and those fucking vocals.
Obviously pitch-shifted far down at times until they sound more beast than human but fucking
awesome either way.Higher rasps pour out like a poisoness gas and fill the air with a suffocating
white noise hiss.Everything suddenly fades into rhythmic noise and crisp sheets of static filled
with spoken dialog in a foreign tongue.These last few tracks have been a little shorter in length
but still filled with everything they've needed.

X.) RADIATION SICKNESS:
The final track comes as LOUD rhythmic noise and churning, destructive patterns.The "percussion's"
or pulse of the track is made of what sounds like giant concrete slabs being dropped to the ground
below from a high distance in a looped rhythm.Claustrophobic atmospheres are achieved through 
disorienting tones and textures and ascending/descending synth ambiance mixed into harsh bursts
of static noise.Though TOVARISH haven't reinvented the wheel, they have sucsessfully blended
each essential element to create an excellent mix of Drone Doom, Death Industrial, Harsh Noise,
and Dark Ambient with traces of Black Metal, Sludge and Power Electronics.

A SOLID ALBUM FROM START TO FINISH:

8/10
-ABATTOIR-

WWW.ARGONAUTRECORDS.COM
https://www.facebook.com/Tovarishband