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

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