Thursday, January 28, 2016

REVIEW - AEOGA - TEMPLE TREYE - CD

AEOGA - TEMPLE TREYE - CD
AURAL HYPNOX
RITUAL AMBIENT/DARK AMBIENT/ELECTRO ACOUSTIC
COMES IN PLASTIC DUST-JACKET CONTAINING AN 
INTRICATELY CUT CARDBOARD SLEEVE WITH PRINTED
ARTWORK.CONTAINS A SMALL, JOURNAL STYLE BOOKLET
CONTAINING POETRY AND ALBUM INFORMATION.



I.) FEAST OF THE STANCE:
Here we have a full length from AEOGA who excel in 
crafting ritualistic/occult ambient with all the grandeur
of a master ceremony. Black sounds for the black arts. 
Album opener "Feast of the Stance" starts off with blaring
electronics that sound similar to brass horns or trumpets.
Like the regal ceremonial music to announce the arrival of
some Grand Duke, High Priest or King. Strange and dreamy
tones lurk in the distance like curious observers. Bells
chime through windswept atmospherics and low sub-drones
carry the proceedings along perfectly. Fans of SUNN O))),
BLACK BONED ANGEL, and TENHORNEDBEAST should definitely
check these guys out.

II.) BETWEEN THE CRESCENT HOOKS:
Track two is almost twice as long as the previous and takes
us into the chilling vibrations of large gongs followed by
seriously haunting atmospheres. Resonating drones yawn and
expand like rifts between the stars. It feels like all is
in order for an important and very rare work of ritual.
Something that can only be accomplished within a small
window of time while the conditions are right at last.
Feedback lingers and hangs in the air like a sonic miasma
and then sudden calls ring out as bass-filled drones are
layered on and sparse acoustic percussive elements are added
to the mix. Similarities to WOLVSERPENT and AELTER can be 
noted on this one. Stark, Dark and unforgiving music that
plods along like a treacherous journey through a murky
swamp filled with danger. Cold and life-threatening.
Woeful voices chant as if reciting sacred rites adding
even more of a ghastly vibe to the piece. Howling feedback
acts as lead instrumentation and fills the air with sinister
tones that send shivers down the spine. If you find yourself
between the crescent hooks...Come prepared.

III.) TELEMORPHIC CUTS:
"Telemorphic Cuts" and the following track are both slightly
over seven minutes in length and take us down two separate
paths of audio exploration. Music for wanderers and scholars
of the dark arts alike. Deep, quaking vibrations that sound
similar to an old pipe organ pump out a resonating flood of
doom and gloom as distant screeching metallic elements add
sounds that come like an omen of despair. This track fills
the room with an air of unease that refuses to cease. Gentle
chimes ring in contrast to the rest of the tones at work here
which only makes it feel more unnatural and deadly. Sort of
like something you'd hear as a soundtrack to an old 70's
Horror Film. B-Movie quality stuff that more often than
not, has a greater impact than high end cinematic soundtracks
ever do. Wraiths sing somewhere beyond sight in distant high-
pitched voices of woe and torment. Semi-Operatic and filled 
with loss and unbearable sorrow.

IV.) TEMPLE TREYE:
Title track "Temple Treye" follows with dense, rumbling waves
of corroded ambiance. Thick drones that slide and shift like
black tar crawling slowly downhill. A bubbling bog of unsafe
substance. Echoing clangs clatter and vanish as if something
or someone was carelessly lurking beyond sight. A shadowy
soundscape of unsettling intensity. Steady drums plod softly
as if signifying the beginning to an ancient celebration of
a long forgotten and wicked tribe. This track feels like 
you've suddenly awoken gagged and bound within a den of
cannibals as they light the fires of your funeral. Bells
ring as if to say "Dinner is served" as ghoulish voices
form spectral choirs that come through generous amounts
of reverb and delay. The drums pick up as whispered, spoken
word vocals recite unknown incantations. Cryptic and arcane.
An inverted mass. High magic at work. Hope you brought your
nightshade. The temple is open and worship has begun.

V.) TRANSPARALLEL MIST:
"Transparallel Mist" is the longest piece here at a little over
eleven minutes in length. Stirring strings rise with deep, low
end drones that infinitely hum through the stillness. Sounds bounce
off one another til all is a wall of resonant ambiance. Afterwards
we shift into scraping metallic textures and cold, clinical passages
filled with hanging sheets of reverb laden synth. This track drifts
like the smoke of incense on mild gusts. The eerie silence of a cool
breeze come witching hour captured in music. Muffled gongs are heard...
Obscured and warped by the otherworldly tones at play here. High pitched
ringing layers rise and fall like icy tides at dusk. Hidden melodies
struggle to shine through to no avail. They appear more like imagined
thoughts than actual parts of the composition. What sounds like shovels
digging through moist soil is heard. Chipping at the earth in an attempt
to create fresh graves for the listeners. Intensity slowly grows as if in
slow motion and then sudden percussive rattles shake and slam...Startling
you and bringing you back down to earth as if to stop even a mental escape
from the swallowing doom closing in around you. Stillness pervades with an
unexplained impact. Powerful stuff to say the least.

VI.) FEAST OF THE TRANCE:
As You can see the title of the final track mirrors the first and brings 
the album full circle. "Feast of the Trance" serves as an extended outro
that opens with ticking and thumping tones that slowly glide into ascending
drones formed of mid-range synth notes. These soon begin to behave like a
small brass ensemble also mirroring the first track, Although could be seen
as an inverted or reversed version of "Feast of the Stance." Deep sub-bass
currents flow and wobble underneath, Giving the piece an almost unstable
quality. A very brooding and foreboding work that invokes a feeling of being
watched by some unknown, malevolent entity. A pretty decent way to end the
record as we end similar to where we began.

A DARK AND SUSPENSEFUL RECORD THAT SHOWCASES SOME OF THE BEST ELEMENTS
OF AEOGA. DEFINITELY WORTH PICKING UP:

8/10
-ABATTOIR-

www.auralhypnox.com/

Tuesday, January 26, 2016

REVIEW - AEOGA - TRIANGLE OF NEBULA-DEVOURERS/PALACE FOR VULTUNALES - COMPILATION - CD

AEOGA - TRIANGLE OF NEBULA-DEVOURERS/PALACE FOR VULTUNALES - COMPILATION - CD
AURAL HYPNOX
RITUAL AMBIENT/DARK AMBIENT/ELECTRO ACOUSTIC
COMES IN PLASTIC DUST-JACKET CONTAINING AN 
INTRICATELY CUT BLACK CARDBOARD SLEEVE WITH 
COFFIN SHAPED INNER CUT OUT AND WHITE PRINTED ARTWORK. CONTAINS 4 DOUBLE SIDED ART CARDS WITH LYRICS AND ALBUM
INFORMATION. DISC CONTAINS A RE-ISSUE OF 2 PREVIOUSLY
RELEASED (BUT LONG OUT OF PRINT) E.P.S COLLECTED TOGETHER.



TRIANGLE OF NEBULA-DEVOURERS:

I.) MENSTRUAL SKULL CONSUMED:
The first of the two E.P.s included on this re-issue 
release opens with "Menstrual Skull Consumed." A nearly 
ten minute piece that takes us into scorched atmospheres
consisting of rumbling dense pulses wrapped around rustling
metallic and razor sharp fields of sound. Sparse Industrial
percussion's clang and clatter as a thousand shards of broken
glass cascade upon the cold hard floor of a shadowy, dilapidated
structure. Booming acoustic drumming echos as a veil of whispering
voices cloaks everything within itself. An extremely ominous and 
absolutely haunting soundscape. Chants fill the air and charge
the atmosphere with dark esoteric energy. Bones and chains rattle
as corrosive sheets of static are laid over like a funeral shroud
attempting to conceal this wretched creation, But to no avail. It
sounds like we have pierced the fine line between life and death
and are gazing at horrors beyond our imagination and comprehension.
Things that the eyes and ears of the living were never meant to bare
witness too. Fans of T.O.M.B., FUNERARY CALL, COBER ORD and SHIBALBA
will definitely enjoy this. Ritualistic, mid-tempo tom drums take us 
into a funeral march through the furthest reaches of the abyss. A place
in a permanent state of rainfall, cold, ice and despondency. The track
seems to spin or revolve in a vortex of negativity...Drawing you in with
it's talons sunk deep into the flesh. A constant ticking is heard throughout
the duration of the track like a cruel mimic time that is no more. Grim to 
say the least.

II.) SEIZE THE FLAMING DROPLETS:
This next piece is slightly longer than the previous and starts out
with what once again sounds like the heavy hands of a clock thudding
like a mocking metronome to test the sanity of the listener. Bones
rattle as long-stretched, yawning atmospheres bellow in the distance.
Bones clatter like runes anxiously cast even though the outcome is
doom and you know it. Suspense and anxiety grow from tense to unbearable
as the impending feeling that a horrendous death is fast approaching becomes
all too clear. An unseen entity screams far in the background signaling the
approach of echoing percussive elements and what sounds like the crunching
of snow, hail and icy waters as a frozen river awakens and begins to furiously
flow. The track sounds something like being controlled while in an unnatural 
trance as you slowly walk into freezing waters to die against your will. Forced
to "Seize" the droplets of water so cold that it burns to the touch against bare
and blistered skin. Strange shouts fill the air like a search party calling out
for you...Too far off and too late to be of any aid. Tribal percussion's come
and suddenly the desperate shouts become ritualistic and sound more like hurried
and frantic incantations. Words of a dead language filling the air in a harsh
winter environment. Forgotten, ancient rites of winter solstice. Whatever their
purpose...The distant growls that soon arrive make it clear that it's a conjuring
of some sort...What has been summoned remains unknown, but obviously it's something
from another realm...One much darker than our own. Towards the end everything blurs
into a cascading waterfall of sound. White rapids of pure experience that crash upon
the stones of the psyche.

III.) LET THE SUN BECOME YOUR EYE:
This piece with the surreal title of "Let The Sun Become Your Eye" closes the
Triangle Of Nebula-Devours portion of this release. Close to eleven and a
half minutes of strange, otherworldly exploration that begins with crystalline
drones, whispering voices, monk-like chanting and scraping metallic elements.
Resonating ambiance rises and bathes the track like a glowing light shimmering
through a foggy night. This lingers somewhere between traditional dark/ritual
ambient and occult improvisation/experimentation. Their is a very ethereal and
spiritual quality and/or power at work here. Misty atmospheres fall like a haze
upon the world below as jingling percussive instruments keep pace and tempo.
Haunting flutes scream to the sky and sudden drums thunder like a call to arms.
Spiritual warfare perhaps? Long, moaning drones sweep underneath and stretch out
like the arms of the abyss welcoming you into death. Ropes creak upon weary branches
like an omen of fates to come. Horns are blown as if to signal a great work or event
on the horizon. Whatever it is...Remains a secret. Things shift into a more straight-
forward Dark Ambient mode after a while. Similar in some ways to TERRA SANCTA or another
act along those lines. Queasy sub-bass movements create oceanic waves that come in nauseous 
patterns as fluttering sounds like the wings of a moth struggling to take flight close the
track.

PALACE FOR VULTUNALES:

IV.) PALACE FOR VULTURES:
This next E.P. was originally released on cassette in 2005, The same year as the previous,
Although the last was a CDr...Both on Aural Hypnox, But I do agree that this edition was
necessary. Both pieces here are close to ten minutes in length and carry a similar theme.
"Palace For Vultures" starts things off with extending tendrils of sinister and foreboding
Dark Ambient built on twisting strings that entwine and form a black cloud that slowly 
engulfs everything from the vanishing point of the horizon to the skies above. Scraping
metals grind upon solid structures to create piercing waves of ominous sound. Cymbals 
are utilized like ritual bells to purify the air. Ringing through the eerie stillness
that we have become enveloped within. Crystalline chimes are heard in the far distance
as all builds to a climatic peak only to plummet back down into the deepest depths. Voices
cry and call in the background like woeful specters who can never find rest or peace. A
damned soundscape of cursed wraiths and lost souls. Agony and endless wandering with no
end or reason. A black void for the long gone and long forgotten. Howling banshees band
together as a melancholic choir...Singing inverted hymns in praise of nothingness. Cyclic
winds twist into black holes and devour all that was as moody, yet triumphant strings
arrive as if to say the palace of vultures still stands.

V.) PALACE FOR VULCANALES:
The final passage comes as a vacuum of hungry ambient layers stretching out above
clattering noise like that of tedious labor and tiresome work. Like a pestilence
slowly creeping over an unsuspecting village below. Slow drums plod and mirror the
pace of breathing as heartbeats slow to a crawl and eventually demise. This track
dwells and seethes in a smothering heaviness that steals the oxygen from the room.
A heavy darkness that festers and broods, becoming more severe and deadly with each
passing moment like a toxic cloud of mold-filled dust. The textures flake and fall
like poisonous spores entering and destroying your lungs. Breathy words are spoken
in repetition as if to mimic what's been stolen. Gloomy strings collect and conspire
against the listener like plotting carrion planning their move towards the freshest
carcass. If you've ever wanted to hear something that channels the essence of rot
and decay to excellent effect. This is the one to check out. This track will drench
you in the essence of death. 

TWO EXCELLENT DARK/RITUAL AMBIENT E.P. RELEASES COLLECTED TOGETHER. HIGHLY RECOMMENDED:

9/10
-ABATTOIR-

www.auralhypnox.com/


Saturday, January 23, 2016

REVIEW - LINGUA FUNGI - MELANKHTON - CD

LINGUA FUNGI - MELANKHTON - CD
AURAL HYPNOX
RITUAL AMBIENT/AMBIENT FOLK/ELECTRO ACOUSTIC
COMES IN PLASTIC DUST-JACKET CONTAINING AN 
INTRICATELY CUT CARDBOARD SLEEVE,
STAINED FOREST GREEN WITH GOLD ARTWORK.
CONTAINS CARDBOARD ART INSERT AND AN ADDITIONAL
4 PANEL CARDBOARD INSERT CONTAINING ART AND LINER
NOTES.




When it comes to Aural Hypnox, You can expect beautifully
packaged albums containing a myriad of haunting and emotive
sounds and themes. Often dark and ritualistic in nature. With
"Melankhton" from LINGUA FUNGI this and more are featured.

I.) WAVY GUESTS:
This album is slightly different from many from other artists
on the Aural Hypnox roster, But still very much at home here.
The first of the five tracks that make up Melankhton, "Wavy Guests," 
opens the record with a ten minute sprawl that slowly comes in with
dripping, cavernous textures and what sounds like twigs cracking and
snapping within the embers of a low, dying fire. Reversed ambient
passages create a clean current. Melodic and dreamlike. "Warm" and
"Cold" tones mingle and blend in rushing movements creating a spectral
and ghostlike feeling...As if lost spirits were dashing between the walls
of a small room...These must be the wavy guests the title describes.
Acoustic experimentation is added, which makes for a very unique listening 
experience. This eventually dies out leaving only the opening soundscape for 
some time. Bare and minimal, Raw and natural. Fragile wandering chimes, Surreal
and haunting ambiance and other otherworldly sounds form together in a 
reverberating and spectral mix of ritualistic energy. Lurking and bringing 
a curious sense of danger as well as excitement. The air is charged with
supernatural power that comes through subdued, but still flexing it's strength.
Random tapping percussive elements and the clang of stange bell-like instruments
adds to the mystery and wonder of the piece. Backmasked rhythms come and lead us
into beautifully woven acoustic guitars over tribal percussion's that have a very
cryptic and ancient feeling to them. Similar to the Gypsy music of old but with a
new age, electronic edge. Music for meditation and mantra.

II.) DEPARTURE:
Next we once again depart on a spiritual journey through the metaphysic realms of 
music with the apptly titled "Departure." Ominous tones played on deep, rich strings
take us into sub-orchestral passages crafted on windswept, hazy textures. Distant
melodies form and subside as light traces of static float like feathers on the air.
This one is much darker and contains elements of Neo-Classical and traditional Folk
music. What sounds like distant horns are heard lingering in the air like some mirror
into the past days of the ancient vikings. Following this we once again go into tribal
hand drums and soflty plucked acoustic guitars...This time with the addition of wooden
flutes and a slightly faster tempo. It sort of sounds like something you'd hear from
DEAD CAN DANCE or possibly an acoustic set from the band OM. The guitars slowly go from
a repetitive lull to silence and are replaced by strange clicking electronics wraped in
slight traces of reverb and "pinging" effects. Again reversed layers are heard, This time
sharp and glass-like. Looming atmospheres roll in like swollen clouds and hang above and
within and rising strands of ambiance reach out towards us. Things become slightly disorienting
like a stressful and anxious day dream that you can't seem to shake...Carefully walking the
border between nightmarish, wonderous and mythical. We later go into another acoustic/drum
passage with a bit of a traditional folk flavor. Rich and beautiful music that one can
imagine hearing around a camp fire in the heart of the wilderness. Natural, organic and
mystifying. True bards at work here.

III.) MELANKHTON:
Title piece "Melankhton" is a bit harsher at first. Corrosive layers of sound grind 
together like razor blades across old guitar strings as noisey textures fill the
empty spaces in the background. This has a very clinical, Death Ambient vibe to it.
Like something you would have heard on Cold Meat Industries back in the day. In the
distance strange sounds similar to nocturnal birds and chirping insects create another
world to dwell within. Trickling waters run down smooth stone walls on a secret expedition
as the intensity of the piece slowly grows. It sounds like we have stepped into a hidden,
vast sub-teranean realm that goes on endlessly into various directions of still darkness.
As we journey further we enter a minimal soundscape of natural sounds and reversed layers
that eventually become another stunning folk session. The hand drums are louder and more
upfront this time and fill the mind with visions of fire and belly dancers and twisting
snake charmers. The addition of airy flutes only enhances this. If you are into instrumental
music with more of an ancient and esoteric theme then this is highly recommended. Rattling
bones fill the air for a brief moment and then we go into gorgeous acoustic ambiance and
echoing percussive skin drums. This is definitley my favorite moment on the album. My only
complaint is that I wish LINGUA FUNGI would have expanded on this segment and let it last
a little longer.

IV.) DETACHED:
"Detached" invokes a trance-like state like the ceremonies of the ancient druids. It begins
with odd "slithering" tones that coil in cyclic motions around field recordings of some
sort of natural ambiance that is hard to describe...Sort of like the sound of fresh dirt
falling upon water and stone...What I like to refer to as "Elemental Ambient." Music that
certainly detaches you from the physical as well as the mental. All worries and cared melt
away and fall off as celestial atmospheres weave together as one. Ceremonial and beautifully
rich strings fill the room like a swelling river. Many artists describe their music as 
"transcendant" but LINGUA FUNGI embody this like no other. This sort of reminds me of some
of KAYO DOT's early work at times but not enough to make LINGUA FUNGI sound like them or
anyone else enough for it to matter. Melodic plucked acoustics and haunting strings bring
to mind certain works from ANATHEMA and ULVER. Absolutely captivating and by far another
highlight of the album. Distant but powerful drums pound and vibrate adding even more of
an epic feel to the piece until we fall into a minimal soundscape of restless water that
sounds like it is coming from within the walls of a stone structure. Resonating sub-bass
washe over everything in queasy waves and all grows dark for a time until lead and rhythm
acoustic guitars return to assure us that there is a light at the end of the tunnel. 

V.) SOMA DISSOLUTION:
Our last adventure begins as "Soma Dissolution" takes us into ceremonial drumming that
sounds like a celebration in progress in the heart of the jungle. All manner of percussive
instruments are employed to create a cinematic and thematic jam with a free-form and improvised
vibe. This fades into bizarre vibrating sounds and over-plucked and stretched strings that loop
for awhile. Next a brief acoustic ballad comes and then goes into buzzing layers that hover like 
large, blood-thirsty insects. Dreadful and confusing as LINGUA FUNGI once again go from one extreme to another. Following this ordeal we hear gasping and exhaling sounds like voices from out of nowhere. It sounds like some long forgotten sacred rite being brought back to life by a cult of devotees to the lost ways of the ancients. Brass, sub-orchestral movements carry things along and set a grim pace.  Shrieking sounds feel the air as if the sky was suddenly full of preying raptors. Crisp static creates a misty atmosphere and eventually takes over, engulfing all within it. Sounds like those of rolling glass bottles and other rustling chimes and objects explore the distance. Suddenly immense and intense tides of beautiful string ambiance appear and bathe all in their glowing and haunting melodies. Another stellar point of the album that swells with emotion and the heart. Uplifting and melancholic all at once and a great closing point for the record.

AN ABSOLUTELY STUNNING AND BREATH TAKING ALBUM. A WONDERFUL ADDITION 
TO THE AURAL HYPNOX BACK CATALOG AND A PROJECT I WILL DEFINITLY KEEP
AN EYE ON:

8/10
-ABATTOIR-

www.auralhypnox.com

Friday, January 22, 2016

REVIEW - TORTURING NURSE/DISTANT RELATIVE - SPLIT - CASSETTE

TORTURING NURSE/DISTANT RELATIVE - SPLIT - CASSETTE
KYDOIMOS RECORDS
HARSH NOISE/POWER ELECTRONICS/EXPERIMENTAL NOISE
COMES IN A JEWEL CASE WITH J-CARD INSERT.
ON BLACK CASSETTE WITH SIDE A & B INDICATED
IN SILVER SHARPIE.


The following was taken off of the 
bandcamp page  for this release:

""D.J.: I wasn't going to tell you this. I've been listening to the tape and I, um, 
think I made a mistake in the translation. 
[Plays the Distant Relative / Torturing Nurse split] 
Miller: Go on. 
D.J.: I thought it said "liberate me" - "save me." 
But it's not "me." It's "liberate tutame" - "save yourself." And it gets worse. 
[Plays the Distant Relative / Torturing Nurse split again] 
D.J.: There - I think that says "ex inferis." "Save yourself... from hell." 
Look, if what Doctor Weir tells us is true, 
this ship has been beyond the boundaries of our universe, 
of known scientific reality. Who knows where it's been, what it's seen. 
Or what it's brought back with it. 
Miller: From hell."

If this is any indication of what we are in for...Then
you might wanna pack a lunch. We're going on a journey.

SIDE A.) TORTURING NURSE:

I.) ICEAGE / II.) UNTITLED (LIVE AT UPTOWN RECORD STORE SH201):

For those of you unfamiliar with TORTURING NURSE, Here is a little background 
information taken off of their discogs page: "Based in Shanghai, China, 
Torturing Nurse started on 2004.04.25. The band has given more than 100 performances 
(noise, harsh noise, improv...) and other collaborations ; published more than 200 cd's, 
cdr's, vinyls and tapes. They also run the noise label Shasha Records and organize the 
monthly noise/free/avant gigs in Shanghai called NOIShanghai." 

Opening track "Iceage" is only a couple of minutes long but it gets things 
rolling for us here. Experimental junk percussion's create an atmosphere of
waste and carless rustling. Metallic cans roll and slide, scrape and vibrate
sounding something like an early demo from NURSE WITH WOUND. Many would call
what TORTURING NURSE do "Performance Art" and they'd be absolutley correct in
saying so. After a few moments we hear a high whining signal that streams out
like the glowing beam of a distant lighthouse and then we are hit by corrosive
rivers of dense and chaotic noise. Feedback comes and goes in long stretches
that almost sound painful before being swept under and consumed by moaning
strands of rumbling synths. This recording has that lo-fi quality that a lot
of Harsh Noise from the 1990's has which makes it sound like an obscure relic
from an earlier time. Screams come in random, energetic outbursts until they
are washed away by insane segments of noise that comes in crushing waves, One
after another. The sounds of an excited and electrified audience are heard at
points where the noise cuts for brief moments. This performance must have been
a sight and sound to behold in person. Absolutely relentless and punishing stuff
that is certainly not for everyone. Although I am sure a good number of the people
reading this would thouroughly enjoy it. Siren like signals ascend over a busy 
mass of sound that behaves like concert goers in a mosh pit. Full of adrenaline
and fury. Wreckless and here to cause some serious damage.

SIDE B.) DISTANT RELATIVE:


III.) HONOR SYSTEM FAILURE:

On the B side we have DISTANT RELATIVE which is the solo project of 
Dustin Johnston who is also a member of ACTUARY. This release is my
introduction to the project, but being a long time fan of ACTUARY I
am eager to hear it. Here we begin with a 1980's radio broadcast 
announcing the World Series Baseball game that are almost immediately 
devoured by blasts of merciless harsh noise, Feedback that sounds like 
a dying machine screaming bloody murder,Warped, wet and deep tones that 
pulsate and bubble like water boiling to scalding heat. Electronics grind
and resist as layers are tossed upon each others like pit bulls in a dog
fighting match. Sampled radio transmissions appear at random times like
the suppressed memory of a once favorite past time trying to force it's 
way back into recognition. The track comes across in "Cut-Up" style at
times while at others it is more along the lines of free-form improv
and experimentation. The samples feature in game commentary that somehow
seems to narrate the music as bizarre as that may seem. Overall the piece
feels like multiple themes struggling against one another for dominance
only to create a mess of sound and audio wreckage. Buzzing live-wire
electronics combat against rumbling bass tones and razor sharp feedback
as wet and dripping textures scramble for cover as well as provoke the
heavy hitting contenders in the center of the ring. The end result is
the Harsh Noise equivalent of running over an animal and listening to
it die slowly in absolute agony for a good ten minutes or so as you 
attempt to scrape it's mangled body off of your bumper. In other
words, Good stuff.

THIS IS A PRETTY COOL LITTLE TAPE. IF YOU ARE INTO HARSH NOISE THEN
THIS IS WORTH A LISTEN. IF NOT...YOU PROBABLY GOT LOST AND I AM SURPRISED
YOU ARE READING THIS:

6.5/10
-ABATTOIR-

www.facebook.com/torturingnurseforever
junkyyy@hotmail.com
www.facebook.com/distantrelativity666
distantrelativity@gmail.com

Wednesday, January 20, 2016

REVIEW - BLACK LEATHER JESUS+SMELL AND QUIM - MY DARLING, FOREVER DRESSED FOR SEX - COLLABORATION - CD

BLACK LEATHER JESUS+SMELL AND QUIM - MY DARLING, FOREVER DRESSED FOR SEX - COLLABORATION - CD
PETITE SOLES/PS80
HARSH NOISE/POWER ELECTRONICS/HARSH NOISE WALL/EXPERIMENTAL NOISE
COMES IN A FOUR PANEL DIGI-PACK
FOR THIS RELEASE:
BLACK LEATHER JESUS IS:
SEAN E. MATZUS/CAROL SNDIN COOLEY/KEVIN NOVAK/
TANNER GARZA/THOMAS MORTIGAN/AUSTIN CAUSTIC/
ZACH GUTTOWSKY/RANDA GOLUB/DOMOKOS BENCZEDI/
NATHAN GOLUB/RICHARD RAMIREZ
SMELL AND QUIM IS:
MILOVAN SRDENOVIC/SIMON "MORRIS"/
STEWART KEITH/KATE FEAR/MICHAEL GILLHAM/
ON THIS OCCASION JOINED BY MARK WHARTON
THIS RELEASE IS DEDICATED TO THE LATE
CALUM TERRAS


So as you can obviously tell from the above, this is a MASSIVE collaborative
effort. Some of the artists involved I am familiar with like Thomas Mortigan
(RU-486), Tanner Garza, Richard Ramirez and of course SMELL AND QUIM but
there are a few names I do not recognize...So I am not sure if all of these
people have other projects or this is their main focus. Either way this is
one Hell of an album as you will soon read for yourself...But don't stop 
there...Head over to the Petite Soles web-store and score a copy for
yourself!!!

I.) BIG COCKS FLOBBING GRISTLE:
We have a lot of raunchy/controversial artist's here making some filthy
messes of sound starting with the appropriately titled "Big Cocks Flobbing
Gristle." The name says it all so I hope you're ready...You're about to 
be fucked. Be thankful these people ease it in...White static builds in
a windswept rush and tosses your ass into clanging mid-tempo scrap metal
percussion's. Warped undercurrents of dense sub-bass bubble and froth like
a cauldron of semen overflowing and crawling all over your exposed naked 
flesh. Harsh feedback and howling textures are heard like a frenzied orgy
a few rooms over...Wailing and echoing down the halls. Clatter and chaos
are on full display. Noise flows like white hot molten lava spewing from 
a phallic mountain to consume all in it's path. Scream-like sounds are
forced through clenched teeth and gargling throats. The mechanical rhythm
comes in the steady pace of a slow, but powerful muscle pumping itself into
you over and over again. These artists have come ready to go, No fluffer
needed. Breaks in tones give way to asphyxiated displays of noise that
sound like an unwanted gang bang in progress. Feedback rises to the point
of climax and whistles like an independence day fountain setting off with
orgasmic streams of dizzying color. After this drawn out, traumatic ordeal
we experience a brief closing movement filled with samples of moans and 
groans taken straight from the sleaziest porn you can imagine. Utterly 
cacophonous and relentless stuff.

II.) NOW IF YOU'RE INTO ANAL...:
Track two is much more "quiet" in comparison to the previous. Here we have
an ultra dense soundscape consisting of murky sub-bass sludge and multiple
downtuned moans of pleasure layered on top of each other like a pile of warm
bodies. Minimal rhythms are formed out of shifting and rustling sounds that
could be the restless chains of a wanting sex slave. Pitch shifted voices
mutter unknown obscenities and perversions like it's the days of Sodom being
re-played over and over again in agonizing slow motion. An eternity of lust
and debauchery for your ears to take in. Low end tones and textures sound like
they could have been taken from a contact mic shoved deep into moist anal 
cavities and other soaking orifices. A grim and serious voice repeats a mantra
of "Fuck You" over the looped sounds of heavy breathing and panting. The sound
of wind is heard licking the curtains as well as naked skin as strange industrial
percussive elements appear and vanish. After a relatively long calm we are stricken
by louder and harsher versions of what we heard before bursting out with a fevered
passion until once again things quiet down as wits are recollected and we catch
our breath. A harsh gust stabs through an open window until it warps and twists
into corroded harsh noise filled with bass that's caked on thick. Harsh Noise
Wall style intensity that lasts until it's finally fulfilled and pulls out for
a short outro.

III.) HEAVY SPUNKERS:
Welcome to the last session in this trinity of fuck. "Heavy Spunkers" builds
on harsh and corrosive strands of overlapping noise similar to the first track.
Cyclic, mechanical rhythms toss us around like a vinyl clothed plaything as everything
combines and weaves together into a massive assault of sound. Distorted/warped voices
exhale and speak of unknown deviancy...Once again sounding like intimate gasps and cries
downtuned and molested. Familiar tones and patterns make this one feel like a combination
or re-work of both previous tracks at once. Squeaking and screeching noise fills the empty
spaces between soft flesh and hard organs as endless harsh noise pours like sweat from every
pore. Again we have powerful gusts of wind that wrap around the piece like hungry hands. You
will either be highly aroused or terrified by this point depending on your taste in music.
Totally blown out and immense stuff that enters the ear canals without consent or concern 
for consequence. Hope you brought lube...These guys are going in rough. Somehow this gets
even harsher and more frantic to the point that it sounds like everything around you is
collapsing in on itself while the ritualistic sexual procession continues as if oblivious
to the chaos closing in around them. It literally sounds like the world around you is 
being fucked to death until everything becomes a tangled mass of static and nothing
more.

I'M GONNA NEED A CIGARETTE AND A FUCKING SHOWER AFTER THIS ONE.
INTENSE TO SAY THE LEAST. BUY IT. EXPERIENCE IT...AND POSSIBLY
REGRET IT. BUT DON'T SAY THEY RAPED YOU...YOU ASKED FOR IT:

7.5/10
-ABATTOIR-

www.sqmilovan@hotmail.com
www.petitesoles@hushmail.com


Sunday, January 17, 2016

REVIEW - SOLCO CHIUSO - HUMAN TEXTURES - CD

SOLCO CHIUSO - HUMAN TEXTURES - CD
LOST EMPIRES/LER-01CD
POWER ELECTRONICS/HARSH NOISE/DEATH INDUSTRIAL
COMES IN A 4 PANEL DIGI-PACK.


I.) THE TARGET:
This is the first release from the new label "Lost Empires" and
a great start at that. Here SOLCO CHIUSO presents strong stand
alone tracks as well as powerful collaborations. We begin with
"The Target" which opens the album with warped, hazy electric
atmospheres, glitching electronic experimentation, wandering
static textures and churning sub-bass organized into accesable
rhythm. Radio transmissions and moaning lead synths fill the air
in a semi-chaotic blur as additional chirps and beeps surface and
subside. Rapid fire machine gun blasts sound the alarm and pave the
way for distorted Power Electronics style screams. Raspy and spiteful
like SHP being covered by IRM. High end frequencies ascend like war
drones on search and destroy mission. Computers and control panels are
heard beeping as commands are being entered. The overall vibe is warfare
and annihilation. Target locked. Destruction immenent.

II.) CAN LIFE PREVAIL?:
(ADDITIONAL EFFECTS, NOISE AND VOCALS BY: WERTHAM)
On "Can Life Prevail?", SOLCO CHIUSO teams up with WERTHAM to offer up
a seething Death Industrial soundscape. Heavy metallic percussion's boom
and clang under wandering drones, hissing static that comes like a mist of
death in chemical warfare and exploring feedback that chokes the life out of
any left breathing. WERTHAM's vocals are strong but distant and come across
like the ravings and rantings of a man enraged and overcome by a passionate
anger. Rolling rhythms are crafted out of what sounds like heavy drones filtered
through tremolo effects. Soaring synths mimic planes during takeoff as they prepare
to either escape or raid. Suddenly a heavy slam brings in loud electric fury in a
short burst before the track finishes.

III.) FLOWERS OF STONE:
"Flowers Of Stone" bridges the gap between track two and the next collaborative
effort. Once again voices are transmitted over the airwaves, This time sounding
like chatter being picked up from a police scanner. Dense Harsh Noise textures
grind and wrestle with one another creating an intense feeling of struggle and
opression. Feedback and heavy filter abuse creates wailing textures to add atmosphere,
ambiance and effect. Pulsing pin-points of sound penetrate like a dozen needles into
your mind. From what I can tell it seems like corruption and abuse of power are the
main themes at work on this one. Lazer blasts pulsate and annihilate as wave after
wave of Harsh Noise hits in an all out onslaught on the senses. A very straight forward
and to the point piece...But one that is very effective.

IV.) RUSTY RITUALS:
(ADDITIONAL NOISE, FILTERS AND EFFECTS BY: NAXAL PROTOCOL)
Next SOLCO CHIUSO and NAXAL PROTOCOL join forces on "Rusty Rituals."
This one builds up with more of a silent and sinister approach at first with
uneasy synth waves, cyclic high end experimentation and busy distant frequencies.
Pummeling Death Industrial kick drums add a mid-paced, doom-laden pulse to the
piece to provide a tempo to the crawling and creeping vocals that follow. Pure
90's Death Industrial worship. Soft spoken verses layered in delay, reverb and
a small amount of distortion add a sense of dread and coming misfortune. Cold,
emotionless, inhuman and clinical. It sounds like something very deadly is slowly
approaching. A shambling plague that drifts from town to town leaving only dust
and skeletal remains behind. Again I am reminded of both SHP and IRM but not enough
that this sounds like a copy of either. The title is fitting as this sounds both
corroded and ritualistic. Occult rites recited in a scrap yard as fires blaze in
rusted metallic cylinders. Post-Apocalyptic industrial to accompany the end of days.

V.) ZWEI:
"Zwei" or "Two" or "Twain" if my translations are correct comes in a rush of frantic
noise filtered through wet effects. It sounds like a panicking animal in the painful
throes of death...No white light of comfort...Only total terror. Heavy synth drones
carry us like a corpse to sea as circular rhythms and patterns phase in and out of
the speakers to cause further feelings of despair and utter despondency. High end
screeching is heard in the distance like a mass flock of carrion circling a rotting
feast...The dreadful drones that accompany them seal our fate and confirm our grim
circumstances. Feedback expands and loops in maddening repetition until all drops off
and cuts out.

VI.) RUMORE ODINATO DEL TEMPO:
"Rumore Odinato Del Tempo" translates roughly into a broken phrase concerning noise 
and time. This is fitting as we go into disjointed rhythmic noise and humming power
drones filled with the sounds of heavy artillery, machine gun blasts, shouting soldiers
and the dusty shuffling of combat boots on the battlefield. Additonal textures and layers
add to the chaos and intensity of battle. Synths become blured flashes like the light of
nearby explosions. Fluttering sounds fly by like bullets into warm bodies before you.
Silence pervades as phantom patterns rush in and steal the breath from your lungs
before you even know you're hit.

VII.) SEX IS A CRIME:
(ADDITIONAL NOISE, FILTERS, SYNTHS AND EFFECTS BY:
LE COSE BIANCHE)
The next three continue as collaborations. Here SOLCO CHIUSO and LE COSE BIANCHE take us
into rumbling synths that slowly rise as dreamy ambiance billows and flows like a surreal
vision. Rusted metallic textures grind and scrape as electronic pulses ping, bounce and 
echo. Softly spoken vocals come filtered through minimal but fitting effects that add to
the overall dream-like state invoked here. Feedback carelessly runs in like a reckless, 
stumbling drunk, making itself at home. Static comes in crisp, buzzing layers that hover
and hang in the air like smoke in a dingy poet's club. Distant dripping textures and 
crackling noises are heard if you pay close attention. A strange but wonderful track.

VIII.) HUMAN TEXTURES:
(ADDITIONAL EFFECTS, CHAOS AND METALLIC THUNDERS BY:
CLAUDEDI)
The title track is done in collaboration between SOLCO CHIUSO and CLAUDEDI who is the
first of two of the collaborative artists I am unfamiliar with, The second being 
EMPIRICAL EVIDENCE on the following track. "Human Textures" rises forcefully on
aggitated waves of rising and falling noise. Dull and distant thuds form a tempo
to the piece and serve as a metronome for charred, distorted vocal rasps that 
come in verses of spite and hate. The type of vocals that go straight for the
throat with no fucks given. Again we have an excellent display of textural 
placement and timing that really shows off SOLCO CHIUSO's compositional skills.
There are a lot of sounds here that could have easily have come across as random 
noise for the sake of noise were it not for the careful attention to detail and
timing here. Great stuff!

IX.) THE MESMERIZER:
(ADDITIONAL EFFECTS, LOOPS, SAMPLES AND CONTRABASS BY:
EMPIRICAL EVIDENCE)
Finally we end with SOLCO CHIUSO and EMPIRICAL EVIDENCE working as one on "The
Mesmerizer." This one opens as a very weird and otherworldly piece filled with
all kinds of strange chirps, chimes and other odd and wonderful sounds. Sliding
and scratching tones and textures whip and zoom as minimal Industrial bass drums
form a plodding pace. Emotive string instrumentation creates a beautifull and
cinematic element that really makes this an enjoyable piece. Orchestral passages
go from dreamy and fragile to sinister and foreboding in smooth transitions that
never feel out of place. The simple bass drum comes through effects that remind
me of early CABARET VOLTAIRE. Distant, Hushed voices whisper of things we will 
never know for a brief moment and with that we end. A very strange, but interesting 
way to close the album.

OVERALL A GREAT AND HIGHLY ENJOYABLE DEBUT FOR BOTH SOLCO CHIUSO AND LOST EMPIRES 
RECORDS. BE SURE TO GET A COPY OF THIS ONE AND CHECK IT OUT FOR YOURSELF. FANS OF
MANY STYLES OF NOISE AND TRUE INDUSTRIAL ARE SURE TO FIND SOMETHING THEY LIKE HERE:

8/10
-ABATTOIR-

www.solcochiuso@gmail.com
www.lostempiresrecords@gmail.com

Monday, January 11, 2016

REVIEW - +DOG+/ACTUARY - RITUAL FILTH - SPLIT - 12-INCH

+DOG+//ACTUARY - RITUAL FILTH - SPLIT - 12-INCH
LOVE EARTH MUSIC/LEM152
HARSH NOISE/MINIMAL NOISE/EXPERIMENTAL
COMES IN A BLACK SLEEVE WITH SILVER ART
AND PRINT. ON BLACK VINYL WITH STICKER
LABELS. INCLUDES INFO INSERT.


SIDE A.) +DOG+

I.) HALCYON DAYS REVISITED:
This was my first time hearing +DOG+ so I wasn't sure what to expect
completely but being that every other ACTUARY split I've heard has 
been pretty good, I was certain it would be interesting at the very
least...And I was right. "Halcyon Days Revisited" opens as a powerful
electronic drone. Thick and heavy stuff that drifts expanding outward
until secondary pulses arise and we shift down into a slow descent. The
overall sound is almost like being in a small aircraft as it rises and
falls in a drunken journey into nowhere. Multiple layers rumble and
roar as what sounds like either very distant distortion or very distorted
distant vocals are heard. Hard working motors try and struggle to keep 
this thing going in what sounds like a tremendously stressful process.
Burried feedback and wind ripping propellers attack the atmosphere and
forceful harsh textures wrestle to the surface until they are pushed
back into the rubble. Strange clicks and chirps fill the air like the
needles of flight instruments and indicators busy at work. Dreary drones
and high end noise add a sense of danger and worry to what is already an
intense piece. After a while it starts to sound like we are approaching
deep shit and might need to get the fuck out while we still can. Impact
is imminent and the shit is about to hit the fucking fan. Harsh strikes
slice the senses like the cold, sharp, metallic stab of wreckage. Dense
noise like footfalls in the snow end this one. Flight/Fight/Crash/Wander/
Bleed/Freeze/Die is the best way to sum this one up.

SIDE B.) ACTUARY

II.) INCONVENIENT GIFT:
On the flip side, ACTUARY offers up a solid slab that begins as cold and
dream-like Ambient music. Exploring textures glide in and out along with
mist-like noise that drifts and sways along to a minimalistic melody.
High end pulses soar and scream in the distance like a hazy memory of
the fourth of July. Haunting and transcendant music that sends you deep
into your own conciousness in search of locked doors and buried secrets.
Harsh, grinding noise rolls in without the transition even being noticed
at first. ACTUARY have always been great at creating surreal and dreamy
soundscapes, but this is probably the strongest example of their craft
that I have heard to date. Countless electric pulses and signals whir
and rise as obscured object abuse and moaning sub-choir voices build
and blur. Distant industrial rhythms form catchy patterns that repeat
in your head long after the track ends while the main current of noise
becomes an endless wail filled with a schizophrenic display of experimentation.
Overall this feels like a very free-form track. Improvisational, yet not entirely
as there is a structure and order to things. Corroded layers stack up like heavy
snowfall as windswept static accompanies and compliments this new theme. We end
with clattering object percussion's that fade into what sounds like a recording
of someone's cat begging for attention. A strange, but interesting way to end 
things.

BOTH ARTISTS TAKE US ON VIVID JOURNEYS, AND WITH THIS STYLE OF NOISE 
THAT IS USUALLY THE GOAL. MISSION ACCOMPLISHED GUYS. PICK THIS ONE
UP IF YOU WANT SOMETHING TO LIGHT UP AND DRIFT AWAY TO...OR IF YOU 
ARE A SOBER DUDE LIKE ME, THEN JUST DROP THE NEEDLE AND ENJOY THE
RIDE:

7/10
-ABATTOIR-

www.loveearthmusic.com
www.actuarysound.com

REVIEW - THE BLACK SCORPIO UNDERGROUND/DEMONOLOGISTS - SPLIT - 7-INCH

THE BLACK SCORPIO UNDERGROUND/DEMONOLOGISTS - SPLIT - 7-INCH
PETITE SOLES/PS73
BLACK NOISE/HARSH NOISE/BLACK INDUSTRIAL
COMES IN A PLASTIC SLEEVE WITH FOLD OUT
INSERT. ON BLACK VINYL WITH STICKER LABELS.


SIDE A.) THE BLACK SCORPIO UNDERGROUND

I.) STILLBORN:
Two projects. Two tracks. One from each. THE BLACK SCORPIO UNDERGROUND gets
things going on this one with "Stillborn." Harsh noise blares out of the 
speakers over depressive Black Ambiance that blasts like freezing winds
through a long, darkened tunnel. A cacophony of shifting and sliding 
rubble forms a myriad of patterns in the background as rabid blackened
vocals spew out from toxic pipes. This dude sounds like a wild fucking
animal with something to prove. Samples concerning religion and destruction
are layered over severely harsh and corrosive textures as deeply dark and
emotional ambient strings stir and drift throughout the duration of the
piece. The track ends with this as well as Death Industrial style 
percussive elements which are utilized to add an ominous vibe to
the last few moments.

SIDE B.) DEMONOLOGISTS

II.) LEATHER WINGS:
The sense of impending doom that THE BLACK SCORPIO UNDERGROUND left us
with was pretty appropriate considering that this lead us into the aural
dread of DEMONOLOGISTS. "Leather Wings" Bursts into the room in a chaotic
display of immensely harsh noise. Like a storm of malignant spirits howling
from the blackest pits of the abyss at once. It's hard to tell for sure but
at moments it sounds like wailing lead guitars are buried in the mix. Scorched
vocals and merciless feedback sill out over heavy electronic drones. About midway
through, things die down into a barren field of sound. Pure Death Ambient filled
with the sounds of chewing mandibles and scratching carrion until a buildup of
bizarre, whining noise takes us into a passage of pitch black, raspy screams and
commanding shouts as if DEMONOLOGISTS are in the throes of ritual. Whatever is
being conjured up here...It's a safe bet that it will disembowel anything in
sight without giving it a second thought. Harsh high end noise screeches in
a twisting funnel cloud that spires into the heavens until it rains blood and
gore.

A FANTASTIC 7-INCH. THE TYPE OF PAIRING THAT FANS OF EXTREME UNDERGROUND
MUSIC DAYDREAM ABOUT:

8/10
-ABATTOIR-

www.petitesoles.blogspot.com/

Saturday, January 9, 2016

REVIEW - ANALFABETISM - AV HJORD AR DU KOMMEN - CD

ANALFABETISM - AV HJORD AR DU KOMMEN - CD
MALIGNANT RECORDS/TUMORCD90
DEATH INDUSTRIAL/HARSH NOISE/ISOLATIONIST SOUNDSCAPES
COMES IN A SIX PANEL DIGI-PACK.


If any of you have ever played Metal Gear Solid on the
original Playstation, Then I am sure you will remember
the intro stage where you find yourself in a military
base in the middle of nowhere. Heavily guarded and 
shrouded in the extreme cold of winter. A Hostile,
Unwelcoming, Forboding, Damp, Metallic Hell for
someone who doesn't belong there. This album captures
that type of atmosphere in grim clarity. This is the
second ANALFABETISM full length and the second time
around things are somehow even bleaker and more hopeless
than the previous release. If you've ever wondered what
it would be like to be in the belly of the beast in a
foreign land during the harshest conditions...Here is
your ticket...Strap in, It's gonna be Hell.

I.) HUNDAR:
Uninteligible words repeat through crisp distortion over resonating sub-bass drones
and harsh, but bearable rhythms. Sub-teranean churning like boulders slowly rolling
out of the mouth of a cave like earthen vomit. Static hisses as obscured lines
are recited in the hazy distance. Powerful synths hum and moan as the rhythmic noise
elements grow restless and more agitated. The track behaves like a slow moving river
of sludge that drifts aimlessly swallowing anything in it's path. The vocals/samples
have a hostel and emotionless quality to them that makes you feel like you are at
the hands of an uncaring surgeon. An inhuman and bleak soundscape that grows busier
and more reckless with each passing moment.

II.) DEN VAGEN VANDRA:
Slamming Industrial percussive elements and whirring noise like a winter storm
come banging at your door, Knocking it off the hinges and invading your comfort
like a heartless rapist. This one is intense from the very first moment. Windswept
ambient textures lurk in the shadows and bellowing growls spill fourth from the 
darkness beyond sight. Menacing isn't a strong enough word for this one. Sub-drones
pulse like looming shadows dancing in the slow flicker of candle flame. A steady
beat is heard rising on the horizon as static engulfs the atmosphere like low
roaring flame. Extremely heavy on the bass end, but still fairly calm. Quick jabs
of Industrial noise alternate between left and right headphones as haunting drones
ebb and flow. Metallic pounding comes like a battering ram against an iron door
followed by striking and recoiling textures. If you are into stuff like Peter 
Nystrom's work with NEGRU VODA then this is essential listening.

III.) ILLDAD:
"Illdad" comes in on a murky river of filth and debris as well, This time
with more sub-bass and low end movement. Rumbling and quaking like a tremor
growing bolder with time. Electronic pulses clang and echo like telephone
wires in the wind. Smothered vocal samples mimick war time radio transmissions
and almost sound like they are coming from men in radiation suits. The earlier
pulses begin to reach out and explore further. Additional transmissions fill
the air, louder and with a more urgent and serious tone this time. Chains rattle
against large cranks as they are turned to open and close giant metallic doorways.
Tremolo drones mimick the blades of helicopters in flight. The operation is now
in full swing. Teams are sent out on an unknown mission to purge or contain.
Like a collage of sounds depicting the grim aftermath and reality of war.

IV.) PA DINA BARA JAVLA KNAN:
So far the album flows together in a similar fashion. All the standard features
of European Death Industrial and Noise are shining brightly through the rust
and wreckage. Signals fill the air like a warning siren at the medical station
of a militant bass. Red lights and hazmat gear. Something bad is going down
real quick. Various drones mingle and mate like snakes twisting together in
venomous passion. Grimey percussive elements clang and clatter in the background,
Radio chatter fills the air like thick ash and smoke, and then things die down
like an extinguished blaze to let the more hidden elements of the track have a
moment neath the searchlights. Afterwards we are back to a full scale, critical
condition with all the seriousness and danger of an Alcatraz prison break. It's
hard to say what's hiding within the noise and chaos, but it's pretty much a
guarantee that it will kill you given the chance.

V.) TRALDOM:
"Traldom" is a much more calm and dreary piece. Clanging pipes are heard
clashing as stagnant water drips through the dilapidated sub-teranean hallway
of a warehouse that's probably used to stockpile all sorts of hazzardous chemicals
and weapons. Strange noises flutter like the wings of overgrown insects. Sub-bass
ambience drones and drools in a dreamy, comatose manner. Loud, crunching noise and
lashing whips of rippin static are heard forming patterns. Whining feedback cries
out like an injured animal. It sounds like you've walked into an abandoned animal
testing facility filled with various mutated creatures who've been left to run
rampant. A kingdom of scavengers and ravenous abominations.

VI.) I VREDENS TID:
A slow and immense buildup. Drones roll in as static seas splash and fill the air
with an electric mist. Cold ambiance drifts neath forming rhythms and an eerie
stillness surrounds like the calm before a storm at sea. The motion of the track
is similar to a small ship rocking back and fourth as the enclosing waves gain
momentum. Fury grows and violence follows. Additional static bursts spray like
geysers from the deep. The stillness turns to dread as something metallic shifts.
It sounds like the bolt or latch to an iron door of some sort being loosened from
it's stubborn socket. What sounds like razor sharp blades being sharpened upon some
kind of grinder is heard...As if in preperation for lurking beasts...And then all 
fades into a solemn rhythm.

VII.) UNDER HJORDEN:
"Under Hjorden" grinds it's way in on dense sheets of noise filled with scratching
static over heavy metallic industrial beats. Strange strangled mechanical sounds
pose as panicked voices. Feedback and the shriek of metal on metal are added to
the mix. Drones wearily stretch into oblivion. Layer upon layer like dry mud caked
on rust caked on filth over corroded scraps of junk brought to life and compelled
towards crippled, staggering motion. This is one of the best examples of true Industrial
music I have heard in years. Harsh assaults come in rapid fire. Machine gun blasts in
a terrifying display of heavy artillery. ANALFABETISM has saved the ammunition to the
end and is unloading with no fucking mercy. Desperate screams peak until they are lost 
and buried in the sonic violence. The last minute or so takes us into a minimalist
passage composed of dense, seasick loops and quiet electric signals. A fitting end.

ANALFABETISM STRIKE AGAIN WITH A SERIOUSLY STRONG SOPHMORE RELEASE.
A SOLID ALBUM THROUGH AND THROUGH:

8/10
-ABATTOIR-

www.malignantrecords.com