Thursday, October 22, 2015

REVIEW - TERROR APART - KNIGHT RIDER - CASSETTE

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


SIDE A.)

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

SIDE B.)

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

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

9/10
-ABATTOIR-

terrorapart.bandcamp.com
caravanrecordings.com

Sunday, October 11, 2015

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

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


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

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

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

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

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

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

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

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

8/10
-ABATTOIR-

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

Saturday, October 10, 2015

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

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


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

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

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

quietbodies.bandcamp.com

Friday, October 9, 2015

REVIEW - BOAR - IN HORROR - CASSETTE - C20

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


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

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

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

10/10
-ABATTOIR-

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

REVIEW - SOCK SWAP - SHEER BLACK FACELESS EXCHANGE - CASSETTE - C20

SOCK SWAP - SHEER BLACK FACELESS EXCHANGE - CASSETTE - C20
SIGNORA WARD RECORDS/WARD009
HARSH NOISE/EXPERIMENTAL SOUNDSCAPES
TRANSPARENT C20 IN SPECIAL VINTAGE NYLON SOCK
PACKAGING INCLUDING NYLON SOCK AND FEET PICS
INSERT. LIMITED TO 50 COPIES.
SOCK SWAP IS:
NORA EGLOFF (SPITEFUL WOMB)
SCOTT KINDBERG (SHE WALKS CROOKED)


SIDE A.) A SECRET OF POVERTY:
Low sub-bass rumblings and hissing noise create an eerie backdrop
to Nora Egloff's raspy whispers. Dreadful soundscapes bleed out
forming uneasy atmospheres.Buzzing electronics flow as screaming
feedback resonates invoking discomfort and daydreams.Nora sounds like
a devious little devil on your shoulder urging you to commit perverse
and atrocious acts. Shifting and sinister electronics fill the air with
a dreamy haze. The overall recording quality is raw and lo-fi with an
"Experimental Noise" type of feel to it. Whispered mantras repeat on
and on as if Egloff is trying to brainwash the listener into believing 
the toxic sermons she is spitting their way. Churning sub-bass movements 
come in sludgy segments...The type of stuff that leaves your stomach turning 
in an anxious, cyclic war against yourself. Kindberg and Egloff have definitely 
conjured up a strange aural nightmare with this one.Twisted tones for fucked 
up individuals. A ten minute stay in the mouth of madness.

SIDE B.) A SECRET OF LUST:
Further secrets are revealed on the B side. Arcane transmissions are
illuminated as rustling noise and object abuse alert us to something
moving in the shadows. Chaotic clattering and pulsating bass synths
take us into deep, throbbing drones that lift the veil between truth
and what is normally perceived.The vocals are filtered through delay
and reverb and come as long, drawn out whispers that float and linger.
Nora plays the roll of the seer, weaving secrets through strands of
low-end synths that flow like a black river until they drop off into
a long descent into cavernous depths.Dark regions filled with warped 
electronics, whitewater static rapids, corroded bass textures and 
distant shrieks. High end chirps and feedback sing like misplaced 
songbirds above a swirling vortex to the underworld. A simple formula,
But one that is very effective. Not at all what I'd expected to hear
with this one...But I'm not complaining.

DON'T LET THE NAME FOOL YOU. THIS IS PRETTY DARK STUFF. TWO GREAT
ARTISTS JOINED TOGETHER ON THIS ONE. DEFINITELY WORTH CHECKING OUT:
7/10
-ABATTOIR-

https://signorawardrecords.bandcamp.com/
signoraward@gmail.com

Thursday, October 8, 2015

REVIEW - SHE WALKS CROOKED - A PATTERN STARTS TO FORM - CASSETTE - C60

SHE WALKS CROOKED - A PATTERN STARTS TO FORM - CASSETTE - C60
PETITE SOULS/PS78
HARSH NOISE WALL/EXPERIMENTAL NOISE
COMES IN A PLASTIC CASE WITH J-CARD INSERT.
ON WHITE CASSETTE WITH SONG TITLES.
INCLUDES A SILK SCREENED PATCH.



ALBUM NOTE:
"The same wall told twice from different sources.
Inspired by John Fowles' The Collector, Charlotte 
Gainsbourg's La Collectionneuse and The Ebony Tower's 
HNW output. Professionally duplicated/printed."

SIDE A.) THE DAYS GO, I REMAIN:
The first of the two versions of "A Pattern Starts To Form" opens with 
an intro that sounds like indie rock/Italian or French Neo-Disco featuring
female spoken word and a background of haunting choir vocals along with 
mid-tempo drumming and soothing, yet melancholic synth work.This is slowly 
engulfed by dense waves of pure distortion that crushes and crunches all 
beneath it's might.After a while there are no traces of the original piece 
left as the quaking sonic onslaught rips it apart and rolls on in a half 
hour display of pure Harsh Noise.Dragged down and torn asunder.Like a sea
of negativity sweeping away all that's beautiful and leaving nothing but
a scorched ashen wasteland behind.This is audio nihilism taken to it's
natural conclusion.The bottom of the extreme music underground making
it's triumphant wail in the face of what is considered music or art to
the mainstream masses.Roaring sounds that sound like amplified and sped
up recordings of carrion insects tearing a carcass to bits.Rather than
utilizing a hook or any other traditional trait found in "normal" song
structures...This chooses to be the hook...One that sinks into your flesh
and slowly peels it back for thirty minutes of agony until you become numb
and oblivious.The album title is probably the best description of this genre
in general.As you listen to pure HNW like this, You will start to hear patterns
in the frenzied static.Like secret messages waiting to be deciphered and decoded.
I am sure each individual will hear their own language in the chaos.The voice of 
God to some and the scarred throat of Satan to others.Get a copy and see for yourself.

SIDE B.) I COULD NEVER CURE HIM. BECAUSE I AM HIS DISEASE:
Version two discards the samples altogether. This one is much more raw and smothering
in a way. Rough, shredding distortion that rips through the speakers and massacres the
senses.It also feels like there is more "movement" this time around. The interwoven 
patterns here make themselves more known and seem to stand out rather than hide within
the fog of sound.Where the other side was more subdued and "blurred" this one is upfront
with a nightmarish clarity...In fact...Had I not been made aware that these tracks are
two versions of the same wall I doubt I'd have ever thought of them as such. Many will
never understand how something like literature or cinema can inspire or even guide a
form of music like HNW but it's the raw emotion and feelings...The struggles and overall
experiences of the characters that fuel the fire.Frustration and failure seems to be the
theme here and it shines through brilliantly.Although this style of music is certainly
not for everybody...It is perfect for others.If you want to lose yourself in a seemingly
endless ocean of sonic experience...Then this may be the album for you.

SHE WALKS CROOKED DOING WHAT SHE WALKS CROOKED DOES BEST:
7.5/10
-ABATTOIR-

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

Wednesday, October 7, 2015

AN INTERVIEW WITH ABJECTION RITUAL




ABJECTION RITUAL IS THE ONE MAN DEATH INDUSTRIAL 
PROJECT OF D.C. FOCUSING ON THEMES SUCH AS MENTAL 
ILLNESS, EXISTENTIAL DESPAIR, RELIGION, DISEASE AND 
THE WORST ASPECTS OF HUMAN NATURE.GREAT ATTENTION TO 
DETAIL AS WELL AS STELLAR COMPOSITION SKILLS HAVE 
RECENTLY GAINED ABJECTION RITUAL A LOT OF PUBLICITY IN 
THE UNDERGROUND CIRCLES. WITH THE RELEASE OF HIS THIRD 
ALBUM "FUTILITY RITES" ON THE MIGHTY MALIGNANT 
RECORDS, THIS IS SURELY JUST THE BEGINNING.TODAY WE 
TALK TO THE MAN RESPONSIBLE FOR ONE OF MY FAVORITE 
PROJECTS TO EMERGE IN THE DEATH INDUSTRIAL SCENE IN 
SOME TIME AND GET AN INSIGHTFUL LOOK INTO THE 
MECHANICS OF, AND MADNESS THAT IS, ABJECTION RITUAL.

TRAUMATIC STATIC:
I am curious to hear what the name "Abjection Ritual"
means to you, If anything.It seems like a moniker 
that's open to many interpretations.To me it seemed 
like social commentary.The music being the "Ritual" 
and the lyrics being your "Abjection's" to the things 
you see and experience in the world around you.Is this 
an accurate interpretation or does it mean something 
entirely different to you personally? Why is it that 
you decided to work under this title and how does it 
sum up the music it represents?

D.C. :
Abjection Ritual started up in February 2013.The name 
came to me after seeing a photo of the BTK killer, 
Dennis Rader, in some weird bondage scenes that were 
self shot inside his home. When I saw these photos, 
one of which was used for the cover of the first self 
titled CDR , "Abjection Ritual" popped into my head. I 
like how it can be open to interpretation and has no 
set or "correct" meaning. I find your interpretation 
to be very interesting and I do see my music as a kind 
of private ritual when I am creating it. One meaning 
of the word Abject "is to cast off" so when used in 
that particular context I am purging myself of 
negative emotions/experiences in a cathartic way, 
although I must admit that I sometimes revel in 
negativity as well. Another meaning is "pathetic, 
disgusting, degrading" which could definitely describe 
some of my behaviors and how I view myself and others. 
I feel Abjection Ritual sums up the sounds/mood/lyrics 
of this project perfectly.



TRAUMATIC STATIC:
Is Abjection Ritual your first musical endeavor or 
have you worked with previous projects or bands? 
How did you discover Noise Music and it's related Sub-
Genres and what was it about these styles that drew 
you in and got you involved with them in the first 
place?

D.C. :
Definitely not my first endeavor. I am 37 so I have 
been making music for twenty years now. In the late 
nineties I discovered Death Industrial/PE via the 
massive catalog that Relapse used to send out and 
got turned on to Brighter Death Now, Megaptera and the 
whole Cold Meat Industry roster. Also, Atrax Morgue, 
Slaughter Productions and Slogun were discovered 
thanks to this catalogue. Another big influence was 
the REsearch Industrial Culture book with Throbbing 
Gristle, SPK, NON etc. The Sounds Of Sadism Comp 
should be mentioned too. I was attracted to the bleak, 
morbid atmospheres and fucked up subject matter. At 
that time I was into death metal, grind, Eyehategod, 
stuff like that so it wasn't too much of a leap. I 
started doing my own four track recordings and had a 
project called Immersed In Filth but never really did 
anything with the material. Looking back, it pretty 
much sucked anyway. After years of playing in many 
different bands, I grew bored of playing guitar and 
was fed up with having to rely on others and playing 
stupid local shows for a bunch of drunk idiots. I also 
was able to finally afford some decent recording gear 
and renewed my interest in industrial/power 
electronics.

TRAUMATIC STATIC:
With that interest renewed, so far you have 
accomplished three releases. The second two being 
concept albums. Is this a planned formula for future 
releases or just the way things have turned out so 
far? Also, what is it that you feel Abjection Ritual 
brings to the Death Industrial/Power Electronics scene 
that it may have been lacking? What do you feel you 
have to offer listeners that they may not find 
elsewhere?

D.C. :
It wasn't planned, just turned out that way so far. 
I think the next release will not be based on a 
concept/theme but who knows? I honestly don't think 
that I bring anything new or special to the genre and 
don't try to. I just simply create what I create for 
selfish intentions. I feel like I am definitely 
beholden to my influences but try to bring my own 
personality into it. The one thing that I do strive 
for is to try and make each song have it's own 
identity. I get bored when every song sounds the same.

TRAUMATIC STATIC:
What's a typical writing/recording process like for 
Abjection Ritual? You said you create for selfish 
intentions, What would those be if you don't mind 
sharing?

D.C. :
It depends...Sometimes I will have an idea of a 
specific mood, tempo or instrumentation, other times I 
just fiddle around with sounds until I find something 
that resonates with me. I also have to be in a certain 
head space to create. If I'm not in the right mood it 
will not work out. As far as the "selfish intentions" 
- I do this music both as a release and as a vehicle 
to explore some of my obsessions. It's therapeutic. 
If I don't have an outlet, I end up festering in my 
negativity and start treating those close to me like 
shit.

TRAUMATIC STATIC:
You also mentioned that your influences have a great 
impact on you. Would you care to share which artists 
have had the greatest effect on yourself and your 
music? Are there things outside of the audio spectrum's 
that have had an influence your sound that are worth 
mentioning?

D.C. :
IRM, Brighter Death Now, MZ412, Grunt, Strom ec, 
Skin Chamber, Godflesh, Halo ,Swans, Neurosis, 
Bodychoke, Current 93, Joy Division, Sabbath, 
Eyehategod, Black Flag, Neubauten, The Birthday Party, 
Throbbing Gristle, Foetus......I could go on forever. 
Authors: Charles Bukowski, Celine, Brett Easton Ellis, 
Hubert Selby JR, Denis Johnson etc. I also read a ton 
of non-fiction as well.

TRAUMATIC STATIC:
You seem to stick with challenging and grim subject 
matter, (Although this is common in the genre) What is 
it about topics like mental illness and existential 
despair that fascinate you and draw you in?

D.C. :
Mental Illness is something I have dealt with all of 
my life. In myself, family members, friends and even 
professionally when I worked in a group home for nine 
years. I have an aunt that lives in a State hospital. 
I've been around the mentally ill since I was born. 
I'm fascinated by abnormal psychology , particularly 
schizophrenics. When I say "existential despair" I 
refer to the state of living in a world with no higher 
purpose or meaning. Feeling insignificant and useless, 
at the mercy of the cold indifference of nature and 
the universe. If there is some kind of higher power it 
certainly doesn't intervene or have an interest in 
human affairs. I really like some of the writings of 
Sartre and Camus when it comes to this topic, in 
particular "Nausea" "No Exit" and "The Stranger." 



TRAUMATIC STATIC:
What are your thoughts on collaborating with other 
artists? Being that Abjection Ritual is such a 
personal project. Also for this same reason, How do 
you feel about playing live as Abjection Ritual? Do 
you think this type of music should be performed live?
Since it's not typically "Made to entertain" but 
rather, a personal outlet for many artists.

D.C. :
I'm definitely open to collaboration. I really enjoy 
listening to the collaborations on the various 
Malignant comps. Always a highlight in my opinion.
 I feel like the subject matter that I use is very 
similar to a lot of other acts in the genre. As far as 
playing live goes, I was completely against the idea 
when I first started but now have changed my mind. I 
am also working with someone else who can do visuals 
and additional soundscapes in the live setting. 
I completely agree that this music is not made to 
entertain but I also really like the feeling of 
blasting my work at full volume and screaming my head 
off, inflicting negative vibes on the "audience" and 
making people feel uneasy and anxious. These effects 
can really only happen to an audience that doesn't 
have prior knowledge of this genre and is expecting 
just another band to play. An industrial/power 
electronics/noise crowd are certainly not going to be 
shocked by any of this. I am open to performing in 
both situations though.

TRAUMATIC STATIC:
Do you think it's possible to shock an audience these
days? Or even listeners with album content/art? Power 
Electronics and Death industrial are known for 
covering challenging subjects as you are well aware.
In an age where everything is available with the click 
of a mouse do you think there is any unexplored 
territory left?

D.C. :
No I don't think it is really possible to shock people 
these days beyond doing something insane such as 
suicide or murder during a performance. My aim is not 
to try and shock people but if that is their reaction 
then great. I am more interested in making them feel 
some of the emotions that I have put into the music. 
When I saw Neurosis when they were touring for Through 
Silver In Blood I had a very intense experience. 
During a song, they had a video loop of Bud Dwyer 
shooting himself and the intensity of the music 
coupled with that image freaked me out. I had to go 
outside for a minute to be honest. THAT is what 
interests me.

TRAUMATIC STATIC:
Do you use field recordings in your work? E.G. 
recordings gathered in locations like abandoned mental 
asylums/hospitals/etc? Or is Abjection Ritual more of 
a project that explores such mindsets mentally? Do you 
think incorporating such sounds aids to make a project 
more authentic, or do you see it as merely a gimmick?

D.C. :
I have not used any field recordings in my work and 
really do not have much of an interest in them. There 
are no interesting locations where I live that would 
yield such recordings either. I feel like an artist 
such as T.O.M.B. already has the whole haunted 
location/paranormal thing mastered to such great 
effect that anyone else attempting to do the same 
thing would seem like a pale imitation. It would be 
cool to record in a factory or warehouse for the 
ambiance/acoustics but I don't know if that would be 
considered a "field recording", ya know?

TRAUMATIC STATIC:
Thanks for taking the time to speak with us.
Are there any parting words, closing thoughts, or 
updates regarding your work that you'd like to share?

D.C. :
I'm in the process of working on a live set and have a 
friend/collaborator doing visuals and additional 
sounds for me. Anyone in the Pittsburgh, Cleveland or 
Buffalo area reading this and are interested in 
booking Abjection Ritual can email me at 
abjectionritual@yahoo.com. I would like to thank you 
for the interview and support! Hail Traumatic Static 
and Black Sheet Servitude!



YOU CAN FIND MORE INFORMATION AS WELL AS THE MUSIC OF
ABJECTION RITUAL BY VISITING THE FOLLOWING LINKS:

https://www.facebook.com/Abjection-Ritual-
866453763375847/timeline/

https://abjectionritual.bandcamp.com/

https://soundcloud.com/.../futility-rites-by-
abjection-ritual-1

Sunday, October 4, 2015

REVIEW - TALES OF THE BLOODY BLOODY KILLER - THE RITUAL - CASSETTE

TALES OF THE BLOODY BLOODY KILLER - THE RITUAL - CASSETTE
PETITE SOULS/PS54
HARSH NOISE WALL/EXPERIMENTAL NOISE/SOUND COLLAGE
COMES IN A PLASTIC CASE WITH J-CARD INSERT.
ON RED CASSETTE WITH NO LABELS.
TALES OF THE BLOODY BLOODY KILLER IS:
SCOTT KINDBERG



SIDE A.) FRAGMENTS OF STILLBIRTH:
This entire tape is a short ordeal.About ten minutes total in length.
An extended curb stomp of sorts.The A side is one solid slab of HNW
destruction that crashes through the gates in a bum rush sort of
manner and then slowly drops off into slight movements of pure distortion.
A dense and deep wall noise piece that sounds like you are standing in the
center of a roaring forest fire with no help in sight.The kind of stuff that
absolutely smothers the listener. Claustrophobic...Cacophonous...Chaos....Ripping,
Bone grinding, Nerve shredding annihilation.Created by Scott Kindberg, The 
same dude that does SHE WALKS CROOKED and countless other Harsh Noise and
HNW projects, So If you've heard his HNW material before then you have an idea
of what you're getting yourself into here.It seems like there are slight
changes here but with HNW it's really hard to tell at times.The patterns
in the distortion often take on a life of their own and create "movement"
where there may be none. Either way it's a harsh ride all the way through.

SIDE B.) THE THEATER OF ANCIENTS:
On the B side we are surprised by something very different. A surreal sound
collage piece that's pretty much a total mindfuck. The samples sound like either
an old classic cartoon or pitch shifted sounds of very young children making sounds of excitement against a background of wet sucking and slurping sounds.Either a bizarre pornographic cartoon or a bunch of toddlers having a breast feeding orgy or some other weird shit. Uneasy drones ascend and fall invoking anxiety and discomfort.An ultra dense wall of distortion crackles and pops.Deep resonating tones rise and vanish and explosive distorted blasts form pounding, slamming rhythms
that obliterate the senses and shake your grounding. Towards the end of the track it's
an all out aural onslaught. Deep bass filled bursts that hit like a hammer to the 
back of the head. Orchestral music and dialog that once again have an old black and white
cartoon sound to them are heard in the last few moments.Everything reaches a climatic end
when these samples rise to their peak. Interesting to say the least.

FROM HARSH NOISE DEVASTATION TO CARTOON NIGHTMARES. OVERALL THIS IS A PRETTY COOL TAPE. RECOMMENDED FOR HARSH NOISE FREAKS
AND ANYONE INTO EXPERIMENTAL SOUND WORK. BE SURE TO CHECK OUT THE PREVIOUS RELEASE FROM THIS PROJECT TITLED "THE SIX SIX SIXERS." :

7/10
-ABATTOIR-

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

Friday, October 2, 2015

REVIEW - HALO MANASH - HAUDATTUJEN VALVOJA - CD

HALO MANASH - HAUDATTUJEN VALVOJA - CD
AURAL HYPNOX/AH15
RITUAL AMBIENT/DARK AMBIENT/EXPERIMENTAL SOUNDSCAPES/ELECTRO ACOUSTIC DRONE
COMES IN AN INTRICATELY CUT, SILK-SCREENED CARDBOARD CASE.
INCLUDES AN 8 PANEL JOURNAL STYLE BOOKLET AND FOUR DOUBLE 
SIDED ART CARDS.PART OF THE SUBLUNAR SERIES.
LIMITED TO 400 COPIES.
TRACKS I-III CAPTURED LIVE 
ON TAPE IN TEMPLE HWAAR 24.1.2013
TRACKS IV-VII CAPTURED LIVE 
ON TAPE IN TEMPLE HWAAR 17.6.2014
THE ALBUM TITLE "HAUDATTUJEN VALVOJA"
TRANSLATES TO "THE GUARDIAN OF THE CONCEALED"
FOR THIS RELEASE HALO MANASH ARE:
AIH
IWO
OAK



I.) WESIENI WAINAJAT:
The newest addition to the brilliant HALO MANASH legacy opens with the silence
of a gate to another world slowly opening.A stream begins to slowly flow from an
unseen source, pushed forward by resonating sub-bass movements that bellow and
groan like an ancient elemental rising from the earth after aeons of undisturbed
slumber."Wet" sounds and textures give this a really organic quality.Distant voices
are heard forming atmospherics that sound like the restless spirits of ancient warriors
re-living battles from ages past.Dense, dripping, Dark Ambient that feels like a living,
breathing entity.Sparse percussive elements aid in the invocation of unfamiliar beings.
The track is almost like a soundtrack for a primeval creatures journey from out of the
mire and into the waiting world.Ringing notes drone on in the far distance and add a
sense of suspense to the piece as the foggy sub-bass passages churn on and on.The tracks
here all bleed together.This one turning into dense rumbling bass tones that sound like
a bubbling black swamp that pulls us forcefully into "Aaveet."

II.) AAVEET:
Writhing and restless.Dungeon-like ambiance.It sounds like an iron works facility deep
in the center of Middle Earth.Clattering and scraping metals, hissing bursts from earthen
schisms, Dreary, Brooding drones that expand and flatline like the light of a setting sun
as it nears it's nightly death. There is a lot to experience here, but it never sounds too
busy or chaotic.Chains rattle and objects are handled and used for unknown purposes.Pick axes
work through cavernous mines to free some sacred and coveted resource.Bones rattle and the earth
itself howls like a hungering specter.What sounds like a flute-like wind instrument plays a long
forgotten melody over humming drones and whispering winds.If you haven't heard HALO
MANASH, you need to. There really isn't anything quite like it.Countless artists create this style of music, But no one else seems to be able to capture it in such a legitimate and passionate way as HALO MANASH other than the other artists on the label.High pitched tones fill the air like the cries
of a mother bird in search of her young.Deep vibrations echo in long stretched drones.Static
textures fill the air like a fine mist of steam.The bowels of the earth grind and turn like 
a hungry machine.Like I said there is a lot to experience in the rich sonic environments created
by HALO MANASH and this serves as an excellent example.

III.) SWRI SYVYYS:
A choir like loop carries us out of "Aaveet" and into Swri Syvyys." Most of the tracks here 
are close to if not over ten minutes in length...This one being over. Long-form drones to
transport you into other worlds...But this isn't just drone music. What HALO MANASH creates
is a full aural experience. Highly evocative and "visual" music that fills the minds eye
with visions of the ancient and the arcane. Esoteric soundscapes fueled and powered by
raw occult energy. The third ritual here rises like lost Atlantis returning to it's former
glory.A towering and monolithic sound structure that casts a looming shadow on everything
it touches.Deep bass drones engulf the room and sound like massive horns sounding an endless
call to war.Hazy atmospheres hover above like swarming locusts in restless wait of coming
famines.Streams trickle in the distance but remain beneath the loud vibrations of the main
drones.Additional textures are heard but also buried and obscured.The track hits with the
force of a black hole opening, expanding and yawning out over the abyss.At times I am reminded
of certain works from SUNN O))) as the drones here behave in a similar manner to some of their
riffs...But this is nowhere near Metal music.Squealing wheels begin to turn on rusted hinges,
Their echos filling the air as walls of distant distortion rise and cascade like white-water
rapids falling over the edge of a canyon down a large descent into peerless depths below.Chimes
are heard jangling somewhere nearby, Adding an ethereal and enchanting quality to the piece.
I am uncertain as to what purpose this ritual serves...But it is one hell of a powerful invocation.
The bass is so heavy at times that it almost hurts if listening with headphones.If I played this
through my stereo I am sure it would cause my speakers to vibrate off of the shelves.Immense Stuff.

IV.) KANTO:
The first three tracks were recorded live in HALO MANASH's private temple as were the last four,
However these were recorded on different occasions.The second set begins with "Kanto" and takes
us in a different direction than the first three pieces.Footfalls are heard as they crunch upon
dead leaves and moist dirt.A throbbing bass line rises and feels the air with a thick sense of
suspense.The feeling of awaiting a climatic conclusion.Squeaking lead notes cry and hang in the
air as the spirits of the land begin to form a phantom choir and sing secret hymns.Wind instruments
that sound like ritualistic calls and cries echo in frenzied anticipation.Occult ambient passages
weave throughout the deeper tones like air gliding through the sails and ropes of a wooden ship.
Humming tones drone and linger, charging the piece with a powerful energy that defies description.
This would be great music to aid in meditation or even ritual if you so desired.Gentle strings are
plucked like an afterthought or the ghosts of songs unwritten.For some reason this track has the
most "Spiritual" effect on me personally.The kind of sounds that make your spine tingle and the
hair on your arms and neck stand like paranoid vermin sensing a predator.Eventually things slowly
wind down in a slow crawl that leads to the next experience.

V.) UHR-A-USVA:
White static...Slowly filled with deep electro acoustic bass tones.They grind and vibrate like the
strings of a cello played in slow motion.Murky atmospheres that move like one trudging through a
semi-flooded marsh land.Instruments from centuries past come to life and stir dormant feelings 
from a lifetime of slumber in the human psyche.String instruments drone on like down-tuned violins.
Rich wood tones unlike anything you'll ever experience from a synthesized version of the real thing.
Imperfect and beautiful.They create their own feedback that pierce the ears in painful jabs.Once again
it sounds like a long forgotten creature slowly stirring itself awake...Each instrument pumping the
lifeforce into it's veins.There are slight similarities here to certain works from FUNERARY CALL,
but overall this is a unique experience.This is one of the "softer" pieces on the album, but one 
of the most hectic at the same time as it has more of an improvised feeling overall.Truly interesting
material.

VI.) HAUDATTUJEN VALVOJA:
Marimba-like vibrations fill the empty air. Soon followed by whispering voices and shifting movements.Winds begin to blow as oceanic waves turn in on themselves, crash and roll away.The atmospheres created here are both beautiful and haunting. Percussive instruments are used from time to time as if to measure the progression of the piece.An evocative invocation that reminds me of ARCHITEUTHIS REX. In fact this album would be right at home if Utech Records had released it as it has a similar vibe.Although the track leans towards minimalism, it's by no means boring in any way. There is enough movement here to keep it interesting and the choice of tones and instrumentation is brilliant.Everything flows together perfectly. Flutes glide on the air and vanish like fleeting thoughts.Chilling breezes blow through in cyclic patterns. Like being alone in the heart of the woods as sudden winds catch you off guard and send shivers down your spine.An excellent composition to say the least.

VII.) AVANTO:
"Avanto" is over thirteen minutes in length.The longest track on the album and a great way to close things. Ethereal drones consisting of airy voices that ascend and vanish over trembling sub-bass sludge.This track is heavy in a smothering sort of way.The bass will push your speakers across the room and rattle your windows like an earthquake ripping through your neighborhood.Grinding noises burrow deep into your ears and next there until they repeat the cycle.High end feedback stabs at the senses and pulls you out of the daze that the previous movements put you in.The heaviness of "Avanto" has an almost Power Electronics/Death Industrial quality to it at times...At least in terms of overall sonic effect and substance.Sounds gather and eventually become one.Like how the separate components of a machine all aid towards one common goal.Cinematic and chaotic but in a slow, controlled sort of way.Wailing lead notes ring out in a mournful manner and inject the track with an unshakable woe and the  feeling that something dangerous is close and watching.This could definitely function as Horror Ambiance although I doubt that was the intention here.Towards the end things become a lot slower but remain as deadly as ever.Surreal and anxiety inducing like waking from a bad dream that stays with you longer than it should.Things pick up in the last few minutes and build to a climax in an orchestral fashion.Laced in heavy amounts of dread and nauseating.
A living sickness that festers and grows.

IMMENSE AND HIGHLY ENGAGING. HALO MANASH NEVER CEASE TO AMAZE:
8/10
-ABATTOIR-

http://helixes.org/auralhypnox/