Wednesday, March 30, 2016

REVIEW - SLUICE ROOM - ANTINATALIST VARIATIONS - CD

SLUICE ROOM - ANTINATALIST VARIATIONS - CD
SINK SLOP PROCESSING/SSLOP-002
HARSH NOISE/POWER ELECTRONICS/EXPERIMENTAL NOISE
COMES IN A FOUR PANEL DIGI-PACK WITH BRAIL
INSERT.


I.) HERE'S WHAT I THINK OF YOUR GIFT (PARENTAL HOMICIDE):
This will be the second SLUICE ROOM review I've done. The
first being a mini-cdr featuring two tracks showcasing their
particular brand of longform dense atmospheres. With "Antinatalist
Variations" we have twice as much to drown in. "Here's What I Think
Of Your Gift" takes us into a seven minute sprawl where we experience
a barrage of corrosive static in an extremely lo-fi and hazy onslaught
of sounds and textures that swirl together into an agonizing, Spiraling
vortex. The tones go from almost piercing to oddly soothing as low end
bass drones flow encased in a warm distortion that adds a radiant hum.
Chaotic atmospheres storm over controlled atmospheres adding a strange
and inticing duality to the piece. Scraping and scratching elements
wreak havoc as the drones slowly fade within their frenzy. This ranges
from somewhat minimal to busy but usually stays within one mode for an
extended time frame. The frantic whipping sounds add a sense that a 
traumatic and violent event is in progress...Perhaps the homicide 
mentioned in the title as it plays out in a series of aural slashes,
cuts and stabbings. The closing Passage of the track take us into more 
ominous territory as murky drones glide through a sea of jagged electronic
noises with a glitchy, Digital quality to them.

II.) SECRET EXIT PATH:
Now that the deed has been done we enter into "Secret Exit Path" which
takes us into a strange realm that expands like a surreal nightmare.
Myriad creatures communicate in digital chirps and otherworldy grunts
and moans. There is an odd repitition that pushes us forward into what
sounds like some mechanism of death rolling carelessly into the room
equipped with numourous serrated blades and rusted utensils of harm
and destruction. Steamy bursts form patterns and loop under a loud
assault of dense clawing noise. At around ten and a half minutes, 
This is quite the ordeal to endure. Harmonic high end notes come
surging through the air cloaked in phaser effects pushed to their
limits. Overall this is really raw and abrassive stuff. Probably
not the best thing for someone new to noise as I am sure it would
be a sensory overload if not an all out mindfuck to the uninitiated.
After a while it begins to lull the listener into a state like that
of daydreaming...Or at least it will for someone acustom to this form
of music. It can come across as a blur of nonsense if you're not paying
attention but the sounds and patterns are rewarding when listened to
with a careful ear. 

III.) THE FORCED MEAT GOOSE STEP:
I won't even to attempt to try and get into the title of this one as
I have no clue what they are trying to say here but sonically it is
a blast of pure face melting sound. Long stretched atmospheres roll
in as a static wall of sound. Not HNW type of stuff but rather a mass
of textures blended to create a field of sound as harsh as mixed chemicals
and volitile substances joined together as one. Screaming strands of piercing
noise ring out for quite some time before fading and restarting the process.
Electric energy courses throughout and creates hidden rhythms as what sounds like
amplified recordings of carrion insects stripping a dry husk of a carcass are heard
crunching loudly from a near distance. Windswept movements create tiny dust storms
and give the track a "stranded in a desert wasteland" type of vibe. Powerful pulses
come through chorus/phaser effects and give this suspenseful 1980's type of sound as
well as the sense that disaster is coming soon and we should run for cover. This is
both the longest and probably the most punishing track on the album. Again this is
definitely not the type of project that is likely to serve as a gateway into the
genre for a newcomer. Towards the end everything is an ultra dense mass that eventually
winds down into silence.

IV.) CLOISTRAL CONVALESCENCE:
"Cloistral Concalescence" seems to pick up right where the last track left off.
Brutally abrasive material that is filled with the sounds of moaning motors and
mechanical monsters. Some of the tones present sound like worn out dirt bikes
being pushed as far as possible before they collapse into dust. This album has
a very Post-Apocalyptic, "Stranded in nowhere and trying to survive" sort of
vibe to it as the atmospheres invoked here are hostile and treacherous with 
very few moments of relief. The Harsh Noise equivalent of every element being
against you at once until it eventually ends in madness, Exhaustion, Or starvation.
Grueling is the best word that comes to mind to sum this release up. This final track
seems even more claustrophibic somehow...Or maybe it's just all finally starting to
get to me...Either way this is extremely oppressive and punishing stuff that would
be endured rather than enjoyed for most. It's about at blown out and lo-fi as it
gets and that's saying something in this genre. Rumbling bass quakes split the
ground as hollow winds ring endlessly. It sounds like you are in the center of
a place that is toppling in on itself until all is leveled and left in ruin...
The ruin crushed into dust and the dust compressed into nothingness. Heavy waves
of electric energy rip through and resonate like chants from the abyss. This could
very well be the soundtrack to the undoing of all creation. 

NOT AN EASY LISTEN BY ANY MEANS, BUT A PRETTY SOLID HARSH/EXPERIMENTAL
NOISE ALBUM FROM START TO FINISH:

7/10
-ABATTOIR-

www.sinkslop.com
info@sinkslop.com

Thursday, March 24, 2016

REVIEW - EVERLASTING PUNISHMENT+PLANTATION - CREATION.DESTRUCTION.GENOCIDE. - COLLABORATION - CASSETTE

EVERLASTING PUNISHMENT+PLANTATION - CREATION.DESTRUCTION.GENOCIDE. - COLLABORATION - CASSETTE
VANGUARD PRODUCTIONS
POWER ELECTRONICS/HARSH NOISE
COMES IN A PLASTIC CASE WITH FOLD OUT J-CARD
INSERT. ON TRANSPARENT GREEN CASSETTE WITH STICKERS
ON BOTH SIDES. COMES WITH A VANGUARD PRODUCTIONS STICKER.


SIDE A:

I.) CREATION / II.) DESTRUCTION:
Here we have two artists coming together to create
three soundscapes of varying/building aural destruction.
"Creation" begins our slow ascent to utter annihilation
with a mellow field of electronic surging. I am not 
extremely familiar with either project but I do know
that this is not for everyone since they flirt with
themes of Nationalism and other more "radical" political
views. I personally am taking an objective approach to this
review and describing the music itself. You don't always have
to agree with the message to respect an artists work. Many of
us listen to violent and murderous music all day without being
serial killers ourselves. So...Like I said we start with lo-fi,
Semi-Melodic electronic drones wrapped in a hissing wave of crisp
static. Rhythmic pulses and higher toned frequencies create a nice
lull to escort us into a coming onslaught. Minimal, But with enough
motion to keep things interesting. The various textures blend together
quite nicely and the 90's style Power Electronics quality of the recording
itself is a pretty cool addition. "Destruction" comes as an iron fisted
sucker punch to the jaw and the vocals strike like an additional blow
to the gut. Corrosive distortion is piled over and under layers of heavy
handed experimentation. Knobs are pushed to their limits and filters are
abused til they sound like the death throes of dying machines. The vocals
are harsh and straight forward rasps that bring to mind early recordings
from DEATHPILE or SLOGUN. Pure sonic violence that comes as a crushing
attack on the listener. There is nothing "safe" or in any way politically
correct about this. No mercy, No compromises. Recommended for fans of
SWALLOWING BILE, CONCRETE MASCARA, or any of the other Power Electronics
artists operating under a more raw, Unpolished approach.


SIDE B:

III.) GENOCIDE:
"Genocide" continues where "Destruction" left off. Yet again we are
pulverized under the force of heavy electronics. Grinding avalanches
of distortion buries the listener beneath the rubble it creates. 
Pedals screech and squeal as the vocals continue to hit the themes
present all the way home. The vocals are a little deeper and "rough"
sounding as well as more up front in the mix. A short segment takes
us into a near silent passage populated by low rhythmic sounds similar
to that of a small machine turning in circular motions. After this short
break we head right back into the war zone where we are pummeled into the
dirt by ten tons of audio aggression. Choppy seas of dense force flood
and retreat as feedback takes the lead before doing the same. The vocals
are like the passionate rant of a general ready to do whatever it takes
to carry out their campaign to victory. Militant rage and Industrial 
power in full swing. Towards the end we go into a cool little segment
of experimentation featuring muffled distortion that feels like pressure
caving in on your chest and strange electronic signals that come through
as forced bits of sound. Windswept textures blow over humming machines and
asphyxiated layers as the a single lyrical line is repeated for emphasis
through a voice that comes like a furnace of wrath scorching all in it's
path. The near silent cyclic rhythms from earlier return to finish things
off, Leaving us with a charred landscape of devastation. 

AUDIO WRECKAGE AND ANGER ON A FULL ON ATTACK. GRAB A COPY:

8/10
-ABATTOIR-

www.vanguard-productions.com/

Saturday, March 19, 2016

REVIEW - REGOSPHERE+THE VOMIT ARSONIST - AN INQUIRY CONCERNING THE INDICATIONS OF INSANITY - COLLABORATION - CASSETTE

REGOSPHERE+THE VOMIT ARSONIST - AN INQUIRY CONCERNING THE INDICATIONS OF INSANITY - COLLABORATION - CASSETTE
DUMPSTERSCORE HOME RECORDINGS/DSC115
DEATH INDUSTRIAL/POWER ELECTRONICS/HARSH NOISE
COMES IN A PLASTIC CASE WITH FOLD OUT J-CARD INSERT.
ON YELLOW CASSETTE WITH STICKER ON ONE SIDE.
LIMITED TO 50 HAND NUMBERED COPIES.
REGOSPHERE IS:
ANDREW QUITTER
THE VOMIT ARSONIST IS:
ANDREW GRANT


SIDE A.)

I.) MECHANIZED LOBOTOMY / II.) NURSE, THE SCALPEL PLEASE...:
Two great minds collide and collaborate to bring anxiety
ridden soundscapes inspired by traumatic events that have
taken place in mental asylums behind closed doors for countless
years. "Mechanized Lobotomy" recalls the true life horrors of numberless
unfortunate souls taken into dingy back rooms filled with grim and glistening
tools of the trade and masked men with crazed looks that rival the patients
they are operating on. Windswept textures prepare the way for pulsing and
powerful electronic hums. Melancholic and cinematic string ambiance flows
as Industrial percussive elements and thundering rhythms peak and fade
beneath. Electric pulses flutter and swirl like cigarette smoke within
tormented corridors. The overall atmosphere is one of endless waiting
in a cramped rooms filled with the filth of your own existence and 
traumatizing thoughts too loud to be ignored. Metallic sounds are
heard booming in the distance like the loud movement of the carts
of nurses day in and day out. Routine turning to madness...Madness
an accepted way of life to the point that it becomes normality.
All the sounds employed greatly amplify the mental state and stages
of one isolated and left to their own inner demons. The hauntingly 
titled "Nurse, The Scalpel Please..." follows and takes us further 
down dim and dingy corridors of peeling paint and pale florescent's.
Sheet metal percussion's and whistling winds gliding low over dirty
tile floors. Paranoia and anxious trembling personafied into an
uncomfortable auditory experience. The coldness of such a place
is almost felt as you listen. Screaching metallic sounds and the
clattering of medical equipment are heard as an unseen patient
drags some broken object across the bars of their holding cell.
The sounds of a place haunted by the neverending activity of
immumerable mistreated individuals. Loud ringing rises until
it begins to sound like a drill piercing the skull. With the
operation complete all fades into the rushed sounds of cleanup
and disposal. You are no longer. Only an empty husk remains.

SIDE B.)

III.) THE ASYLUM AS UTOPIA:
Following the previous trauma, "The Asylum As Utopia" explores
another endless wing of moaning patients and hysterical laughter.
Delirium and daily doses of mind numbing medication. Strong and
queasy drones rise and fall in an awesome display of the style
REGOSPHERE is known for. Manic screams laced in distortion and
reverb/delay lash out as hissing steam accompanies their crazed
outbursts. Distant textures consist of similar sounds and blown
out walls of corroded distortion form a secure padding around
the piece. In other words, You are trapped and going nowhere in 
the forseeable future. Where the A side seemed to show off more
of a style attributed to THE VOMIT ARSONIST, It seems that here
REGOSPHERE is at the helm. Warped pulses and wet electronic signals
are sent out like a cry for help...Becoming more an more frantic with
each passing moment until all is a rabid mass. For some of us like 
myself...These soundscapes are a Utopia, A comforting haven to escape
into. An alternate reality...What that says about our mental state could
probably land us in an asylum but it is what it is...Regardless, What
these two artists have managed to conjur up and evoke is fantastic.
The themes of the album are painfully present and inescapable. They
did exactly what they set out to do. An impressive accomplishment.
The album art is similar (if not part of) the art on the split 7
inch these two previously did together which I thought was a cool
touch. By the end of this track you may be quivering in a corner
and ready to be hauled off to the institution yourself. Frightening
and captivating all at once.

AN AWESOME COLLABORATION THAT SHOWCASES THE BEST OF BOTH ARTISTS.
THIS IS A LIMITED RELEASE BUT ESSENTIAL. GET A COPY WHILE YOU CAN:

8/10
-ABATTOIR-

www.dumpsterscore.org

REVIEW - THE VOMIT ARSONIST - YOU WILL NEVER GET WHAT YOU DESERVE - CASSETTE

THE VOMIT ARSONIST - YOU WILL NEVER GET WHAT YOU DESERVE - CASSETTE
DUMPSTERSCORE HOME RECORDINGS/DSC119
DEATH INDUSTRIAL/POWER ELECTRONICS/HARSH NOISE
COMES IN A PLASTIC CASE WITH FOLD OUT J-CARD INSERT.
ON TRANSPARENT CASSETTE WITH PRINTED TEXT/LOGOS ON ONE SIDE.
LIMITED TO 100 HAND NUMBERED COPIES.
THE VOMIT ARSONIST IS:
ANDREW GRANT


SIDE A.)

I.) THE GREAT DISADVANTAGE OF CONSCIOUSNESS:
We begin our fall into one man's madness with a track that
has an eerie title due to it's grim realism. Reality and
life is full of pain and suffering and Andrew Grant AKA
THE VOMIT ARSONIST is someone who seems to know this all
too well. Channeling his frustration, Hate, Pain and personal
torment into his music in such a real and uncompromising way
for over a decade now...It seems like shit only gets worse
with age. "The Great Disadvantage Of Consciousness" takes
us into the realm where ones inner demons dwell, Starting 
with hazy atmospherics and strange inhuman growls and what
sounds like some creature digging and scratching through 
solid dirt. A cloud of voices surrounds as feedback and
windswept textures feed and energize the storm. It sounds
like a barrage of a myriad of negative thoughts hitting
hard all at once during the late hours of the night. The
feedback creates a rhythmic pulse that guides sub-bass
drones onward and outward. Lo-fi and thick walls of
smothering sonic oppression. Vocals come like persistent
negative thought forcing itself slowly to the surface.
Blown out and distorted screams that lash out and recoil
to gather themselves before striking once again. This is
music that sounds like a soundtrack to a mental breakdown
or suicide. Heavy waves of bass crash and retreat in a
process of mental erosion to wear the listener down to
raw nerves and bloodied pulp. The backing music sounds
like field recordings taken from a void of isolation,
depression, despondency and the unavoidable urge to
give up. Hopeless and powerful, If not absolutely
crushing. Storm clouds gather and expand like gluttonous
guts until their bellies burst overhead. Downtuned spoken
samples and minimal Industrial percussive elements are heard
after some time as well as distant high end experimentation
that serves to further themes of frustration and struggle.
To sum things up. This track is a billowing nimbus of black 
emotion.

SIDE B.)

III.) ACCIDENTS HAPPEN:
The hauntingly minimalistic, But honestly titled "Accidents Happen"
Makes up the B side with another exploration into the darker side of
the human experience. No sugar coating, No feelings spared and no 
bullshit. Pummeling metallic rhythms punish and pulverize us into
the ground right from the start. Heavy true Industrial aesthetic.
Electronic drones buzz and hum as the vocals reach around from a
shadowy corner and strike from the depths of darkness. More muffled
and obscured this time around and cloaked neath a heavier helping
of distortion and delay/reverb effects. Oscilating pedal noise
adds movement, flow and texture to an already asphyxiating 
experience. This one sounds twice as pissed off as the track
on the A side and is delivered from start to finish in a "Go
for the throat" style. Towards the end we have slightly quieter
and more subdued segments but they are soon swallowed whole by
powerful electronic drones wrapped in distortion that adds an
awesome overall tone to the piece. Pure electric dread that 
weaves into your sub-conscious and dwells there like a parasite
bent on causing as much discomfort as possible. String ambiance
is added to the end of the piece to invoke further feelings of
despair in a dispondent and emotive display of audio agony. A
strong release with a very strong finish. Andrew Grant's climatic
vocals at the end really drive it all home...Even if that home is
a dilapidated shack serving as a museum to all your past failures.

POSSIBLY THE MOST EMOTIONALLY IMPACTFUL RECORDING THE VOMIT ARSONIST 
HAS RELEASED TO DATE. AN AWESOME DIRECTION TO SEE THE PROJECT HEADING
IN:

9/10
-ABATTOIR-

www.dumpsterscore.org

Wednesday, March 16, 2016

REVIEW - SWALLOWING BILE/LONE WOLF INSURGENT - SPLIT - CASSETTE

SWALLOWING BILE/LONE WOLF INSURGENT - SPLIT - CASSETTE
VANGUARD PRODUCTIONS/VP56
POWER ELECTRONICS/HARSH NOISE
COMES IN A PLASTIC CASE WITH J-CARD
INSERT. ON DARK TRANSPARENT CASSETTE
WITH STICKER LABELS. LIMITED TO 14
COPIES.


SIDE A.) SWALLOWING BILE:

I.) A DECLARATION (VANGUARD MIX):
Here we have two quick strikes from SWALLOWING BILE
and LONE WOLF INSURGENT. Absolute audio war channeled
through an aggressive oldschool Power Electronics attack.
SWALLOWING BILE opens with "A Declaration" where we are tossed
face first into a brutal onslaught of merciless rage. A raw and 
relentless beat-down that begins with pure Harsh Noise that pours
out like the smoke of mass funeral pyres. The vocals are enraged
rasps wrapped in the perfect amount of distortion. The lyrics are
clear and easy to understand and come in a tone that sounds like
SLOGUN but a bit more blackened and spiteful. "How does it feel
to be a fucking target?" and "How does it feel to be in the hot
seat when your ass is about to fry?" Are just a couple examples
of the questions SWALLOWING BILE is asking his adversaries. Things
eventually shift into this strangely lo-fi, Yet blown out passage
where noise is more subdued and the vocals sound like they have
been weaved within the static. Afterwards we are right back where
we started with more overblown anger over smothering and claustrophobic 
soundscapes. Things fade into another segment made up of quiet rumbling
and loose experimentation. Silence followed by one last surprise strike
makes this an excellent offering.

SIDE B.) LONE WOLF INSURGENT:

II.) OUR HEARTS ARE STEELED:
On the other side of the battlefield, LONE WOLF INSURGENT follow
up with another raid against the senses. Here the listener is greeted
by spoken samples of a political speech or perhaps old war time radio 
broadcast that ushers in the coming of further aural atrocity. Low
electronic hums glide over distant rustling Industrial junk percussion's
and grinding sheets of harsh static. Vocals are laid over top and come in
bitter rasps through generous application of distortion and reverb...Although
the lyrics are often clear enough to comprehend. Spoken samples continue in the
background as additional layers of noise similar to that of rolling tank tires
and grinding gears are added to the mix in a clanking mass of squealing and 
screeching sonic violence. Slow and miserable like trudging through the trenches
on blistered feet trapped and swollen within worn and tattered combat boots. Musically
speaking this has a very lo-fi 1990's Power Electronics style and could appeal to fans
of THE GREY WOLVES, FINAL SOLUTION or possibly early GENOCIDE ORGAN. In no way reinventing the wheel but definitely carrying on the 90's tradition and keeping the fire burning.

THE ONLY DOWNSIDES TO THIS RELEASE ARE THAT
IT'S SHORT...OFFERING ONLY ONE TRACK PER ARTIST
(ALTHOUGH BOTH TRACKS ARE STELLAR) AND THAT IT'S
VERY LIMITED. HOPEFULLY A RE-ISSUE HAPPENS. THIS
COULD MAKE A GREAT 7 INCH RELEASE (HINT HINT):

8/10
-ABATTOIR-

www.vanguard-productions.com/ 

Monday, March 7, 2016

REVIEW - ADERLATING - HELL FOLLOWS - CD

ADERLATING - HELL FOLLOWS - CD
MALIGNANT/BLACK PLAGVE - INFECT16
BLACKENED NOISE/DARK AMBIENT/POWER ELECTRONICS/DEATH INDUSTRIAL
COMES IN A FOUR PANEL BLACK DIGI-PACK WITH
ART AND TEXT PRINTED IN SILVER.
ADERLATING IS:
MAURICE (GNAW THEIR TONGUES/CLOAK OF ALTERING/DE MAGIA
VETERUM/IT ONLY GETS WORSE/OPHIUCHUS/PYRIPHLEGETHON/
SEIROM/ETC)
ERIC (MOWLAWNER)


I.) BLACK HEAVEN:
ADERLATING is one of the many long running side projects 
of the mastermind behind GNAW THEIR TONGUES accompanied by 
the man behind the project MOWLAWNER. Both have an impressive 
trail of releases behind them that show off their stunning 
skills of composing utterly bleak and blackened soundscapes. 
With "Hell Follows" each track pulls from the pool of darkness 
they have created in the past and offers up a unique and razor 
sharp listening experience. This is a great place to start for 
anyone new to the project as it showcases much of what they are 
best at. Although the release does feel a bit scattered, Overall 
it is a solid album. "Black Heaven" opens the path to the underworld 
and serves as an introduction piece to the record, Taking us into
resonating bass synth, Haunting atmospherics featuring low wailing
winds, Ghastly textures and brooding melodies. Pure horror ambiance
with a bit of a 1970's Italian Horror score flair. Lead notes float
like wandering wraiths through wet effects. Spoken samples add to
the whole Horror score vibe as chilling omens are spoken in a grim
manner. These echo and take us into "Golden Streams."

II.) GOLDEN STREAMS:
Industrial percussion's slowly come under waves of thick synth ambiance
as experimental signals wander aimlessly through the air. Heavy and oppressive
atmospheres weigh us down as deep and clean operatic vocals sing a melancholic
lament. It sort of sounds like an Industrial version of URFAUST with stronger 
production. Slightly reminiscent of NDE as well at times. The percussive elements
have a very professional and cinematic quality to them as does the rest of the piece.
Things eventually wind down into a stunningly beautiful segment of cascading dark
ambiance. Lush but full of sorrow. Extremely emotive and moving music that reminds
me of LEVIATHAN/LURKER OF CHALICE during the most heart wrenching of moments. Truly
beautiful and captivating work on a grand scale. Hollow choirs sing as a waterfall
of crystalline tones rushes towards the cold emptiness bellow. Words simply don't
do this justice. By far one of the strongest tracks ADERLATING has done so far.

III.) FROM THE MOUTH OF GODS:
This one starts up with more of a Power Electronics vibe. Humming/buzzing drones
phase in and out under loose electronics. Blackened, But almost spoken vocals come
through some truly unique distortion effects and sound like a transmission being 
sent through a Post-Apocalyptic wasteland...Reaching nobody but carrion and cadavers.
Beeping pulses accompany the grim speech as static textures and stalling engines form
a platform on which to deliver inverted sermons. Distant ambient coldness comes and goes
as ADERLATING become bolder with their experimentation. Sampled gasps and death rattles
are heard as the tone in the vocals becomes a desperate plea. Harsh waves create a corroded
symphony of electric sickness. Oscilating sub-bass movements course through treacherous fields
of jagged distortion as high end pulses strike in needle pricks of audio agony. Dangerous stuff.
A sonic hazard zone. 

IV.) CHOIR OF SICK CHILDREN:
"Choir Of Sick Children" builds on uneasy ambiance and the fevered howls, moans and wails
of the sick forced through diseases effects. A choir of agony. The sounds of mutltiple slow
and painful deaths over empty isolationist ambient. A myriad of crying and screaming children
breaks out. Their mothers pant and cry in anguish as countless black spirits flock to their
bedsides. There is a slight STEEL HOOK PROSTHESIS style slant to this one...Or at least it
can be compared to their quieter and more disturbing soundscapes. Operatic vocals come like
messengers and escorts of death to usher a massive influx of dead children unto the shores
of the other side. Windswept textures enhance the chill in the air as muffled bass tones and
strange swarming noises signal the time of death. 

V.) CURSE:
"Curse" arrives on distorted Industrial rhythms that remind me of a lot of 
TREPANERINGSRITUALEN's work. The vocals too utilize similar effects, But not 
to the point of sounding like a clone. This is still obviously ADERLATING but
quite a departure from their usual style. Low hums and rumbling sounds are
heard along with choked textures and obscured samples. The vocals are spoken
in misery and restlessness. Secondary rhythms and then some are employed as
bells ring and the vocals become more frantic and chaotic. Horrid moans and
inhuman bellows fill the air as all becomes a cacophonous mass of suffering
and writhing madness. A very interesting direction to hear ADERLATING go in.

VI.) ALWAYS BURNING:
Muffled rhythms glitch and reform. Clean chants surround as a croaking voice
that sounds like the sinister creaking of a fresh noose upon a splintered gallow
pole arrives and sends chills deep into your bones. How a human being can sound 
like such an inhuman entity is beyond me. Rumbling rivers of bass and filth flow 
and quake beneath as delayed/reverbed atmospheres form like cold fog on a dead 
winter night. The vocals are layered and start to sound like a coven of witches 
and warlocks meeting in secret to cast black spells and bitter curses. This is not 
the type of music an average person would listen to. I am sure this would scare 
the living shit out of most people to be honest. Dark, Minimal and absolutely 
terrifying. 

VII.) HELL FOLLOWS:
Title track "Hell Follows" begins with some of the most uncomfortable ambiance I've
ever heard. The tones utilized are disturbing and cause one to feel like they are 
being monitored by invisible and unwelcome guests. The vocals are sickening, low
croaks that sound like one possessed by the most malevolent of spirits. It just
feels like this track was designed to summon and conjure unnamed things that only
wish to cause you harm. Music that feeds on the listener, Wears down their sanity
and shatters their comfort. Distant operatic voices come in cold ghostly segments.
Downtuned, Distorted daemonic voices gather and come through multiple filters.
Charred percussive elements form ashen rhythms as smoke of burning flesh and
incense forms a vortex around you to strip away any ease or peace you may have
had. Free-form kit-drums play an improv style jam adding to the chaotic whirlwind
around you. This is probably the most intense track on the album. One that starts
slow and eerie and builds into a momentous beast of blackness. 

VIII.) THE HOWLING PYRIPHLEGETHON BELOW:
"PYRIPHLEGETHON" is the name of one of Maurice's other projects as well
a river of fire in Greek mythology that runs parallel to the infamous
river Styx. The Pyriphlegethon (fire-flaming) More often called the 
Phlegethon which means flaming, Is one of the five rivers in the infernal 
regions of the underworld, along with the rivers Styx, Lethe, Cocytus, 
and Acheron. Plato describes it as "A stream of fire, which coils round 
the earth and flows into the depths of Tartarus." So if the track title
is any indication of what we are in for...I think it's safe to say it
will be Hell. Unsettling and wavering synth signals are sent out over
thick sub-bass streams as dark sulfurous ambiance gathers. Ritual bells
chime as we receive visions of boiling blood and brimstone. Vocal chants
fill the air with cryptic and hidden messages...Hovering above like smoke
from incense. The track is tense and comes with an urgent sense of impending
misfortune. Strong powers channeled through a veil electronic witchery. The
underlying drones are immense and add many circles of depth. Towards the end
things wind down and become quieter and much more still. Ritual percussive elements
add even more of an occult tinge as we descend further and further until all falls 
into deathlike silence.

IX.) THE SILVER DOMAIN:
"The Silver Domain" is similar to "Golden Streams" and is another favorite
of mine on the record. Calm storms of billowing density roar under multiple
synth vocal choirs. Fragile crystal chimes glisten and vibrate as mid-tempo
electronic drums plod on as if on a slow trek in shame and exile. Spoken
samples glide over rich synth strings. Violins add warm and mournful tones
that amplify the emotions added by the spoken passages. Epic and poetic
sorrow and beauty in passionate but careful intercourse as one. Again this
is very different in comparison to most of ADERLATING's earlier output.
There are elements that add a Shoegaze type of quality to the track, Especially
at the end. It's sort of an abrupt ending that leaves you feeling empty and yearning
for something more...Hell Follows is a strange journey, But one worth taking.

THIS ALBUM SOMEHOW MANAGES TO COME ACROSS AS SCATTERED FRAGMENTS AND A COHESIVE
VISION ALL AT ONCE. DARKNESS, SORROW, BEAUTY AND ANXIETY BLEND TO BRING YOU A
TERRIFYING AND CAPTIVATING LISTENING EXPERIENCE:

8/10
-ABATTOIR-

www.malignantrecords.com

Saturday, March 5, 2016

REVIEW - HEDORAH/MARLEE MATLIN - SPLIT CASSETTE

HEDORAH/MARLEE MATLIN - SPLIT CASSETTE
HAIR ON MY FOOD/HOMF010
BLACKENED NOISE/DOOM METAL/NOISECORE/HARDCORE PUNK/POWER VIOLENCE/NOISE GRIND
COMES IN A PLASTIC CASE WITH FOLD OUT J-CARD INSERT.
ON TRANSPARENT RED CASSETTE WITH STICKER LABELS.
LIMITED TO 100 HAND-NUMBERED COPIES.
INCLUDES LYRICS TO THE MARLEE MATLIN SIDE.
HEDORAH IS:
DAN HALL - GUITARS/DRUM PROGRAMMING/VOCALS
JAMES P. KEELER (WILT) - VOCALS/PEDALS/SYNTH
MARLEE MATLIN IS:
DACK
NICK
BIG SPEN




SIDE A.) HEDORAH:

I.) THE PAIN OF LIFE (PARTS I AND II):
First up is HEDORAH who take their name from the semi-obscure Japanese Kaiju 
film creature of the same name. (Giant monster movies, I.E. Godzilla/Gammera/Etc.)
It's a fitting title as they sound like a slow moving, Monolithic monstrosity. Here
HEDORAH play a hybrid mixture of Doom and Black Metal with elements of Noise music
carefully and craft-fully applied to the mix. "Pain Of Life (Part I)" starts out with
hazy, Windblown atmospheres that lead us into mid-paced Doom Metal featuring heavy
distorted bass riffs and distorted Blackened rasps. Despondent and dismal stuff 
that slowly marches forward in a miserable trek into depressive darkness. Lo-fi
and very "Underground" sounding...In other words it's absolutely grim. Part one
locks into this state and dwells there throughout it's duration. Part two opens
with strange chants and otherworldly ambiance. Clean guitars are layered over
experimental noise textures. Swirling atmospheres spin in the distance like
buzzing mosquitoes on a humid summer night. Feedback and harsh electric jabs
that sound like guitar chords being forcefully shoved into a broken input
are heard as the strange atmospheres grow thicker and louder. It sounds like
the soundtrack to a long lost episode of The Twilight Zone or The Outer Limits
or some more obscure cult classic Horror or monster film. In fact I could see
this working along with one of the more Sci-Fi based Kaiju films of the 1970's.
Droning riffs shake the foundations as a mid-paced drum machine plods on under
heavily reverb/delay treated vocals. Electronic drones and scorched guitar riffs
add to the miasma of gloom until all comes as a slow-motion fog concealing absolute
terror within it's form. Early Industrial style rhythms grind in rough loops somewhere
in the distance adding yet another cool element to the piece. Wailing lead guitars cry
as thunderous booms quake the skies. HEDORAH has come to wreak havoc and create wreckage.
This is a band I've wanted to check out for some time now and I am glad I finally got the
chance to do so. They did not disappoint.

SIDE B.) MARLEE MATLIN:

II.) TOMBSTONE PILEDRIVER/ III.) THE FELLOWSHIP OF THE RING /
IV.) THUGPORN/ V.) MY FIRST WET DREAM WAS ABOUT NOT WELLES' FOOT
BREAKING UP / VI.) AQUAMAN / VII.) THE TWO TOWERS / VIII.) TURTLES
IN TIME (SNES PORT) IX.) CHELSEY 15 / X.) YOU GOT DRUNK LAST WEEKEND?
THAT'S COOL / XI.) THE RETURN OF THE KING / XII.) THE WEST WING:
On the other end we have a bizarre trio called MARLEE MATLIN who are named
after the deaf American actress known for her roles in films such as "Children 
of a Lesser God, Hear No Evil, Excision and a whole lot of other crap I'll never 
watch. Where HEDORAH was more focused and subdued, MARLEE MATLIN are on the total
opposite end of the spectrum, Playing a messy/semi-sloppy mix that blends elements
of Hardcore Punk, Grindcore, Noisecore, Power Violence and all kinds of shit. The 
eleven songs that make up their contribution are a rushed chaotic blur. Some only
being a few seconds long like the track themed around The Lord Of The Rings film
series. Those specific tracks are quick outbursts. Witty one liners that sum up
the films in a comedic outbursts like some of the old tracks S.O.D. used to do.
"Tombstone Piledriver" opens the B side with humorous/raunchy movie samples that
feature Danny Devito and some chick screaming and then we go into a mid-paced stomp.
Quick snare hits bring us into lo-fi Punk Rock chaos. Agressive to an extent and very
energetic stuff. "The Fellowship" builds on a bell/synth intro with a 1980's fantasy/
epic feel and is over in a blink of an eye. "Thugporn" has some gangsta sounding mother
fucking reading a letter about his girl fucking someone else (I think?) and goes into
a quick few moments of snotty/obnoxious Punk fury. "My First Wet Dream" follows in
similar fashion. Raw, Garage band/Jam Session style stuff. We stay in this style 
until "Aquaman" begins with samples of a skit from Family Guy making fun of Aquaman's
abilities as a Super-Hero. The drums are a bit louder on this one it seems and all in
all this track feels a little more focused. Blast beats, Frantic riffs and Throat-Shredding
Hardcore style vocals defend Aquaman's status as the King of the sea until a continuation
of the before samples takes us into the less than ten second bit of audio whiplash that
is "The Two Towers." "Turtles In Time" opens with old Nintendo game soundtrack from one
of the TMNT games and goes into power chords and a straight forward groove. "Chelsey 15"
takes us back to a faster pace and a more Power Violence vibe for a short few seconds
and "You Got Drunk Last Weekened" is pretty similar. "The Return Of The King" finishes
the 5 second trilogy and "The West Wing" opens with what I guess are samples from the
West Wing TV show. Here we have basic riff/rock over solid drumming. Overall MARLEE
MATLIN sounds like a few kids having fun and jamming out and that is good enough for
me. Youthful and messy but with enough skill/composition to make it a good listen.

HEDORAH SIDE IS KILLER/MARLEE MATLIN BRING IT BACK DOWN TO EARTH FOR SOME
LIGHT-HEARTED GOOD TIMES. NOT A BAD TAPE:
7/10
-ABATTOIR-  

haironmyfoodtapes@gmail.com
www.haironmyfood.blogspot.com

Wednesday, March 2, 2016

REVIEW - PAREGORIK - DAYDREAM SERVICES - CASSETTE

PAREGORIK - DAYDREAM SERVICES - CASSETTE
HAIR ON MY FOOD/HOMF016
HARSH NOISE/EXPERIMENTAL NOISE
COMES IN A PLASTIC CASE WITH J-CARD INSERT.
LIMITED TO 48 HAND NUMBERED COPIES.
ON FORREST GREEN CASSETTE WITH METALLIC
SPRAY PAINT OVER ONE SIDE. 


SIDE A.)

I.) EVENING IS THE WAY:
From the raunchy cover art I had a feeling that this was going
to be a pretty dirty sounding noise release, And it is for the
most part. On "Daydream Services" PAREGORIK offer up two tracks
of prostitution themed Harsh Noise. I was sort of expecting this
to be an HNW release but I was wrong about that one. "Evening Is
The Way" comes as a high end attack at first, Featuring pulsing
signals that turn into an arm wrestling match between highs and
lows. Dense blasts of mangled distortion fight with these until
it's all out war. Static textures crunch over choppy blasts and
blown out agression. Somewhat cut-up waves rush in and transform.
Overall this is pretty basic, But solid Harsh Noise. The overall
production is lo-fi and filthy but not to the point that the sounds
are lost. Balance is key with Harsh Noise and PAREGORIK have found
a good mix. Spacey signals blend into more experimental passages 
as sharp feedback slices over sawing rhythms formed via what sounds
like tremolo filters. The overall recording quality has a very 90's
noise feel to it which is cool. There is a lot of movement and many
changes here to keep things interesting and keep the listener engaged.
I am sure this would be a killer live act. PAREGORIK really pushes the
thresholds with his tones but never too far that it is too painful on 
the ears. Tones similar to helicopter blades at varying speeds are 
present throughout the last half of the track and are a great addition. 
The A side ends in sudden silence, And much like a hooker who is good
at her job, It leaves the client quite satisfied.

SIDE B.)

II.) BROKEN MORNING:
Next up we have "Broken Morning" which seems to serve as a Harsh Noise
narrative of the morning after paying a street whore for sex. All the
thrills of bright lights and warm flesh become a dizzying blur of shame, 
Regret, Self disgust and self-disappointment channeled through the aggression
of pure electronic rage. A super sonic kick in your own ass. Murky tones morph
into screams of feedback and collapse in on themselves. Miserable pools of audio
nastiness collect under phased out static that comes in cyclic rhythms like a
pesky little angel on your shoulder taunting you for the depravity of the previous
night of indulgence. Perilous landslides of Harsh Noise sum up the emotional peril
of such behavior as the circular cycles persist. This one is a little denser than
the A side which perfectly mirrors the mood and theme of the piece. It sounds like
you've woken up still spinning from a hang over as you try to put yourself back
together unsuccessfully. I always love it when a Harsh Noise release can tell a
story without words. Whether it's your own interpretation or not has no effect on
it's impact. Wet electronics are heard underneath giving this a sickly, Uncomfortable
quality...In other words a nice touch. Like sewage slowly circling the drain as a 
metaphor for the way your life is going. Fucked up music for fucked up people. If
you weren't damaged before listening to this you probably will be afterwards at 
least to some degree. Bubbling tones appear and once again all goes silent.

PAREGORIK'S DAYDREAM SERVICES IS A SOLID HARSH NOISE RELEASE.
48 COPIES PRESSED. BE ONE OF THE LUCKY ONES AND GRAB ONE:

7/10
-ABATTOIR-

www.haironmyfood.blogspot.com
www.paregorik.blogspot.com
www.obsedante-et-monotone.blogspot.com

Tuesday, March 1, 2016

REVIEW - GORGONIZED DORKS/ASHTRAY - POST-DRUNK PUMP - SPLIT - CASSETTE

GORGONIZED DORKS/ASHTRAY - POST-DRUNK PUMP - SPLIT - CASSETTE
TRASHFUCK RECORDS/TFRx03
NOISE ROCK/NOISE PUNK/GARAGE ROCK/HARSH NOISE
COMES IN A PLASTIC CASE WITH FOLD OUT J-CARD
INSERT. ON BLACK CASSETTE WITH STICKERS.


SIDE A.) GORGONIZED DORKS:

I.) THE SAINTS WON'T COME TONIGHT / II.) RIGHTWING TURNED REICHWING /
III.) WHY IS IT / IV.) UNTITLED:
GORGONIZED DORKS are a band that switch up their sound from time to
time. With some releases we hear them as a Noisecore/Grindcore act
while others are just Noise in general. They are also known for 
having slight variations of their moniker on their releases. These
guys have a ton of releases under their belt (Well over 100, Mostly 
being splits) so it's hard to say what you are going to get with them 
at any given time. On this particular split release with the equally 
obscure project ASHTRAY, G-DORKS are in a lo-fi Post-Punk/Goth-Rock/
Garage-Rock mode. "The Saints Won't Come Tonight" kicks things off 
by taking us into Surf-Rock style drumming and hazy riffs and bass
that have a gloomy vibe to them. The vocals come as a nasaly sort 
of lazily sung type of style and lay in the middle of the mix. Kind
of like BURNING IMAGE with a bit of a snottier Punk-Rock attitude.
The drums are way upfront in the mix followed by bass and then the
guitars being the quietest. Basically this has a very Demo/Rehearsal
type of sound. The first track is pretty basic and straight forward.
It's rough but I dig it. It sounds like an old worn out relic from
the 90's Goth scene. Something you'd read about in an old xeroxed
zine. "Rightwing Turned Reichwing" cranks up the Punk attitude as
well as the tempo. The vocals are a little louder and come through
a tunnel of light distortion. The bass riffs are particularly cool
here and have an oldschool Deathrock groove while the guitars follow
along under a uniform kick/snare stomp. The singer has this bratty/cocky
overtone that makes this a fun listen. "Why Is It" sounds more buried
and muffled overall. The drums are still upfront but everything else
sounds like it's coming from a room away. The vocals are harsher and
come as barked rasps but the Goth-Rock sound is still intact. Kind of
like a rawer and more primal version of CAPE OF BATS. A pretty dismal
track with some double bass drums and other neat little additions. It
eventually goes into feedback and agonized vocalizations that eventually 
fade into tribal percussion's, Droning guitars/Guitar experimentation
and whispered vocals to bump up the spook factor. This slowly builds 
into an almost Black Metal segment that lingers for a while and becomes
a gloomy funeral march to end the track. "Untitled" is pure noise chaos.
Pick slides, Manic drums, Groaning bass fuckery and deranged vocalizations.
A big sloppy mess that sounds absolutely miserable recorded with the same 
poor production as the rest of the cassette. Here that is an advantage as
it adds to the underground/anti-music/anti-art vibe of the release. Extra
noise elements such as vocal effects and pulsing signals and frequencies 
are utilized from time to time. Fragments of traditional song structures
come and go. Total madness. A big fuck you to the mainstream industry.

SIDE B.) ASHTRAY:

V.) LIVE IN DETROIT 1-19-15 / VI.) UNTITLED II:
On the flip side we have more weirdness from ASHTRAY. "Live In Detroit"
offers up a full set of whatever the fuck you wanna call this. ASHTRAY
play a raunchy/loud/Belligerent and generally fucked up bastardization 
of Outlaw Country music. Total outsider/Weirdo shit. Feedback, Blown out 
bass and drunken ranting is heard as a crowd screams back at the vocalist 
from time to time. Most of the "songs" here are drunken sore-throat shouts 
over a mass of bass and obscured guitars over very muffled drums. It kind 
of sounds like it could be a really rough demo from the band DAUGHTER's early 
days. Crazed screams about a dog running away come in manic repetition. It's 
kinda hard to tell what the fuck is going on at times but it's pretty damn 
entertaining regardless. The vocals are pretty obviously done in a poorly 
mocked/mimicked southern accent. Rants/speeches are heard in between jams 
and they're pretty damn funny to listen to. Basically it sounds like the 
band is feeding the audience complete bullshit stories while their instruments 
buzz and hum loudly. A song about the "Children of the future" is played to an 
excited (Or very intoxicated) crowd. This band is a total joke. That's not an 
insult, It's a description. These dudes do this as a joke and I am sure it'd 
be fucking hilarious to see live. Noise artists destroying hicks through humor. 
I would love to see ASHTRAY go on stage at a Country/Western dive bar. Boot 
scoot to this bitches. Shrill feedback and intense noise takes over as these 
dudes show their true colors. Next up "Untitled II" comes as a blaring wall 
of dense Harsh Noise. Not quite HNW but pretty close in a way. There is a lot 
of shit going on in the midst of the madness...So much that it becomes a blurred
haze. Pure pedal abuse and overly generous amounts of distortion. Rising waves of 
grinding destruction and semi-melodic feedback are heard in the writhing mass of 
sound until it reaches it's peak and ends as something is carelessly thrown across
the room.

A WEIRD, CRAZY ASS MIX THAT SOMEHOW WORKS TOGETHER
FOR BETTER OR FOR WORSE:

6.5/10
-ABATTOIR-

trashfuckrecords.bandcamp.com