Monday, February 29, 2016

REVIEW - PLACENTA LYPOSUCTION - BLEAK/GRIM - CASSETTE

PLACENTA LYPOSUCTION - BLEAK/GRIM - CASSETTE
HAIR ON MY FOOD/HOMF024
HARSH NOISE/HARSH NOISE WALL
COMES IN A PLASTIC CASE WITH J-CARD INSERT.
LIMITED TO 30 HAND NUMBERED COPIES.
ON CLEAR CASSETTE WITH STICKERS ON BOTH
SIDES.



SIDE A.)

I.) BLEAK:
"Bleak" is a good title as well as a fitting
description for this one...And "Grim" is just 
as fitting for the track on the B side. Here
we have a solid slab of scorched HNW that sounds
like an infinite loop of the sounds of tearing flesh,
Crunching mandibles and decomposition. Deep and jagged
stuff that rips apart and ravages the listeners sanity
over an extended period of time. Two words that continually
come to mind while listening to this are "Burnt" and "Charred" 
as the piece has a quality similar to that of a fire slowly
devouring all in it's path. There is nothing here other than
various layers of distortion that form infinite patterns of
audio agony. Hidden rhythms invoke images of mountains of
decay and flesh upon a mass funeral pyre. Denser tones form
a haze of smoke that carries us through what sounds like an
endless field of giant fire ants stripping meat from the bones
of burnt bodies. As far as Harsh Noise Wall goes, This is about
as pure as it gets. This is a long one so get comfortable.


SIDE B.)

II.) GRIM:
"Grim" is just as bleak as "Bleak" was grim. A nihilistic 
vacuum of crackling sound that eats away at you and breaks down 
your will and endurance. The overall composition of the piece is 
very similar to the previous side but a little "extra crispy" this 
time around. There is also a very quiet undercurrent of sound that
could be compared to a silent machine pushing out air. Basically it
sounds like air and popping static pouring out of a massive ventilation 
device. There is a calming lull to this one that wasn't quite as present 
on the previous side. If someone asked me what HNW was this would be one
of the first releases I'd show them. Whether or not they get it or enjoy
it is their problem...But for those of us who do, This is a great tape.
HNW is lost on many people, Myself included at first...I am glad I was
able to wrap my mind around the concept/purpose and appeal of the genre
though because now releases like this are embraced. Sometimes you just
want to sit in total darkness and let raw sound remove you from the world
around you. This is a cassette for those moments.

PURE HNW. BE OBLITERATED:

7/10
-ABATTOIR-

haironmyfood.blogspot.com
soundcloud.com/placenta-lyposuction
placentalyposuction.bandcamp.com

Thursday, February 25, 2016

REVIEW - NATURE BOY - THINGS ARE TAKING PLACE/ISOLATION ORDER - ENDING ON NOTHING - CUT 3 INCH CDR'S

NATURE BOY - THINGS ARE TAKING PLACE - CUT 3 INCH CDR
SERIOUS BUSINESS CDR/SB013
HARSH NOISE WALL/HARSH NOISE
COMES IN A PLASTIC SLIP CASE WITH INSERT.
ON GOLD SPRAY PAINTED 3 INCH CDR WITH CUT EDGES.
BAND NAME/ALBUM TITLE STAMPED ON THE DISC.
LIMITED TO 15 HAND NUMBERED COPIES.
NATURE BOY IS:
HAL HARMON



I.) THINGS ARE TAKING PLACE:
Today I am reviewing two very limited mini cdr's 
released through the Serious Business label, The
first being a project called NATURE BOY that is 
themed around the professional wrestler Ric Flair
AKA "The Nature Boy." It's hard tell if this is a
loving tribute to a childhood idol or merely tongue
in cheek humor, But either way we have a cool little
HNW cd in our hands. "Things Taking Place" opens with
a mandatory Ric Flair sample and stage dives right into
a heavy static beatdown. The wall begins pretty much as 
a standard HNW piece. Oppressive and on the denser side
of the sonic spectrum. Additional layers are piled over
top and once we reach the two minute mark it's a crushing 
mass that feels like it'd weigh a ton if
it could be manifested into a physical slab. Due to
the slight changes it's not pure HNW at least in the
eyes of the purists, But I see no reason to let that
stop you from enjoying it as it is. At a little over 
five minutes in length, It has time to morph into
various aural forms...Each one slightly more immense
than the last. I think if you shoved a handheld field
recorder up Ric Flair's rectum it might sound something
like this. I don't mean that as an insult...Just that
this is a dense writhing mass of gurgling noise. All in
all it's a fun listen for the times when you just want 
Harsh Noise alone.

vasectomyparty.tumblr.com

ISOLATION ORDER - ENDING ON NOTHING - CUT 3 INCH CDR
SERIOUS BUSINESS CDR/SB013
HARSH NOISE WALL/HARSH NOISE
COMES IN A MINI JEWEL CASE WITH INSERT.
ON GREY SPRAY PAINTED 3 INCH CDR WITH CUT EDGES.
BAND NAME/ALBUM TITLE STAMPED ON THE DISC.
LIMITED TO 16 HAND NUMBERED COPIES.
ISOLATION ORDER IS:
DAVID CEREGHINI


I.) ENDING ON NOTHING:
Next up we have ISOLATION ORDER. Once again we
have a single track, This time bordering on the 
six minute mark. No intro, No Lyrics, Just noise. 
"Ending On Nothing is a little more dynamic than 
the other disc. A blown out, Muffled, Harsh and
windswept soundscape featuring roaring tides of
distortion and panned filter abuse. Keeping in
sync with the project and track name this does
have a very "Isolationist" sound to it. Audio
nihilism that sounds like a recording taken in
a storm ravaged, Wind-whipped no man's land.
There is a lot of movement on this piece that
really adds to the feeling that there is a 
natural disaster happening all around you.
I honestly enjoyed this one quite a bit and
would be interested in seeing what else has
been released under this project. Both discs
here offer what they promised to. No games,
Gimmiks or bullshit.Harsh Noise is serious 
business.

THIS IS A PRETTY COOL SERIES OF RELEASES JUDGING
FROM THESE TWO CDR. GREAT COLLECTORS ITEMS WITH
SOME PRETTY COOL SOUNDS AND PACKAGING:

7/10
-ABATTOIR-


seriousbusinesscdr.blogspot.com

REVIEW - COBER ORD - LE REVERS DU SOLEIL - CASSETTE - C50

COBER ORD - LE REVERS DU SOLEIL - CASSETTE - C50
PHAGE TAPES/SATAN'S DIN/TURGID ANIMAL/PT216
BLACK NOISE/RITUAL AMBIENT/OCCULT DRONE/DEATH INDUSTRIAL
COMES IN BLACK CARDBOARD FOLD OUT CASE WITH SCREEN PRINTED ART.
ON GREY CASSETTE WITH PAINTED DESIGN ON THE A SIDE.
LIMITED TO 150 COPIES.
CD VERSION ALSO AVAILABLE THROUGH:
MANTRA SPENTA/SACRAMENT II
COBER ORD IS:
YAN AREXIS (STILLE VOLK/SUS SCROFA)
YANN H (HABSSYL)


SIDE A.)
I.) LE REVERS DU SOLEIL / II.) CIMETIERE CHIMERES /
III.) BRUME:
Side A opens with the shifting and scraping of jagged sheets of
metal. This segment lasts quite some time. Eventually we hear what sounds
like dragging chains and further rustling followed by sparse cymbals heard
lightly in the distance. Wavy, Sub-harmonic atmospheres slowly crawl into
the room. Hostile growls are heard as well as quieter inhuman vocalizations.
It sounds like some primordial beast or Daemon asserting dominance over the
lesser of his species. Subterranean ambiance flows as makeshift wind chimes
rattle and queasy chants fill the room with their uneasy atmosphere. The
growling beast seems to become more irritated with each passing moment and
the backing ambiance mirrors it's mood. Things become tenser in a slow motion
sprawl. It sounds like the nightly rambling of a victim (or willing participant)
of Daemonic possession or perhaps like entering the realm where pure evil dwells.
Pained wails ring out as static rises until it is cut off by silence in cyclic
intervals. At times it kind of reminds me of the scenes in the Evil Dead films
where the entity is on the prowl through the woods. Black Metal style rasps come
forced to the point that they become hard coughs. Deep wood percussion's are played
in lazy measures. Crunching and hammering sounds along with percussive shakers.
A barrage of down tuned screams replace these and we fade into silence. The next
piece starts out really similar to the first. Metallic rustling in what sounds
like a dreary, Dim-lit chamber of some sort. Ghastly whispers populate distant
reaches. Quiet electronics buzz and flutter like the spinning blades of the motor
of a small fan. Cavernous ambiance fades in. Ghostly choirs moan as obscured vocals
are heard chanting a strange mantra. Funeral paced drums thunder beneath along with
the vibrations of ceremonial gongs. Sub-sonic pulses come and go through the low end.
Bass guitars are heard in a murky, Miserable tone until all is whispers over haunting
textures. Things pick up one last time giving this side a pretty strong finish.

SIDE B.)
IV.) FORET V CATHEDRALE GLAS I / V.) LE MEME ARBRE SE REPETE / 
VI.) DANSE PIERRE / VII.) SORTIARIUS / VIII.) METEMPSUKHOSIS:
The B side features shorter tracks beginning with "Foret V Cathedrale
Glas I" which opens with loud metallic percussive elements. 
Sounding like the ritualistic clamor of large pots and pans...
Rusty scrapings over booming metal tinged with bass are heard like 
the preparation of tools for a ceremonial working. Raspy whispers 
are exhaled as a wicked mist filming the air. Vibrating bass tones 
hang, linger and vanish. Cinematic synth ambiance builds, Ebbs, Flows 
and disperses. Minimal ritualism in dreary waves that sounds like a more 
blackened version of something you'd hear from the Aural Hypnox label. 
Low growls penetrate the silence in between throbbing rhythms. 
Phrases are croaked in voices of gravel and the metallic clanging become 
painfully loud. Horrendous shrieks inject the atmosphere with pure terror 
as glitchy noise adds to the building suspense. This is some of the darkest 
stuff I've heard in some time and that is really saying something. Dense assaults
come in intervals. Little cacophonies of dread and trauma. The percussive
elements take on an almost orchestral meets free-jazz quality to them as
tension builds to nearly unbearable thresholds. It sounds like a WOLVSERPENT
recording that has been completely stripped down to it's rawest form. Pure
primal aggression. The music of cave dwelling lepers writhing in torment 
during the worst phases of the dark ages. Feedback ignites faster tempos
and orcish grunts. A call to war and bloodshed. Squeaking textures mimic
frantic plague rats as they run for cover under the death stomp of armored
feet. Distorted bass coincides with pummeling drums. Utterly ferocious. The
overall sonic violence of this catastrophe reminds me of the first album from
NDE. Militant fury without restraint filtered through a medieval Black Metal
attitude. Electronic pulses contrast the ancient feel of the piece as we go
into martial snare drum patterns over corrosive noise. Secondary drums are
layered over top and then things kick into full gear once again. Vocal wails
are heard over twin tones of feedback. It sounds like COBER ORD are reveling
in their craft. The final track of this side comes as quietly drifting ambiance. 
Booming drum kicks open the path for dismal textures to sweep in and hover above.
Echoing whispers and distant cries of agony are added along with creaking
vocalizations from a dry distant throat. Eerie tones mingle within the
aether. A strange resonance builds slowly and nears climax only to be
cut of by a void of silence.It's honestly hard to tell where one track 
ends and another begins on this so I did my best to describe the forbidden 
darkness contained on this cassette. A great release regardless.

DEFINITELY A BAND I AM GOING TO KEEP AN EYE ON.
DARK AND FILTHY RITUALISTIC AMBIANCE INFUSED WITH
ELEMENTS OF NOISE, DEATH INDUSTRIAL AND BLACK METAL:

8/10
-ABATTOIR-

www.phagetapes.blogspot.com

REVIEW - REGOSPHERE/TEETH ENGRAVED - SPLIT - CASSETTE - C20

REGOSPHERE/TEETH ENGRAVED - SPLIT - CASSETTE - C20
DUMPSTER SCORE/DSC#113
POWER ELECTRONICS/DARK AMBIENT/HARSH NOISE
COMES IN A PLASTIC CASE WITH A FOLD OUT J-CARD 
INSERT INCLUDING LYRICS. ON METALLIC GREY CASSETTE 
WITH PRINTED TEXT AND ARTWORK. LIMITED TO 100 COPIES.


SIDE A.) REGOSPHERE:

I.) PANIC ARCHITECTURE:
This split release features two artists offering up one solid
slab each of dark and despondent Post-Industrial drifting.
REGOSPHERE opens in a demonstration of the trademark "Anxiety
Electronics" sound attached to the moniker. "Panic Architecture"
begins and builds into a paranoia inducing structure. Frome the
first few moments  it is clear that we have entered uncomfortable
and anxious territory. Gleaming drones resonate beneath the muffled
screams of a woman in the throes of terror. Additional ambiance swirls
around us and heavy Power Electronics synths begin to buzz, Cloaked in
crisp distortion. A throbbing undercurrent of bass sets the tempo as
rattling junk forms a loose percussive element. Feedback mimics wailing
lead instrumentation and slaming snares lash out, Almost sounding like
rhythmically looped shotgun blasts. Phased electronic textures arrive
with harsh vocals that come as raspy, distorted screams buried halfway
into the mix. Things have officially turned hostile. Power Electronics
force flexing it's muscles in a dizzying blur of adrenaline. Fight or
flight mode initiated. The atmosphere of panic is captured in grim
clarity and being that I personally suffer from an extreme anxiety
disorder, It is apparent that REGOSPHERE has mastered the craft of
channeling such severe conditions into a sonic pallette. Things wind
down into a surreal, Slow motion dirge that really mirrors the state
one enters during a bad episode. Static builds like signals firing
off through the brain that's shifted into sensory overload and once
again things become an intense and nauseating rush. This takes us
into somber and medittive moments that are soon disrupted by loud,
Echoing vocals until all falls silent.One Hell of an experience. 
Hope you brought your Klonopin.

SIDE B.) TEETH ENGRAVED:

II.) CHARTING THE BARRENS:
Next up we have TEETH ENGRAVED AKA TEETH ENGRAVED WITH THE NAMES 
OF THE DEAD. With "Charting The Barrens" we find them in a different
and perhaps more "refined" form than the dense/lo-fi assaults I am
used to hearing from the project. Here we explore Dark/Death Ambient
territory which truly reflects the title of the track. Widespread or
"Panoramic" synths sprawl out into the emptiness. Melancholic synth
leads peak up above as rumbling and distorted sub-bass textures grow
restless and subside beneath. Windswept atmospherics pan across the
void expanss adding additional depth and substance to an already rich
soundscape. Emotional to the point of beauty. The type of beauty that
can only be found in loss and grief. Synth choirs add a hallow resonance
to the piece that only makes this more sorrowful. Deep bells chime as 
heavy Death Industrial percussion's thud subdued in the distance. Vocals
arrive as distorted, Blackened rasps that echo through the still air like
fragments of painful recollection. The intensity builds as things take a
slightly more grim turn. Electric static buzzes as if in the early stages
of sparking an enormous blaze. The vocals are pained and seem to be filled 
with traces of genuine emotional suffering. This is one of the most traumatic
split releases I've ever heard. It's impact on the listeners emotional state
is nearly unmatched and what TEETH ENGRAVED have on display here is an amazing 
complimentary work to the REGOSPHERE side. Powerful rushes come like white water 
falls pummeling down into a charred, barren field that may have once been home.
In short...This release will wreck you.

HANDS DOWN ONE OF THE STRONGEST SPLIT RELEASES I'VE EVER HEARD:

10/10
-ABATTOIR-

www.dumpsterscore.org

Saturday, February 20, 2016

REVIEW - BLUE - III - KAPPA CRUCIS - CD

BLUE - III - KAPPA CRUCIS - CD
LOVE EARTH MUSIC/LEM-129
HARSH NOISE/EXPERIMENTAL NOISE/POWER ELECTRONICS/RHYTHMIC NOISE
COMES IN A CARDBOARD SLIP-CASE.


I.) KAPPA CRUCIS PARTS 1-99:
It seems this album is themed around a certain star found
within a body of stars. "Kappa Crucis (κ Cru, HD 111973) is 
a star in star cluster  NGC 4755, which is also known as the 
Kappa Crusis Cluster." So I was expecting a long, Drawn out
Space Ambient album divided into 99 varying movements. What
I heard upon listening was much different than what I had in
mind. On "Kappa Crucis," Which is obviously the third album
form the project simply known as BLUE, We have one track that
contains 99 short Harsh Noise pieces. Whether each one is a 
tribute to a different star in the cluster or they form the
tribute as a whole I am not sure. Being that this was my first
experience with the project I could only guess as to what it would
sound like. Much to my suprise, It was a lot more varried and intense
than I thought it would be. Blarring, Dense noise roars as oscillating
pulses rocket towards a distant galaxy. Moaning, Shambling and miserable
tones grind and battle to be heard against each other and then all falls
silent. This was part one of 99. Man we are in for a ride. Each piece behaves
in a similar fashion and sounds like BLUE is attempting to mimic the sounds of
the massive engines of enourmous space crafts. There is a brief pause inbetween
each track to signify when the one ends and the next begins. Some tracks feature
high end atmospheres that come as a dizzying blur. Looped rhythms and strange
textures swirl along with what sounds like buried voices being broadcasted into
space via powerful satellite radios. Cyclic segments begin to bend and curve over
murky soundscapes with dreary overtones. Robotic voices ride cosmic airwaves as
restless pulses shoot back and fourth around them. Some tracks seem to linger
around much longer than others which only last a few seconds. Harsh/Experimental
Noise delivered through a "Get in/Get out" Grindcore aesthetic. Some tracks definitely
stand out more than others, Especially those that feature manic vocals and more free
flowing synth/pedal experimentation. Rocky textures and jagged, disjointed tones make
up many of the smaller pieces. Schitsofrentic outbursts of classic sci-fi style synth
sounds are present on many of the longer pieces. After a while it feels like each track
is taking you to another region of the solar system before bursting through celestial
walls to the next. I do wish certain segments were a little longer but the way this
is presented definitely keeps things interesting. At times we hear waving noise elements
that sound like a tattered flag being violently assaulted by strong winds while at others
things take a more relaxed/dreamy approach. Drones morph into alternative versions of 
theselves, Low end quakes rock the stars from their sockets, Alien life forms send signals
in attempts to communicate with us on our interstellar travels and violent sonic storms threaten
our safety in a pummeling rain of space debris. Filters are pushed to their limits as we set
the controls to distant galaxies and unexplored systems. This is a pretty fun listen once you
really get into it and let it take you where it wants to. Audio exploration at it's finest. An
album that can serve as either background music or an immersive experience depending on your
mindset going in. Machine gun rhythms take you into treacherous battles with hostile inhabitants,
Cosmic snow flurries blind our sight as we embark further in, Rock slides send monolithic structures
down upon us, And we are sucked into the vacuum of sulfuric cyclones that come as a violent vortex.
There is a lot to experience here. Take your protein pills and put your helmet on.

AN INTERESTING EXPERIENCE. FUCK SPACE CAMP. BUY THIS:

7/10
-ABATTOIR-

loveearthmusic.com

REVIEW - SHITNOISE BASTARDS/REDSK - SPLIT - CASSETTE

SHITNOISE BASTARDS/REDSK - SPLIT - CASSETTE
TRASHFUCK RECORDS/TFRx08
GRINDCORE/NOISE PUNK/HARSH NOISE
COMES IN A PLASTIC CASE WITH AN OVERSIZED 
FOLD OUT J-CARD INSERT. ON GUN METAL GREY 
CASSETTE WITH STICKERS.
SHITNOISE BASTARDS IS:
O: STRINGS/NOISE SECTION
H: PERCUSSION/NOISE SECTION
C: VOX/NOISY DISTORTION
REDSK IS: (ON THIS RECORDING)
PATRICK HARSH: VOCALS/HARASSMENT
PATRIC PARIANO: VOCALS/HARASSMENT
WILL OLTER: NOISE/VOCALS/HARASSMENT
JON GONALES: DRUMS/VOCALS


SIDE A.) SHITNOISE BASTARDS:

I.) SON OF CORRUPTOR / II.) CHIEF INSPECTOR SATAN /
III.) CAREFUL WITH THAT MIC / IV.) VIEWS OF VIOLENCE:
So on the A side we have SHITNOISE BASTARDS who play Shit Noise...
Cause they are bastards...No but seriously what they do is closer 
to extremely raw Grindcore. Harsh and relentless stuff that goes
for the throat and takes a bite out of it with jagged teeth. Rapid
fire machine gun drumming and obscured guitars under heavy amounts
of lo-fi static combine and blast off as a dual high/low vocal attack 
comes from  within the monstrous mass. It sounds like it may be male
and female vocals but it's honestly hard to tell. Mid-paced doom breaks
give us time to recollect our wits and then we are pummeled once again
by the reckless, Merciless onslaught that is SHITNOISE BASTARDS. Fans
of UNHOLY GRAVE, SPOONFUL OF VICODIN and raw, Lo-fi aggressive music 
in general should find something they like here. The guitars are a 
muddy mess for the most part but the riffs are still somewhat 
distinguishable. There is a very improvised/jam session quality
to this. Basically a garage band sound but much more relentless
than most bands you'll hear rehearsing while walking down the
street. Blistering and chaotic stuff that I am pretty sure is 
all recorded live and in one take. The drummer stays locked
in and delivers high octane ferocity throughout most of the
SNB side of the split. A few tracks take more of an instrumental
approach with sparse vocals that seem to be there for emphasis 
more than anything. The vocals are much more buried on some tracks
while on others they are more upfront and in your face. At times it
gets a bit sloppy but not enough to keep you from enjoying the chaos.
Basically, If you are new to SNB this is as good a place as any to
start. These dudes have an assload of splits out with various Punk,
Grind and Noise artists and you always know what you are getting with
them. If you are into the rawer spetrums of Noise, Grind, Crust or Power 
Violence then this may appeal to you. Loud samples of that "double rainbow"
video that was circulating on the internet for a while are used as an outro,
Bringing side A to an awkward end.

SIDE B.) REDSK:

V.) IDIOT DIPSHIT / VI.) TOO STUPID TO NOTICE /
VII.) SWEET SWEET SCHADENFREUDE / VIII.) SAY IT AGAIN:
On the REDSK side we have another harsh assault that compliments the A
side and keeps things rolling in a similar sonic direction. Here this
comes via a Harsh Noise holocaust. Shrill high end static and eerie
feedback are heard along with cut-up style insanity. Sunday morning
TV sermon samples are mixed in with random pre-recorded/sampled blast
beats that sound like they were recorded by various people on various
drum kits. Static bursts batter us into the ground as warped oscillating
signals rise, fall, swirl and vanish. Deep and distorted bass layers,
junk noise, object abuse, and countless other sounds come at you one
after the next and ransack all in their path. Feedback turns into low
rumbling motors. What sounds like every car alarm on the block going
off in unison is heard at times. Intense electronic noise and broken
drones are heard in between strange segments of uncomfortable lo-fi
ambiance. Noise Grind passages are placed in the midst of all of this
along with spoken samples covering various obscure, cryptic and weird
topics. The whole B side is pretty much a complete mindfuck. About as
raw as it gets for this kind of music. Long stretches of white noise
and live wire, high voltage Harsh Noise are thrown over spastic drumming
in a ferocious mix of aural violence. It's one barrage after the next.
Certain themes are present from time to time giving this chaotic display
a strange undertone of cohesiveness. Ghetto samples bring oldschool Hip-
Hop attitude at the end making this even stranger. As a whole it's a great
match for what SNB did on the flip side.

NO FRILLS HARSH MUSIC FOR ANTI-SOCIAL ASSHOLES, NOISE/GRIND FREAKS AND
ANYONE ELSE THAT WOULD RATHER BE OBLITERATED THAN ENTERTAINED:

7/10
-ABATTOIR-

trashfuckrecords.bandcamp.com
trashfuckrecords.tictail.com

Wednesday, February 17, 2016

REVIEW - THE CROATOAN - ALWAYS DREAMING - CD

THE CROATOAN - ALWAYS DREAMING - CD
LOVE EARTH MUSIC/LEM159
NOISE ROCK/GARAGE ROCK/GRUNGE/LO-FI NOISE
COMES IN A JEWEL CASE WITH INSERT.
THE CROATOAN IS:
STAN W.
KDG
TRACY C.
VIRGIL R-1


I.) 3,OOO:
This is kind of a weird album and one that is a little hard
to categorize within a single genre. THE CROATOAN play fuzzy,
Sludgy and lo-fi Garage Rock with elements of Harsh/Experimental
Noise. Miserable slow jams and harsh experimentation are blended
with distorted dirges and muffled vocals over very minimal drum 
programming that sounds like the standard stock loops and patterns
of an old Casio keyboard. Always Dreaming begins with "3,000" where
we go into basic computer drums that lead into muffled synths through
blown out distortion. Vocals are clean and almost spoken but are very
buried in the mix. Clean guitars offer a melancholic melody that is
pretty nice with a 90's Grunge type of vibe to them. Distorted currents
of synth bass flow beneath aimlessly and add a droning element to the
track. Overall it's pretty straight forward and basic. The drums tend
to annoy me for some reason...Possibly because they sound so effortless
and don't really change at all, But this may appeal to some of you.

II.) DON'T DIE:
"Don't Die" follows in a similar formula. Basic electronic percussive
kits are employed in mid-tempo loop. Low, Rumbling Harsh Noise is laid
over top followed by fuzzy Grunge guitars that are a bit more up-beat
this time, Although I still wouldn't say it sounds happy overall. It's
a pretty straightforward jam session for a while until the drums cut
out and the riffs become doom drones. The vocals here are louder and
distorted. They have a darkly sarcastic quality to them and sort of
remind me of RECTAL HYGIENICS in a strange way. Raspy whispers and
lazy moans over slow riffs and crunching static textures. Pretty 
cool stuff. Reminds me of a band I used to play in during my High
School days. A little more thought out at times, But it has that
sort of spirit to it.

III.) DESTROYED:
Again we start with painfully basic drum patterns, Obscured riffs
and low drones that yawn out endlessly. This time there are additional
percussive patterns that sound like someone banging on a cardboard box
with their bare hands or something like that. However it was made...It
was recorded and sped up (Or at least that's how it sounds) The vocals
come under deep distortion and are sung in a moody tone. Downer rock
for rainy days like today. Power Electronics style experimentation
starts and forms sawing, Buzzing patterns as what sounds like Monotron
filter abuse is added for additional texture. We go into a pretty cool
little break utilizing all of the previously mentioned tactics to create
a slow motion trudge through depression. Definitely one of the coolest
moments on the record.

IV.) THE NEW HARNESSIANS:
"The New Harnessians" is the longest track on the album at a little over
ten minutes in total length. Segments of this track were recorded in a
different location than the rest so I am expecting it to be a little more
diverse that the others so far. It begins with buried drums featuring
crashing cymbals mixed way beneath walls of blown out noise. Deep, quaking
stuff that rattles and shakes any lose objects in the room. Guitars are a 
lot more distorted and come as experimental shredding as bass undercurrents
forcefully push us forward. The vocals are still obscurred spoken passages
and lazily sung fragments that are almost lost in the mix at times. Overall
there is much more Harsh Noise happening here than in previous tracks. Sort
of like a much more angst ridden and angry SONIC YOUTH. Feedback breaks up
powerfull blasts of blown out guitar noise. Rumbling electronic walls of noise
grind and wrestle for dominance within the mix. There are some really weird 
sounds present if you pay close attention. Sharp signals bleed out over the
rest and dissipate making room for additional sonic assaults and audio onslaughts.
The drums are even more minimal than before at times...Not my favorite element of
THE CROATOAN's sound but I can still enjoy this for what it is for the most part.
I almost feel like this would have been a more appropriate song to give the title
"Destroyed" to as it seems more fitting from a musical perspective. All in all it's
a very to the point piece that accomplishes what it is there to do.

V.) HALLOWEEN 1967:
In contrast to the last one, "Halloween 1967" is the shortest piece here at slightly
over two minutes but it is by far one of the Harshest and most punishing songs on
the album. Pure chaos. Every instrument is combined in an overyly distorted and over
blown mass of tangled sound. Another one that coulda easily have been called "Destroyed"
for that is exactly what it does to the listening. The high end tones on the static are
almost too loud at times. Harsh patterns battle with powerful bass guitars in a fight to
the death until everything falls into an outro of crisp rhythmic noise. 

VI.) CORNFIELDS:
We return to the standard formula we begun with although this time everything is amped
up and more intense. "Cornfields" excels in building tension. A blurry, disorienting
cyclone of sound twists itself around mid paced drums that slowly stomp out under almost
atonal synths that simply linger under the writhing chaos that spirals around them. Lead
guitars form free form demonstrations of feedback and buzzing under wah pedal type effects.
This one is purely instrumental and stays in the same gear throughout it's duration.

VII.) MEMORIAL:
"Memorial" features spoken to softly and melodically sung vocal poetry that is much more
louder and upfront in the mix compared to all the other tracks featuring vocals. The music
beneath comes as hazy Free-form Desert/Stoner Rock. Lo-Fi Psychedelic style stuff with a lot 
of fuzz. I really wish there was more singing of this style on the album as it sounds very
honest, real and emotional. The type of sound you'd usually only get at a live performance.
Raw and passionate stuff. The guitars are pretty damn cool sounding here and stretch out
over moaning bass waves that peak and drop in slow motion. At times I am reminded of some
of the earlier works from EARTH and similar artists on this one. Definitely a nice way to
end the album.

IF YOU ARE LOOKING FOR SOMETHING A LITTLE DIFFERENT THEN I THINK THIS IS 
WORTH A LISTEN. CERTAIN ELEMENTS MAY TAKE TIME TO GROW ON YOU BUT THERE ARE ENOUGH INTERESTING MOMENTS TO MAKE THIS WORTH GIVING IT A CHANCE. NOT FOR EVERYBODY BUT DEFINITELY FOR SOME:

6.5/10
-ABATTOIR-

loveearthmusic.com

Monday, February 15, 2016

REVIEWS - SHIBALBA - SAMSARA - CD

SHIBALBA - SAMSARA - CD
MALIGNANT RECORDS/TUMORCD91
RITUAL AMBIENT/ESOTERIC SOUNDSCAPES
COMES IN A SIX PANEL DIGI-PACK WITH
EXTENDED LINER NOTES AND BEAUTIFUL
ARTWORK BY: G. ADIS
(WWW.OCCULTICONS.COM)
SHIBALBA IS:
ACHERONTAS V. PRIEST
ALDRA AL-MELEKH
FEMALE CHANTS BY:
APOTOME
DIDJERIDOO/MIXING/PROGRAMMING BY:
NEKELMU ILU


I.) THE MAGICK OF MIRRORS:
SHIBALBA craft dark esoteric soundscapes that range from
haunting transcendant pieces to sub-orchestral occult rituals.
Both beautiful and terrifying depending on where you are in a 
track. Their most recent release on Malignant records titled
"Samsara" may be their best work to date. An immensly powerfull
and emotive album that takes us through five realms of smoke and
shadow. "The Magick Of Mirrors" begins our travels beyond the veil
of modern civilization with beautiful female choir vocals and electronic
bells and chimes. Purifying the air for this sacred work of magick. Deep
synth strings coil underneath like twin serpents as various atmospherics
build and burst in a flood of esoteric energy. Certain tones and textures
are very similar to the work of SKY BURIAL, Although this is much darker
overall. Ambiance is filtered through like sharp beams of light penetrating
to the bottom of a pool of crystal clear water. Minimal use of percussion's
is utilized for effect and impact. Synths swirl like thin clouds of smoke,
Falling slowly upon us as a shower of radiance. Chimes dance like lightning
bugs in a hidden grove. Undisturbed by human life. Heavy tribal percussive
elements build in an intense climb and are very reminiscent of PHELIOS. What
sounds like a dozen chiming clocks is heard ringing through Dark Ambient 
passages that push out air and inhale all else like a massive black hole
in the heart of space. A celebration of the devoid and empty. Ripples 
become tears in the fabric of all you thought you knew as SHIBALBA take
you beyond the mirror and into pure nihilistic negative space.

II.) DHARMA AND ALCHEMY:
"Dharma And Alchemy" opens the second portal and demonstrates how a
grand work of high magick can be achieved through the sheer force of 
sound. Windswept textures sweep us into a wormhole of yawning ambiance.
Male vocal chants are recited as an unknown incantation. A mantra that
is spoken in a grim tone as bells ring through the outer emptiness.
Swirling atmospheres rush and retreat only to begin again. Large gongs
are employed and serve their purpose well. Distant sounds are heard
that sound like the universe itself is shrieking at the realization 
of it's own existence. Their is an atmosphere of seriousness, Grim
and intense, That SHIBALBA refuse to let the listener ignore. You
are not merely listening to this as musical entertainment, But rather
have become the vessel that they are channeling their rituals into.
Much like the magick of alchemy, This will change you from what you
once were to a new entity by the time it's over. One filled with
symbols and signs. A walking omen and emmisary of the cryptic and
arcane. Listening to SHIBALBA is an experience that not only stays
with you, But has an impact on how you perceive all that is around
you. Raspy whispers and rattling bones end this stage in our departure
and we step up to the gates where the oracle awaits.

III.) STELLAR ORACLE:
Brooding ambiance gathers. Deep, restless and surging with the
strength that can only be collected through countless aeons of slumber.
Ancient Deities awaken and begin to wander in the form of dripping tones
and subterranean winds. Again I am reminded of SKY BURIAL but not enough 
for SHIBALBA to come across as a clone of them or anyone else. The oracle
dwells in a cavernous realm populated by curious creatures that peak and
peer as resonating hums and vibrating denseness. Bones are heard as they
are cast, Surely engraved with runes or other symbols of power and incite.
Long chants are bellowed through the delay and reverb of this lightless
cavern. Skin drums are played by unseen hands signal that the oracle has
begun to concentrate on divination of cryptic matters and arcane secrets.
Centuries of knowledge and it's power surge throughout every track on the
album. It is a lot to take in for the neophyte but a rewarding experience
for the experienced master. It's not enough to merely put this on as background
music. SHIBALBA demands your full attention and will accept it as a gift in 
exchange for their secrets. Whether the bargain is struck willingly may or
may not be of any concern to these shadowy masters of sound. Students under
the study of artists like OF EARTH AND SUN, HALO MANASH, or any other artists
on the Aural Hypnox label will find much pleasure here. Hissed whispers demonstrate
the restraint of the serpent and the force it holds within it's coils. We end here
until it strikes out on "Samsara." 

IV.) SAMSARA:
The hissing from before starts this one off. Louder and through gritted teeth.
Inhuman voices sing through the gloomy haze of ambiance that is present...It
lingers like pregnant clouds waiting to be loosed upon the earth. Electronic
textures and echoing chimes move above the shifting sounds of faceless beings
shuffling through piles of broken skulls and fragments of bone. The storm crashes
the gates of the heavens as thundering drums pound like a call to war. Esoteric
warfare. God versus man versus God. The abyss howls and moans as the whispers
persist. Cinematic and climatic at once. Fans of WOLVSERPENT and FUNERARY CALL
should be devouring this. The vocals are obscured and wondrous. Curiosity is
peaked to the point of madness when one begins to wonder what secrets they 
contain. There is much beauty in darkness and here darkness reigns supreme.

V.) NEKYIA:
Nocturnal birds and insects chirp in communication. Speaking of things only nature 
can comprehend. Slow percussion's trudge through a murky swamp of muffled ambiance.
Great bells ring as venomous snakes display their rattles and challenge any who
disturb their territory. The bones of countless dead beings are heard rattling
in the wind like grotesque wind chimes hanging outside of the abode of an ancient
shaman. Disorienting synths bathe all in their eerie glow. Similar to an intro
piece by XASTHUR in tone and composition. At close to fifteen minutes, "Nekyia"
is a treacherous journey through a place that was never meant to be inhabited
by mortal man. Dismal, uneasy music that invokes anxiety and conjurs feelings
of dread and despondency. There is an unshakable feeling that multiple beings
of malevolence are lurking nearby...Watching, waiting...For the perfect moment
to lash out and devour your very life force itself. You can hear creatures growling
in voices of reptilian coldness. To say that this is uncomfortable music is an
understatement. Anyone on the outside walking in to this would be disturbed to
say the least. Depressive and opressive all at once. Malignant is not only a 
fitting label for this release, But a fitting description as well. Pure horror
enthroned.

WITH THEIR MALIGNANT RECORDS DEBUT, SHIBALBA PROVE THAT THEIR ARE
POWERS THAT BE WITHIN THE DARK AMBIENT UNDERGROUND. POWERS THAT
THEY HAVE STIRRED AND HARNESSED TO FULL EFFECT. AN ABSOLUTELY
STUNNING EXPERIENCE. IF YOU ARE NOT IN AWE WHILE LISTENING, 
THEN YOU ARE ALREADY DEAD:

9/10
-ABATTOIR-

acherontasvp9@gmail.com
shibalbahalls.bandcamp.com
m.facebook.com/shibalbahalls
m.facebook.com/zazensounds
www.malignantrecords.com

Wednesday, February 10, 2016

ARTIST FEATURE - BLACK SHEET SERVITUDE


Black Sheet Servitude is an extreme electronics
project from southern California. Formed in 2012
by Abattoir and Necro Doll. B/S/S blend elements
of Blackened Noise, Power Electronics, Harsh Noise,
Death Industrial and Dark Ambient to create what
they refer to as "Torture Electronics." B/S/S Features
brutally perverse and sadistic themes inspired by true
crime and the disturbing world around them. Their releases 
are filled with stark, gritty imagery that is just as grim 
as the music within. All presented as a unique, Raw and filthy 
aural experience.


"Black Sheet Servitude: An amalgam of unnerving, somber sounds, 
tortured male and female vocals, sinister samples, grinding rhythms, 
and screeching electronics. Focusing on the filth and perversion of 
society, Black Sheet will lull you into an illusion of safety with 
haunting, darkened soundscapes that throb like a blackened heartbeat 
before assaulting you with a blast of the band's trademark torture 
electronics. Be forewarned: your journey to the dark side begins 
when you press play." - John E. Roth -


BLACK SHEET SERVITUDE DISCOGRAPHY:

BLACK SHEET SERVITUDE+WHORID - CHAPTERS OF THE DEPRIVED
CASSETTE-C40 - CRUD ARCHIVES 2014
https://crudarchives.bandcamp.com/album/chapters-of-the-deprived

BLACK SHEET SERVITUDE+DEMONOLOGISTS
CASSETTE-C40 - ENEMATA PRODUCTIONS 2014
https://capturethecobra.bandcamp.com/album/demonologists-black-sheet-servitude-split-c30

BLACK SHEET SERVITUDE/RAPE-X - SPLIT -
CASSETTE C20 - P.E. MAFIA 2014
https://pemafia.bandcamp.com/

BLACK SHEET SERVITUDE/PHANTASM NOCTURNES - SPLIT -
CASSETTE - C40 - RELEASE/LABEL PENDING

BLACK SHEET SERVITUDE - YOUR PAIN/MY PLEASURE-FULL LENGTH
CASSETTE-C30 - CRUD ARCHIVES 2015
https://blacksheetservitude.bandcamp.com/album/your-pain-my-pleasure

BLACK SHEET SERVITUDE - HOW DOES IT FEEL TO 
BE WANTED - COMPILATION
DIGITAL DOWNLOAD - SELF RELEASED 2015
https://blacksheetservitude.bandcamp.com/album/how-does-it-feel-to-be-wanted

BLACK SHEET SERVITUDE - DOMESTIC VENGEANCE
- E.P.
DIGITAL DOWNLOAD - SELF RELEASED 2015
https://blacksheetservitude.bandcamp.com/album/domestic-vengeance

BLACK SHEET SERVITUDE - FROM AFFECTION TO AFFLICTION
- E.P.
DIGITAL DOWNLOAD - SELF RELEASED 2015
https://blacksheetservitude.bandcamp.com/album/from-affection-to-affliction

BLACK SHEET SERVITUDE/ODOUR SONOUR -
SPLIT 
PRO CDR - EXABYSS RECORDS 2015
https://exabyssrecords.bandcamp.com/album/black-sheet-servitude-odour-sonour-shades-devouring-shadows-sn033

BLACK SHEET SERVITUDE - MORAL DEBAUCHERY -
FULL LENGTH
PRO CDR - BLACK OAK PRODUCTIONS 2016
https://blacksheetservitude.bandcamp.com/album/moral-debauchery

BLACK SHEET SERVITUDE/BULLSHIT MARKET - 
SPLIT - CASSETTE - C30 - TRASHFUCK
RECORDS 2016
https://blacksheetservitude.bandcamp.com/album/all-the-children-sleep-in-coffins

BLACK SHEET SERVITUDE+SHE WALKS CROOKED -
SUPREME FINAL ECSTASY - COLLABORATION -
CASSETTE - C30
PETITE SOLES - 2016
http://petitesoles.blogspot.com/

For Music, Additional Information, Contact, Go To:
https://www.facebook.com/BlackSheetServitude/

Or Email At:
despondency66@gmail.com

An Interview With The Band And A Playlist Can Be Found
On The Following Webzine:
http://www.thebrvtalist.com/newbrvtalism023/2015/7/24/new-brvtalism-no-023-black-sheet-servitude



Tuesday, February 9, 2016

REVIEW - +DOG+ - THE MISERY OF ENDLESS SUFFERING - CD

+DOG+ - THE MISERY OF ENDLESS SUFFERING - CD
LOVE EARTH MUSIC/LEM162
POWER ELECTRONICS/HARSH NOISE/HARSH AMBIENT/DRONE
COMES IN A FOUR PANEL DIGI-PACK.
+DOG+ IS:
STEVE
BOBBY
LOB
GEORDAN
EDDIE
CHUCK
RON
JACK


I.) A VEIL OF PARANOIA:
What happens when eight dude's get together in a room full of noise gear?
+DOG+ happens! "Veil Of Paranoia" begins our journey through six tracks
of oppresive audio agony that each deliver upon the promise of the album's
title. Immediately after hitting play we are hit by thudding bass currents
and deep panoramic drones that aimlessly expand like a drifter searching
for a place to die. High end signals pulse as if attempting to send a
frantic distress signal and come in pin-prick patterns of electric
intensity. Sheets of groaning bass are wrapped around the piece like
a burial shroud as well as quiet static. Mechanical as well as dread-
ful. Jackhammer patterns chisel and grind at any comfort or sanity
you may have had going into this release. Fans of METHLAB EXPLOSION
and similar projects will particularly like this. A cacophony of
humming motors and rapid pistons. The bass is so thick and heavy
at times that it's absolutely smothering. Every tone and texture
sounds pre-meditated and is executed in excellence. It all comes
together brilliantly which is very impressive for a project with
so many contributing members. Immense and asphyxiating atmospheres
to drown and die in. Stange distorted sounds similar to a large
flag violently flapping in the wind and corrosive harsh distortion
finish this one off. Into the beyond we go.

II.) BEYOND BEYOND:
Plodding sounds and struggling textures shamble on in a miserable
trek. Despair channeled through dense distortion. Semi-harsh noise
cries out in the distance as multiple blaring, heavy walls of sound 
combine and annihilate. Noise that sounds like someone trying to
swallow a microphone ran through distortion is heard coming and
going as it pleases. Overblown sub-bass frequencies roar loudly,
yet obscurred and muffled under the higher tones. Again there is
a very mechanical and motorized rhythm section that operates as
the heart of this beast. Static walls are erected and built upon
as the track progresses. For a project with eight human beings
operating controls +DOG+ sounds much more machine than man. It's
almost as if the intruments are playing the people. Scraping
elements serve as oldschool Industrial style percussion's 
and give this a very "concrete" feel. Towards the end every-
thing has become harsh and uninhabitable. A danger zone full
of hazzards and obstacles that would rip you to shreds if given
the chance. Beware of +DOG+

III.) SILENCED:
"Silenced" is only about half as long as the previous tracks which
were both about eight and a half minutes in length...But, It is the
most aggressive and powerful piece yet. A demonstration in inhuman
might that begins with loud frequencies and high end signals that
sound like the gathered calls of an army of cicadas being weaponized
and pointed in your direction. Ringing feedback and scratchy/buzzing
noise that sounds like the countless wings of a swarm of flies comes
in an eruption of over stimulation. I wouldn't call this chaotic but 
it is certainly one of the heaviest electronic releases I've ever
heard...And that's saying something. Most of the heaviness comes
from the bottom end. Suffocating is the only word I can think of
to accurately describe it.

IV.) EXILE:
"Exile" picks up where "Silenced" left off and comes as a long
expanse of crunching static distortion and ultra heavy electronic
drone. Sounds seem to pan and shift as additional layers appear
and subside. It truly fits the song title as it sounds like you
have entered an inhospitable, barren land where nothing lives
other than lizards and creatures of carrion who've long ago
adapted to bone dry and hostile conditions. Power Electronics
style drones are laid on top of the others that came before.
These ones through perfect amounts of distortion. This is an
album that really flexes it's muscles. So far each track has
been a unique brute displaying it's strength at full force.
This track in particular really shoves you forward and offers
no chance of turning back or seeking shelter. Midway through
it becomes utterly crushing...Not in a way you'd get from
most Harsh Noise or HNW style releases, but more like if 
the heaviest Doom/Drone Metal band you can imagine decided 
to transfer their music into an electronic form.

V.) CLOAK OF HAPPINESS:
Next up, "Cloak Of Happiness" takes us into a little over six
and a half minutes of oblivion. For once the song title is
misleading...Well, At least it would be for most but for a
Noise addicted psychopath like myself, This is Heaven. Cyclic
electronics through some really weird, but awesome sounding
phaser effects come in loops that morph and revert to their
former forms. Oscillating drones and high-pitched chirping
patterns are also present in the mix. All combines into a
maddening attack of repetition. Extremely loud and corroded
distortion hits out of nowhere. Jarring and unexpected like
a brutal car wreck. To be honest it scared the shit out of
me and I almost jumped out of my fucking skin the first 
time I heard it. Harsh Noise jump scares are a thing now
apparently...This transitions into a long form display of
high end sound that borders on irritating but drops off
before it goes that far. Next we go into moody synth
drones that seem like they can't decide which direction
to take. Crisp rhythmic noise comes as spinning wheels
of static and oscillating spacey electronics beep in an
upward climb through the cosmos.

VI.) SUNRISE IN THE WEST:
This one starts off in Harsh Noise Wall territory. Pure 
and punishing. Soon the dynamics come in to piss off the
HNW purists and drag us through scraping, skin peeling
sounds over textures similar to a forest fire roaring
out of control. +DOG+'s music is like a gargantuan
steamroller leveling a major city. All out destruction
that would most likely confuse and terrify any outsider
to the genre if they were to accidently stumble upon it.
This stuff rivals all other artists in the field, both
in terms of composition/arrangement and aural intensity.
Not only does it sound like the sun is rising in the 
West...But it is also scorching everything unfortunate
enough to lay beneath it. A river of molten rock and
lava that flows like Hell fire bursting out of the dam
of the damned in a sloth paced mission of devouring.
Experimental/improv style elements are added as quaking
undercurrents rock the foundations of the senses. Things
end quieter...Like a view of the aftermath. Damage is on
display like a theater of wreckage. The amount of destruction
this album has wrought is staggering to say the least. Earth
shattering stuff from man's best friend.

UNCOMPROMISING AND CRUSHING. NO FAN OF HEAVY ELECTRONIC
MUSIC SHOULD GO WITHOUT THIS. DO YOURSELF A FAVOR AND
LET THIS DESTROY YOU:

10/10
-ABATTOIR-

www.loveearthmusic.com

Monday, February 8, 2016

REVIEW - INFLICTION RATE - PUNKTHRONE - CASSETTE

INFLICTION RATE - PUNKTHRONE - CASSETTE
NOISE CO. 213
HARDCORE PUNK/NOISE PUNK/POWER VIOLENCE/HARSH NOISE
COMES IN A PLASTIC CASE WITH J-CARD INSERT.
ON RED CASSETTE WITH PRINTED BAND LOGO.
COMES WITH OVER SIZED INFLICTION RATE
STICKERS.
INFLICTION RATE IS:
JOE GETSE - VOCALS
DAN KUTSCHE - GUITAR/MONOTRON
MATT MICHUDA - BASS/MONOTRON
JIM POWELL - DRUMS


SIDE A.)
I.) THAT MOMENT / II.) LIFE IS SHIT / III.) LETHARGIC STATES OF AMERICA /
IV.) FROM THE SPOTLIGHT TO OBLITERATION / V.) JUST ANOTHER $LAVE /
VI.) FUCK YOUR INDIVIDUALITY / VII.) FUCK TIL YOU DIE! / VIII.) 40% OFF
YOUR FUCKING SOUL!! / IX.) MEDICATED INTO SUBMISSION / X.) PUNKTHRONE /
XI.) PURE NIHILIST NOISE BULLSHIT (MONOTRON VOLTRON PART I) /
XII.) 40% OFF YOUR FUCKING SOUL!! (UNPLUGGED RADIO HIT VERSION):
INFLICTION RATE play a fast, furious and ultra raw combination of Hardcore
Punk with elements of Power Violence, Grindcore, and Harsh/Experimental
Noise. Punkthrone takes us on a joyride through twelve tracks of reckless
thrashing with a Punk Rock party attitude. Good fucking times listening
to this one. "That Moment" starts things off with drum fills and feedback
that lead into a doomy lo-fi dirge and then we blast off into a grimey 
Power Violence style jam. Raw and filthy as fuck. The guitars are thick
and overly distorted. Almost to the point of giving the tape a "Blown 
Out" sound. The bass is deep and crusty and sounds like just attempting
to play it means you'd be in for a difficult trek through muck and sewage.
Drums are loud and energetic as fuck. These dudes obviously love what they
do...Even if that means they love unleashing blaring hymns of opinionated
disgust for all they see. Vocals are somewhere between Crust Punk and Grind-
core style screams. Raspy and rancid. You can hear the band interacting
in between songs like a bunch of fucking goofballs which really brings
their energy into the room. "Life Is Shit" is a dark and violent track
with ultra fast blast beats and a lot of aggression. Short and furious.
The next track follows in it's footsteps and follows the same basic
formula. Vocals range from blackened croaks to bitter grunts and
fill the air like toxic smog from an industrial chimney. Things
pretty much kick into gear and stay there until "Just Another
$lave" where we start off with a plodding drum intro. This takes
us into a pretty badass Sludge style jam session. Slow and fucking
heavy. Distorted bass and excellent percussive patterns take us into
what may be the fastest and most punishing track yet. Totally relentless
and aggressive Grindcore/Hardcore that makes you want to break everything
in your house (Or whoever's house...Fuck em) And rip your face off and throw 
it down the stairs or some shit. We go into an almost Black Metal style 
interlude that eventually drops us right back into the pit as fast tempos
and scornful vocals kick our asses a little more. Later on there is this
weird ass clean guitar part that is as interesting as it is unexpected.
Sorta like really sloppy and chaotic Latin style shit? I don't fucking
know what to call it but it's cool as shit. Drum, Bass and cowbells or
china cymbals (Not sure which) make a neat little interlude and then
once again we are pulverized once INFLICTION RATE goes back into their
usual blistering madness. "Fuck Your Individuality" or at least I think 
that's what song we are on at this point??? starts off with clattering,
chaotic percussion's and bursts out and kicks more ass. Clean guitars
are utilized once again but this time they take a total Black Metal
approach which is especially apparent in the vocals. Throaty, Raspier
and about as Kvlt/Grim or whatever as you can get. At this point I'm
not even 100% sure what song we are on anymore so I am just gonna tell
you what we've got here. Monotron noise fuckery and long stretched
Hardcore/Power Violence style vocals that sound painful and agonized.
Like old MAN IS THE BASTARD or COLUMN OF HEAVEN if their only noise
gadgets were a monotron delay and possibly one of the other models.
Comedic samples come out of nowhere featuring a pissed off cop arguing 
with some dude at a counter of some fancy ass establishment. The snarky
utterance of "Fuck you officer" is definitely amusing. Rhythmic noise
loops fade into the next track which features some crazy ass transitions,
Clean Latin style guitars, Death growls and hateful screams, Vulgar and
unapologetic lyrics and stellar drumming. The following track is an utter
cacophony. Harsh Noise, buried drumming, muffled/buried vocals and did I
say Harsh Noise? After a while the drums and vocals become a little more
audible in the mix and things end with another Power Violence Noise Freak-
out. Silence and then a random outburst of drums and shit that I am not
sure is even supposed to be on the tape and then that's all folks. 

SIDE B.) 
PROGRAM REPEATS ON BOTH SIDES.

JUST FUCKING BUY A COPY. IF YOU CAN'T ENJOY THIS THEN YOU DON'T
KNOW HOW TO LIVE LIFE:

8/10
-ABATTOIR-

https://noiseco2-13.bandcamp.com/