Saturday, April 23, 2016

REVIEW - DIE ENTWEIHUNG - NEVERENDING TERRORISM - CD

DIE ENTWEIHUNG - NEVERENDING TERRORISM - CD
ZOMBIE RECORDS/ACEPHALE WINTER PRODUCTIONS/ZOMBIE RECORDS ISRAHELL DIVISION/ZRID-CD01
DARK METAL/DOOM METAL/MELODIC METAL
COMES IN A JEWEL CASE WITH SIX PANEL INSERT.
INCLUDES LYRICS. LIMITED TO 500 COPIES.
DIE ENTWEIHUNG IS:
DENIS TERESCHENKO
  

I.) MEGALOMANIA:
"Neverending Terrorism" is DIE ENTWEIHUNG's first release to abandon
the raw Black Metal style that was the primary focus of previous releases.
Solo member Denis Tereschenko even went so far as to abandon his previous
stage name during this rebirth of the project's style. Here we find DIE
ENTWEIHUNG adopting a melodic Dark Metal style. Still raw and unpolished
overall, but still much smoother than previous efforts. Although this style
was present during moments of previous albums, This is the first time it's
been the main focus for the act. "Megalomania" intro's the album with a
cinematic score featuring beautifully hand picked acoustic guitars along
with stunning piano melodies over hauntingly flowing synth strings. The
melody is intoxicating and every instrument is perfectly in tune and in
time. Various movements take place making for a great introductory piece.
A little more "uplifting" at times than what I usually prefer, But with
enough dark and doom-ridden tones weaved within it's passages to make for
an enjoyable track for those more inclined to menacing or depressing themes.

II.) DEATH IS PRIMA DONNA:
Following is a mid-paced guitar based groove. Programmed drums, Lead guitars
that bring to mind early to mid TIAMAT and bass guitars that compliment the
piece without wandering too far from the initial structure. The vocals start
out as deep and rough grunts in a traditional 90's Death/Doom style. Think
early ANATHEMA/PARADISE LOST/DARK TRANQUILITY/KATATONIA/Ect. Clean vocals
are present on the chorus but feel a bit too lazy and uninspired to me...
But this is common with this style of Metal. The lead guitars are just as
excellent as on the previous album I reviewed by DIE ENTWEIHUNG, And at
times perhaps even more skillfully executed. The drum machine programming
sounds a little more refined this time around as well. Soaring leads lift
us up and drop us back off into the pre-chorus/chorus which is pretty badass
and catchy in a good way that you rarely hear from Metal bands these days.
There is a really weird, But awesome synth segment that plays along with
another guitar solo as heavy mid-tempo riffs play on. Some interesting
drum tricks are added to make this a solid track overall. 

III.) 9/11-24/7:
Although the track title here is kind of goofy, It does recall the old
Political commentary tracks of 1980's Thrash Metal bands. The song itself
is similar to the previous one but slightly more menacing and gritty in
tone. There are some badass riffs featured that bring to mind early MERCY-
FUL FATE, GROTESQUE (Pre AT THE GATES) and many other great releases that
most people have long forgotten, So it is truly great to see this style on 
a release that is less than a year old. A synth piano/violin interlude brings
fatigued and miserable atmospheres. Mid paced drums and slow, Melodic lead guitars
take us into a passage that recalls early MY DYING BRIDE and KATATONIA. An excellent
demonstration of the original Dark Metal and Death Doom sounds with close attention
paid to melody, Flow and feeling...Something that a lot of underground music seems
to lack these days. We return to the doom laden MERCYFUL FATE style riffs and once 
again we are headbanging in slow motion. Violins return and add a very Progressive
Metal vibe to the song which I really liked. The synths are not the most high end
in terms of sound or tone but they do the job and show off DIE ENTWEIHUNG's skills
in terms of composition.

IV.) REQUIEM FOR A LIVING:
First era MORTIIS and second era BURZUM style synth flutes open this instrumental
piece. Soon after we are greeted by slow/mid-paced rhythm guitars/Bass/Drums and
beautiful soaring leads. This is definitely my favorite track on the record so far
when it comes to musicianship. The leads are slightly similar to ANATHEMA and the
following rhythm guitar chug is as well. The following leads however are closer to
early KATATONIA demos in their flow and notation. Delay/reverb is utilized without
being used as a method to hide behind. All the settings are crisp and clearly heard.
Many underground Metal bands these days hide behind walls of sound generated from
their effect pedals being cranked up to ten, But Denis Tereschenko possesses the
skill to really shine without needing too much extra help. Once again, Something
that is far too rare in the underground Metal scene nowadays.

V.) LIFELONG SUFFERING:
"Lifelong Suffering" is another instrumental interlude that actually works pretty
well. Typically too many instrumentals one after another can be pushing it, But
this is not really the case here. Finger picked acoustics glide over piano notes
that are both deep and brittle. Resonant and warm tones play along with more 
meditative and Folk oriented cord progressions. The overall feel is sort of similar
to ULVER's acoustic work on their second studio album. Although this is not nearly as
dark sounding as the name suggests, It does send one into a daydream like state
of contemplation which can be just as powerful and effective when exploring such
themes as lifelong suffering and agony. In fact the track comes across as a funerary
ballad or dirge. An audio obituary if you will. Whether it be intended to mourn the
loss of a loved one or a loss of quality and enjoyment of one's own life, Only
Denis Tereschenko can truly know. 

VI.) GOD'S GREEN NAME:
The next two tracks feature a return of vocals. Perfect timing that makes for
great and thematic album pacing. "God's Green Name" is your standard Metal
song about people being fucked up and fucking up the world around them in
the name of greed and religion...So nothing groundbreaking there, But it is
still a pretty solid track regardless. We're still in mid-tempo as we have
been for at least 90% of the album. Not necessarily a bad thing. The guitars
are smooth and almost bluesy on this one. Clean guitars are added and we go
into a doomy, Melodic ballad featuring whispered rasps and chilling cord
progression's. This kicks into heavy melodic Death Doom that is about as
true to the genres sound as you can get. Warm synth string arrangements
joined by emotive leads fill the air with a sorrowful chill that is enhanced
even more when the drums and whispered vocals return. The heavier moments on
this one really remind me a lot of the early days of DARK TRANQUILITY. Early
90's Doom Metal done right. Interesting shifts and changes keep this one going
strong. Probably my favorite track on the album overall. Slow pounding double
bass drums under killer leads, Rich rhythm guitar tone and simple, Yet effective
riffing, Synths in the right places and a steady bass throb, And a little more
diversity vocally all make this one a stand out track. Basically think early
MY DYING BRIDE covered by early DARK TRANQUILITY and you'll have an idea of
what this one sounds like. There is also an interesting synth interlude at
the end of the track that has a bit of an early OPETH sort of sound to it.
All around a great track.

VII.) SMARTHPHONE MAN:
I must admit that the title of this one made me laugh but it is relevant to the
world we live in. Consumerism, Greed and a lack of overall intelligence among
humanity today are the key themes of this record. Thrashy riffs are joined by
a lead melody that is a little too "happy" to my ears. It's not bad, Just a bit
too playful for my taste. Strong vocals and sinister tremolo picking make up for
it though. The drums are particularly well placed on this one. Definitely a toe
tapper. The main/opening riffs are repeated along with choir synths and it makes
for a perfect combination. Moments of this track are twice as fast as most of the
album. Still not Speed Metal by any means but a nice pick up in pace. Epic/Symphonic
moments really shine through here as well as hints of traditional Middle Eastern scales
that glide over crunchy power chords. Elements of traditional Heavy Metal are also present
and the combination of all of the above mentioned is quite stellar. That one riff that bugged
me makes a return that I could do without but hey, That's just me...And it's not something that
should stop one from enjoying a song that is arranged and executed this skillfully. Again we
have moments that tend to have a Progressive Metal quality to them. Especially on the later
half of the track. A strong end wraps this one up and takes us into the finale.

VIII.) SEDATION:
"Sedation" closes things and comes on fragile and beautifully acoustic strings. 
Once again finger picked. This one flows fluidly and has a very 1970's Folk
sound to it. Short but enjoyable. A nice closer for sure.

RECOMMENDED FOR FANS OF EARLY 90'S DEATH/DOOM AND DARK METAL BANDS LIKE: PARADISE LOST/
MY DYING BRIDE/TIAMAT/ANATHEMA/KATATONIA/THE GATHERING/DARK TRANQUILITY/ETC:

7.5/10
-ABATTOIR-

www.acephalewinter.bandcamp.com
www.zombierecords666.bandcamp.com
www.facebook.com/ZombieIsrahell
www.zombirecords.jimdo.com
zombierecords@mail.ru

Also Available in an edition of 20 pieces:
DIE ENTWEIHUNG - NEVERENDING TERRORISM
shirts.  L and XL sizes are available. 



Friday, April 15, 2016

REVIEW - DIE ENTWEIHUNG - THE CAGE - CD

DIE ENTWEIHUNG - THE CAGE - CD
ZOMBIE RECORDS/ISRAHELL DIVISION/ZRID CD02/ZR CD010
RAW/MELODIC BLACK METAL/DOOM METAL/BLACKENED THRASH
COMES IN A JEWEL CASE WITH FOLD OUT BOOKLET
INCLUDING LYRICS.
DIE ENTWEIHUNG IS:
H. ENTWEIHERR


I.) TRAIN TO NOWHERE / II.) THE CAGE / III.) WERE'S THAT LIFE? /
IV.) WORLD RESURRECTION'S SYMPHONY / V.) MARTYRS / VI.) TIME /
VII.) LUGBURZ (SUMMONING COVER) (BONUS TRACK):
The Cage is the sixth album from the one man Metal project DIE ENTWEIHUNG
and apparently the last of his albums to focus on a primarily Black
Metal styled sound. Sole member H. Entweiherr went on to create music
under more of a Dark Metal/Doom Metal banner after this record and even
composed/included dark, brooding and mournfully moody Neo-Classical arrangements
in much of his work. (Some of which is present on this release as well.) This is
a reissue of The Cage and includes a cover of the classic SUMMONING song "Lugburz."
This project is somewhat of an enigma as all of the information available points 
towards this being an Israel based project, However the lyrics are in Russian.
(English translations are included in the insert.) The opener,"Train To Nowhere" 
takes us into a melodic medieval string arrangement with a hint of sorrow that is
very reminiscent of the instrumentals on the early BURZUM records. Rhythm and lead
guitars soon follow along with a healthy bass guitar groove and cold/inhuman programmed
drums. There are some pretty cool pipe organ type keyboards that give this a bit of an
early 90's secondwave Black Metal atmosphere. Similar to GEHENNA at times. Guitar solos
are also included to really amp up the oldschool appeal. There are many breaks and changes
to keep things interesting that also give this a 1980's Thrash edge. Overall it's a pretty
solid intro track. The production is somewhat gritty and lo-fi which I prefer. When Metal
sounds to clean it tends to lose it's fury in my opinion. "The Cage" opens with a sorrowful,
Yet menacing twin guitar segment and quickly heads into a mid-paced Black Metal stomp. The
vocals are a mass of semi distorted/treated rasps and grunts that appear to be layered as
there is a "daemonic" or unearthly quality to them. The main melody throughout the song is
strong and catchy but I wish the guitars had a bit more power to them in terms of tone. The
scales/harmonies used come across like a Blackened rendition of the classic IRON MAIDEN style
with a 90's UK Doom Metal tone emanating from them. Fans of early SATYRICON, GRAVELAND, and other's from the classic camp will surely find something they like. The formula laid out be
artists like DARKTHRONE, EMPEROR and ENSLAVED is present here although DIE ENTWEIHUNG tends to stay around the epic/bombastic side of things. At times this could be classified as Progressive Metal. "Where's That Life" builds on deep bass lines and tremolo picking. Semi-harmonic but a little moodier than the previous tracks. Next it kicks into a slow Death/Doom crawl with soaring lead melodies and heavy rhythm guitars. A low/high vocal combo enhances the style which is similar to early MY DYING BRIDE, PARADISE LOST, THE GATHERING, ANATHEMA, Etc. Elements of Funeral Doom are also included which
make for a great atmosphere. To be honest I haven't heard many albums pull off these styles other than the original innovators, So DIE ENTWEIHUNG did a decent job of carrying on the tradition...Especially being that this is a one man project. In terms of composition this is excellent stuff. Both skill and technicality show off here. The solo work is pretty damn solid too. "World  Resurrection's Symphony" has a bit of a Folk/Viking/Medieval Metal flair to it. The vocals seem kind of overpowering and rushed at times and there are moments that can feel slightly sloppy, But not really enough to make the song suffer too great of a loss. Not my favorite track on the album, But I've definitely heard much worse. There is a simple power chord riff featured that has a cool second wave vibe to it and the distortion is thick and crunchy giving this a nice chunky tone. Once again the solos scream and keep that killer classic Metal style going. More melodic moments are similar to early TIAMAT and KATATONIA, So again the best traditions of Heavy Metal are very much alive in DIE ENTWEIHUNG. Drum fills take us into an early GORGOROTH style groove to finish things off strong. "Martyrs" is another instrumental/interlude that has some cool thrashy moments. I wouldn't call any of this original but the riffs and song writing are all quite excellent. DIE ENTWEIHUNG does shine strongly when it comes to the flow of arrangements, Particularly how well timed and placed the guitar/keyboard segments are and how well they synch up with one another. Synth choirs/flutes are added to enhance the epic/warrior feel of the piece and the guitar solos are great here too. Not too bad. "Time" is the last proper album track and opens on a melancholic piano melody joined by cymbals and a heavy kick drum throb. Spoken vocals bring that gloomy 90's Doom sound back and add a sense of loss, Misery and personal torment. When the rhythm guitars come in it's powerful stuff. Emotive with a nostalgic quality. Symphonic keys, Dark riffs and blackened rasps really make this a badass track. My personal favorite on the album. The lead guitars bring in more of a Funeral Doom sound. This is a track that just gets better as it goes on. Piano/drum interludes send a chill into the air and the following crazed rasps are chilling. Chamber Music elements via synth strings/violins are added as well to enhance the gloom. After a heavy segment we go into a palm muted chug against a backdrop of piano that reminds me of early THEATER OF TRAGEDY. Blast beats and screaming melodies give this one a strong finish. The cover of SUMMONING's "Lugburz" included as a bonus track stays close to the original. Personally, I always prefer covers that stray from the path and offer more of an original take but this is a good rendition regardless. It's well played and sounds like the song it's supposed to be so I guess there isn't anything to complain about. The addition of thunderclaps and heavy storm samples is cool. All in all it's a good version.

OLDSCHOOL BLACK AND DOOM METAL WORSHIP WITH A THRASHY EDGE AT TIMES.
SUPPORT THE UNDERGROUND AND INDEPENDENT LABELS AND CHECK IT OUT:

7/10
-ABATTOIR-

www.facebook.com/Zombieisrahell
wwww.zombierecords666.bandcamp.com

Thursday, April 14, 2016

REVIEW - DDDD - FRUSTRATION MUSIC - CD

DDDD - FRUSTRATION MUSIC - CD
LOVE EARTH MUSIC/LEM-37
HARSH NOISE/EXPERIMENTAL NOISE/POWER ELECTRONICS
PRO PRESSED CDR IN A JEWEL CASE WITH INSERT.


I.) FRUSTRATION MUSIC:
From what I know about this album it seems like it has 
gotten a pretty negative review or two in the past. Though
this is by no means groundbreaking or innovative music...I
do feel that it is a pretty good release given what it is.
DDDD create extremely lo-fi Harsh Noise soundscapes that 
from what the title suggests are supposed to be themed around
frustration. If this is how frustration translates into music
for the artist then that should be enough. Music is all about
expression, Especially Noise music. So this title track takes
us into nearly nine minutes of a miserably self loathing sound-
scape. Spoken samples of a female discussing her own self hatred
are heard as dense claustrophobic sub-bass drones slowly build.
Blown out windswept textures carry in murky bass currents that 
grow into dreary moaning ambiance. Feedback and high end signals
ring in the air like exhausted, Stretched out sighs. This stuff
is heavy on the bottom end and has a sludgey quality to it. The
kind of music that makes it feel like the walls are slowly closing
in around you. Distant scrap metal and junk percussion's are added
giving this an oldschool Industrial clatter. In fact the overall
production quality is similar to early Industrial from the late
70's/early 80's. A good way to sum this up would be to call it
audio escapism. Sounds that carry you off into a blurred daydream
type of state. Neither coming nor going. Thoughtless and drifting.
The drones build but never seem to reach a grand finale or climax
so much as just a growing sense of discomfort. Basically, I think
this accomplishes the purpose it was created for. Channeling frustration
into the void.

II.) REDUNDANT EDIFICE:
"Redundant Edifice" is only a few seconds longer than the previous track
and functions in a similar mode. Again we open with what sounds like very 
lo-fi recordings of wind that sound like it was recorded on some small,
Cheap handheld device. Rising static and ascending synth pedal tones ebb
and flow on an upward slant. Dense noise similar to cascading boulders and
tumbling stones is heard over rumbling distortion layers and steam-like bursts.
There are faint traces of melody as well as semi-distant Experimental Noise
elements. Overall it feels both organic and mechanical. Like recordings taken
at a steel mill in the middle of more natural surroundings. There are feelings
of complacency, Normality, Labor and disaster present throughout. Like being
stuck at a redundant job and working away your life as the world around you
falls apart while nothing you do has any impact on it. So once again I'd say
that DDDD hit the nail on the head when it comes to making music based on
feelings of frustration. 

III.) LOSS AVERSION:
Loss is something nobody can avoid. And if one was to try and avert loss,
They'd be more than frustrated when it finally caught up with them. So
thematically we are still on point here. Sonically speaking, We are given
a nearly fifteen minute track to shamble through. The opening tones are
still locked into the same gear as the previous tracks with the addition
of noise experimentation that sounds like power tools or dentist drills
grinding away. Static textures mimick the sound of debris falling off of
the drill site as very minimalist patterns similar to light footfalls form 
tiny rhythms underneath it all. Cyclic, Metallic sounds are heard like a
cement mixer or some similar device mindlessly performing it's pre-determined
task. Scrap percussion's echo through cavernous delay/reverb effects along with
slicing/cutting sounds that lacerate the empty air. Things grow a little more
cacophonous with each passing moment. Strange swirling sounds begin and morph
into what sounds like a small engine flooding over and over again. Blades audibly
whip the air in circular motions and restless distorted patterns struggle against
themselves. Machines buzz and groan as multiple cyclic segments follow one after
another. Once again there is a very labourous vibe to this. Tired and unwilling
but left with no other choice than to work as the clock ticks along with the hours
left in life. High end pulses ring in a maddening stretch. This only grows louder
and more overbearing by the moment. Wavering drones carry this along as everything
becomes an obscurred cloud of sound. When this ceases you hear all of the backing
tones in crystal clarity. This both disrupts and destroys the little dreamlike
comfort you had attained. Back to the dirt and grime we go. Heavy bass tones with
a metallic twang to them pummel us into the ground to end things off.

IV.) I DON'T CARE THAT YOU DON'T CARE/MASTURBATION #5 A QUICKIE TWO:
"I Don't Care..." is close to thirteen minutes in total length and begins
on whining high end frequencies with a slight rhythm to them. Flooding sub-bass
drones and grinding jackhammer patterns creep up on us as what sounds like rusted
metal wheels screeching against a hard surface is heard in the near distance. If
you listen closely you can make out what sounds like very muffled/obscurred radio
transmissions coming from somewhere close but closed off. Feedback builds into an
unapologetic ringing that attempts to dwell within and deprive you of comfort but
there is a resonating hum that persists and causes this to lull you back into oblivion.
Harsh Noise dreariness takes over and stronger feedback is utilized along with some really
cool spacey electronics and wavy synth pedals. By the nine and a half minute mark, Everything
once again oozes frustration. This track is bleeding misery and fatigue by the time it finishes.
Pure static walls and bass cloaked in very dense and jagged distortion are at the helm until all
winds downward in an avalanche to the finish. Eventually this cuts off abruptly offering nothing
but silence.

FRUSTRATION MUSIC SUMS IT UP BETTER THAN I CAN. 
CHECK IT OUT:

6.5/10
-ABATTOIR-

www.loveearthmusic.com

REVIEW - BOAR/XOME - SPLIT - 12" LP

BOAR/XOME - SPLIT - 12" LP
BREACHING STATIC/BS74
HARSH NOISE/CUT-UP/EXPERIMENTAL ELECTRONICS
COMES IN A SLEEVE/DUST JACKET.
ON BLACK VINYL WITH STICKERS ON
EACH SIDE.
BEAUTIFULLY ILLUSTRATED BY:
JORGE TAPIA


SIDE A.) BOAR:
I.) YOU'RE NO BETTER THAN THE REST /
II.) BODY HOLES / III.) EDIBLE CONCRETE /
IV.) FEELING LIKE YOU USED TO / V.) GOOF OFF /
VI.) KISS ME LIKE YOU MEAN GOODBYE:

BOAR seems to be an ever evolving machine. Each release I've heard
featuring BOAR's work seems to shift into a new gear from the last.
From blistering Harsh Noise to seething Power Electronics to entrancing
Dark Ambient soundscapes. With this 12 inch split, We see BOAR once again
shedding skin and becoming a new creature entirely. On this record BOAR
presents six tracks of masterfully crafted experimentation ranging from
flowing ambiance to Cut-Up Electronic Noise and more. Glitchy outbursts
create a roller coaster ride throughout a myriad of tones and textures. 
"You're No Better Than The Rest" kicks things off with samples of an overcharged 
audience screaming in excitement and anticipation (Or perhaps it's a riot of some 
sort?) Anyways there is a lot of screaming and frantic movement set to a backdrop 
of beautifully tranquil ambiance that glows and resonates. Like music played on glass. 
The vibrations fill the air with a sense of calm that slowly eats away all the stress 
of the opening samples. What follows comes as mid-paced stabs of disjointed noise.
Broken sounds of all sorts that grind in and out. I rarely hear Cut-Up noise that isn't
locked in to light speed so this is pretty cool to hear it with more of a flow (As jagged
as it may be) than just one barrage after the next that is gone before it can be fully
appreciated. "Body Holes" arrives as an outstretched soundscape of sharp noise that
dives headfirst back into Cut-Up/Glitch territory. Jackhammer rhythms appear and distort,
Wavering ambient passages fill space between along with humming Power Electronics style
drones. Hazy Rhythmic Noise takes the lead and resigns to the might of the glitch. There
is a lot to hear on this one and it is all brilliantly arranged and executed. The remaining
tracks are only about half as long a the previous piece but are just as powerful. There is
a lot of sonic strength in this record. "Edible Concrete" sounds like a curb-stomp in progress
with multiple stomps to the back of the head. Another Cut-Up piece that comes as one strike 
after another until the ominous ambient outro that comes to seal your fate. "Feeling Like You
Used To" is a solid Harsh Noise/Power Electronics hybrid that features heavy caustic distortion
moving over oscillating drones as sky rocketing high end tone scream like an independent's day
celebration. "Goof Off" builds on dense clicks and improvised noise that really does sound like
someone goofing off at times...Like when you first un-box a new piece of gear and try it out
without fully mastering it's functions. Not to say this sounds shitty or uninspired, Just a 
little more free-form than the other tracks here. Around midway we go into this nice segment
of vacuous noise the slowly rises until we are hit by annihilating rough noise that comes
like a handful of stone to the face. Finally "Kiss Me Like You Mean Goodbye" closes off the
A side with a final display of Cut-Up aggression. Perhaps the "meanest" sounding track on BOAR's
side. Here we have everything that creates a good Cut-Up piece. Spastic changes, Over-stretched
digital sounding tones, A choir of dying fax machine's reciting their last wills and testaments
and to top things off the track ends with what sounds like a glitch remix of the ambient passage
that we heard at the beginning of the record. One of the most solid contribution's to a split
you'll hear this year.

SIDE B.) XOME:
VII.) PROCYON / VIII.) ANTIPATHY /
IX.) PROCEDURE / X.) SCHEME / XI.) INCREDULOUS /
XII.) MY CHILDHOOD IN UNDER A MINUTE AND A HALF:
On the flip side we have six tracks from XOME which is a project widely 
praised for his intense live performances. Like BOAR, No two Xome releases
are the same. Xome is a master when it comes to intricate pedal abuse and
ferocity, While at the same time knowing when to let you breath before
executing another sonic assault. "Procyon" Opens XOME's side and instantly
shows that XOME has come to unleash gritty, Lo-fi terror upon our ears. This
is pure Harsh Noise experimentation at it's finest. A dizzying array of pedal
tones and rabid effects. Frothing, Bubbling madness featuring a swamp of wet
sounds and harsh textures. Clicking like the mandibles of insects creates an
interesting interlude followed by a Rhythmic Noise attack. At one point you
can hear the man behind the machines groan as if in discomfort, Like the gear
has enslaved him to do it's bidding. It is kind of difficult to tell where one
track ends and another begins but this does nothing to take away from XOME's 
impact. Manipulated voice recordings struggle under a mist of static and raging
distortion. Drone attempt to form but fall into an agitated mass before realizing
their goals. Everything sounds dangerously toxic yet intoxicating. It sounds like
XOME is mimicking Cut-Up Noise but doing so through a standard Harsh Noise approach.
It's hard to put into words but excellent to listen to. Vocal manipulations are once
again employed but this time sounding like an alien language from a 1950's Japanese
Sci-Fi film. Soaring lead notes cry and wail as the pedal abuse continues without
remorse. All I can think while listening to this is "This is your brain on drugs."
This stuff is utterly chaotic. The audio/noise equivalent of a massive pile up on
a busy interstate. Aural wreckage and manic sonic violence conducted and orchestrated
by a man who must be absolutely mad to be in the center of all of this. Every track
sounds like a brutal car crash. Squealing noises act as the peeling of tires and blinding
feedback hits like the initial impact and then we are thrown tumbling through a mangled mess
of massive loudness and sharp shrapnel symphonies. At times it sounds like we are in the
dungeon/workshop of a crazed doctor or scientist. A Frankenstein's monster of music has
come to life as strange devices and test-tubes quake and bubble all around us. A perfect
companion to the BOAR side of the record. One that compliments without becoming a clone.
Dense Lo-fi noise and scraping dungeon textures seem to end the record until we are surprised
by samples of children's toys commercial set to a backdrop of the traumatic screams of terrified
children. A weird way to end it that somehow works.

BOTH ARTISTS HER ARE PACKING AN ARSENAL OF AUDIO AGGRESSION. ONE OF THE BEST
SPLIT RELEASES OF 2016 SO FAR. ABSOLUTELY RECOMMENDED:

9/10
-ABATTOIR-

www.xome.org
www.boarnoise.blogspot.com
www.breachingstatic.blogspot.com

Monday, April 11, 2016

REVIEW - EXTREME CHAFFING - PSORIASIS - CD

EXTREME CHAFFING - PSORIASIS - CD
BUSEY TEETH CDR/BT003
HARSH NOISE/HARSH NOISE WALL
PRO PRESSED CDR IN JEWEL CASE
WITH INSERT. A PART OF THE SKIN
DISEAS SERIES. LIMITED TO 25 HAND
NUMBERED COPIES.
EXTREME CHAFFING IS:
JOE STACHE


I.) GUTTATE PSORIASIS / II.) PUSTULAR PSORIASIS /
III.) DRUG-INDUCED PSORIASIS / IV.) INVERSE PSORIASIS /
V.) PSORIASIS VULGARIS:

Psoriasis from EXTREME CHAFFING is an album that stays
primarily around Harsh Noise Wall territory and offers
up five corrosive noise wall tracks that are as brutal,
punishing and uncomfortable as the horrendous skin condition
the release is themed around. "Guttate Psoriasis" opens up
with caustic blasts of raw, Lo-fi distortion that can't be
anything other than hazzardous to the listeners well being.
Taking an extremely loud, Blown out and Overbearing approach,
EXTREME CHAFFING deliver a scourge of sonic oppression that
is about as far away from easy listening as it gets...Seeming
like an endless churning of aural agony. Don't get me wrong,
None of these "negative" descriptions are to say it's a bad
release...In fact it is one of the stronger HNW style albums
I've heard this year. There does appear to be additional
movement within the frame of the walls that is heard flowing 
slowly like molten lava coursing through a riverbed at a 
downward slant...Blocked by debris, Yet determined to push 
through. "Pustular Psoriasis" is another overwhelming haze
of pedal noise set loose to wreak havok upon it's audience.
Slightly denser than the previous track and with much more
going on within the static at times. Warped signals send a
frantic S.O.S. that is unanswered as a raging downpour of
whitenoise storms with crushing intensity. Groaning currents
of noise plea from somewhere within the mass of sound in a
vacuumous voice until the track bleeds into the next. On
"Drug-Induced Psoriasis" we are yet again pummeled by a
furious and torrential storm of noise. A deadly attack of
tones similar to that of sleet and hailstones. Deep quakes
are heard growling beneath like deep earth splitting vibrations
from the core of the planet. This grows in intensity and density
making for a foundation shaking listen...Pretty heavy material
overall. "Inverse Psoriasis" heads back into a caustic cacophony.
A blizzard like soundscape populated by minimal radio-like signals
that has a very hostile and isolationist atmosphere to it. Like 
being alone to face the elements while against severely dangerous
odds. Imagine field recordings taken on John Carpenter's "The Thing."
Obscured "wet electronics" can be heard giving this track even more
of an "Alien threat" type of vibe which is fitting for an album themed
around diseases ravaging the human body. If Psoriasis feels anywhere 
close to as harsh as this sounds then it must be a living Hell...
Finally we end with "Psoriasis Vulgaris" which sounds utterly
horrible from the title alone. The audio matches this with an
ultra-dense onslaught of heavy distortion. A mangled mass of
deep bass tones wrapped in static and forced through the speakers.
What sounds like jagged shards and metal strips being forcefully
pushed through a grinder of some sort is heard within the destructive
fury. The low end tones grow thicker overtime until it becomes smothering.
Deadly stuff.

PSORIASIS IS BRUTAL...BOTH THE CONDITION AND THE ALBUM:
6.5/10
-Abattoir-

www.extremechaffing.blogspot.com
www.buseyteethcdr.blogspot.com

Saturday, April 9, 2016

REVIEW - WIRES AND RELAYS - SELF TITLED - CD

WIRES AND RELAYS - UNTITLED - CD
BREACHING STATIC/BS71
HARSH NOISE/CUT-UP/EXPERIMENTAL NOISE
PRO-PRESSED CDR COMES IN A JEWEL CASE 
WITH INSERT.


I.) UNTITLED:
I really don't know any additional information
about this artist. This is a rather obscure album
that features a single long-form track that spans
the entirety of the disc. What WIRES AND RELAYS
presents however manages to speak for itself. Here
we have a prime example of the "Cut-Up" sound that
has been popping up more in more in the Harsh Noise
underground circles in the last few years. With so
many labels and artists jumping on this bandwagon lately
it's begun to fall into similar issues that we find with
Harsh Noise Wall. E.G. Countless projects releasing large
quantities of work and saturating the underground. Luckily
WIRES AND RELAYS are on a higher pedal stool of the food 
chain and offer up a quality release that is a perfect record to
use towards initiating newcomers into this specific style
of Harsh Noise. The music successfully mirrors the cover
image which features a treacherous grey scale landscape 
composed of warped and glitched out line work. The track
opens with severely disjointed ruptures of sound. Stretched
and sped up sequences with brief pauses of silence in between.
Harsh outbursts pour out like a chemical spill filling the air
with an overpowering sense of danger. Broken machines war with
one another as low rumbling synths groan under landslides of 
wreckage and blown out avalanches of static and electronic
intensity. Feedback is utilized at a minimal at most times
but knows it's place well. Digital Hardcore/Cybergrind style
tones and signals grind into the forefront and vanish without
a trace. Hissing blasts come like hot white steam rushing towards
your face. High end sounds come at high speeds in relentless attempts
to lacerate the flesh and sever the veins. WIRES AND RELAYS are not
fucking around. When the feedback does hit it screams in a similar manner as 
WHITEWATER ORGASM or even old-school WHITEHOUSE recordings.
Shrill and deadly. The amount of movement and activity on this record
is phenomenal. There is so much going on at any given time that it is
a total overload. It sounds like warehouse full of outdated technology
has been animated and is taking revenge on the world that disposed of
it. On the low end the bass is immense and we often experience rapid
fire machine gun blasts that pummel into our minds with such force that
you can feel it throughout your body. The Harsh Noise equivalent of a
gang war on your street. Object and junk noise is tossed into the mix
to give things even more of an Industrial edge. Looped rhythms and brief
segments on the quieter end of the spectrum keep things interesting and
offer up a very small window to take a breath before the next attack. As
I stated earlier, This is Cut-Up Noise done right.

A SYMPHONY OF HEAVY MACHINERY IN A CACOPHONY OF CHAOS:

8/10
-ABATTOIR-

www.breachingstatic.blogspot.com
www.breachingstatic.bandcamp.com

Tuesday, April 5, 2016

REVIEW - ARVO ZYLO - 333 - CD

ARVO ZYLO - 333 - CD
NO PART OF IT RECORDS
EXPERIMENTAL NOISE/HARSH NOISE/INDUSTRIAL/GLITCH
PRO PRESSED CDR IN A JEWEL CASE WITH INSERT.


I.) QUICKSAND EGGS OF A BEATEN PATHOS:
Even if I hadn't heard ARVO ZYLO's music before (I've heard one
release up until this point) It would be pretty obvious from the
album art that it was going to be a strange experience. The layout
art of 333 looks like a surrealist nightmare featuring images of 
scorched industrial landscapes populated by featherless chickens,
A small brass ensemble, Cars floating among clouds (As well as 
mushroom clouds on the horizon) Angelic statues and castle ruins
and beggars digging through piles of rubble...So yeah we are in
for a crazy trip..."Quicksand Eggs Of A Beaten Pathos" opens the
record and carries along the weird surrealist overtones of the album.
This track is around half an hour long so strap in. Slow throbbing
drum/bass rhythms guide us into creeping and sinister Electro-Industrial
patterns. Harpsichords play along and glitchy, warped synths add a plethora
of strange and unnerving elements. Chaotic pulses and signals fill the air
and then all Hell breaks loose. An all out high end noise fist-fuck quickly
becomes and aural gang-bang. Frantic noise with a very unique sonic quality
is heard over slow booming bass drum kicks. Unnerving to say the least. This
would literally drive someone outside of the noise scene fucking crazy. Even 
the most bizarre Japanoise act could seem relatively calm in comparison to
the insanity that ARVO ZYLO manages to conjure up. Shrill signals drill into
your skull, Rumbling electronic waves vibrate the brain and corrosive static
textures scrape like a dry old sponge across your eyeballs. You can literally
"feel" the sounds inside you at times. After some added percussive blasts we
go into a lo-fi area of audio murk featuring dismal piano playing that sounds
like a Phantom of the Opera type of character playing away in a dark, Dingy
basement in the bowels of a haunted mansion over a backdrop of whirring electronic
experimentation. The piano notes begin to glitch and somehow start to sound even
more ominous. Spacey keyboard notes, Thick bass lines, Every manner of beep and
bloop, Carnival organ grinders, Powerful slamming drum rhythms, Harmony, Melody,
Disharmony and atonal chaos all come, shift and morph. Mid-paced Electro-Doom
passages march on and send us deeper down a spiral staircase of utter madness.
Rhythms within rhythms and patterns within patterns. It is impossible to describe
everything featured here. Bubbling textures, Break-Beat percussion's that sound
like Speedcore in slow motion...Elements of Techno, Ambient, Experimental, Noise,
Industrial, Trance, Acid-Tech, House, And just about every other form of Electronic
music are present. It's really one giant digital head-fuck. Various passages are 
highlighted for extended periods...Some longer than others, But all interesting
to the ears. The quieter and denser segments explore Death Industrial and Harsh
Ambiance until they eventually too fall into experimental territory. At times
we go into fragmented Cyberpunk style synth work and at other's it sounds like
a Nintendo game on LSD. Warped, Wonky Techno parts carry on the drug use aesthetic.
Like I said...It's a trip...And then some. 

II.) DEADBEAT DELUXE:
If you've made it this far, We go into "Deadbeat Deluxe" where we are treated
to: Stop/go patterns that come in loud barrages as Harsh Noise outbursts form
a nice rhythm to accompany them. It sounds like a very broken machine attempted
to start up to no avail until dis-harmonic madness comes in looped segments only
to splinter off into fragmented 90's style underground Techno. Dance-able segments
and thick bass lines come and go as caustic explosions boom in the near distance.
Classic 8-bit video game style synths are tossed into the mix along with various
other synths that come in hazy, Lo-fi and distorted tones. The rhythms formed are
pretty cool and definitely keep it interesting. A lot of this sounds like the crazy
music they play on Adult Swim really late at night in-between shows or similar to those
"Cows and Cows and Cows" videos on YouTube. Other moments take us into pure mechanized Industrial that sounds like heavy pistons and steam powered machines marching across the landscape and pressing everything into a pancake. This eventually slows into scrap metal percussion's over
pure sonic experimentation. The slower pace gives you a chance to collect your wits before we
head into a really cool Nightcore/Techno/DnB/Glitch movement features playful, Cartoon melodies
and a really nice ever-evolving groove to it. Later on this transforms into dense rhythmic noise
that still carries similar patterns although they are rough, muffled and obscured. After a while
it becomes entrancing and right when you are hooked into it's lull we are hit by heavy Industrial
once again which makes for a brief, But awesome ending to the piece.

III.) PLASTHMA:
"Plasthma" starts in a similar place where the last track left off. Humming machines,
Metallic drum loops, Crisp static waves, Thundering sheet metal percussive elements,
Break-Beat/glitch drums...All that good stuff in a really nice blend. Things soon
become more frantic but without abandoning the initial rhythms. Sci-Fi/Space noise
tones come and go and switch and change. Although ARVO ZYLO can be quite busy and
overbearing at times and a complete sensory overload, There are still some really
cool moments for those who are looking for something a little less hectic. This 
last track sounds a lot more "mechanical" it it's madness and really demonstrates
a style that I rarely hear anymore these days. If you are into stuff like IN DEATH
IT SEARCH OF DEATH, BODY SHAME, and similar artists than this is worth checking out.
This track eventually goes into this almost orchestral/symphonic movement with very
doomy/eerie vibes. Cinematic stuff that has a spooky feeling to it. Kinda like an
old 70's or 80's Slasher B-movie soundtrack. The types of chord progression's that
you'd hear on a KING DIAMOND record. The synths used go from campy to haunting and
back again. Early Industrial style drums and slightly distorted lead notes give this
one a solid finish.

ARVO ZYLO ARE IN THEIR OWN GENRE. ONE OF THE MOST UNIQUE PROJECTS IN THE
NOISE SCENE. CHECK EM OUT:

7/10
-ABATTOIR-

www.nopartofit.blogspot.com/

Sunday, April 3, 2016

REVIEW - AUNT'S ANALOG - CHAOTIC RITUAL - CD

AUNT'S ANALOG - CHAOTIC RITUAL - CD
BREACHING STATIC/BS72
HARSH NOISE/EXPERIMENTAL ELECTRONICS
COMES IN A JEWEL CASE WITH INSERT.
AUNT'S ANALOG IS:
MATT LACOMETTE - FEEDBACK/ELECTRONICS


I.) PERCEPTION OUTLET:
AUNT'S ANALOG is a Harsh Noise project that's been doing
some interesting stuff for some time now. On Chaotic Ritual
we hear Matt Lacomette locked in and focused more than ever.
"Perception Outlet" starts us off with dismal drones that expand
and morph into a shrill feedback assault. Lacerating tones shred
the silence from the air along with warped, glitching signals,
Distant blown out static and painfully stretched undercurrents.
This is busy stuff so it is hard to put everything into words
but the mix of sounds is executed in such a way that it really
shows of Lacomette's skills and sense of timing. Violent pulses
come in frantic spells and twist into hazy elongated passages,
Cosmic/Space Noise style transmissions ride interstellar air
waves and we find ourselves on distant planets where organisms
composed of static and electric energy communicate in frightening
bursts of electronic aggression.

II.) PARALYTIC SPELL:
The previous track was pretty much an intro for the coming onslaught.
"Paralytic Spell" picks up right where "Perception Outlet" left off
and hammers down hard right from the start. I am sure AUNT'S ANALOG
must be a Hell of an experience to see live. Keeping true to the album
title we once again go into a mangled mass of writhing electronic 
frequencies. Spires of static are errected and demolished until all
is blown out fuzz in a repeating process of aural destruction. This
one feels angry and manic...Like a pissed off bull being set free
to finally impale those who were taunting it. This track operates
in a much more "Cut-Up" style than the previous track and hits
with short barrages of audio filth with very brief pauses inbetween
at times. Every pedal at Lacomette's disposal is utilized to full
effect and the results are fantastic. Again we have spacey elements,
Sci-Fi sound effects and plasma cannon pulses. I usually prefer Noise
albums with vocals featured but in all honesty AUNT'S ANALOG doesn't
need them. Bubbling wet effects and frothing, foaming filters rise
up beneath what sounds like a small war between two opposing galaxies.
To say that this is intense stuff is an understatement. There are short
segments that are quieter and offer very strange sounds of unknown 
clatter that add to the overall experimental vibe of the release.
This is just one of those albums that you have to experience for
yourself to truly appreciate. Rapid fire lazer gun attacks pick 
up after a while and it starts to sound like Battlestar Galactica
during the most action pact moment you could imagine. Powerful pistons
hammer away and endless rounds are fired into empty space. In short,
This is fucking awesome.

III.) DISS IN ULTRAVIOLET:
Track three arrives on crisp static and low rumbling distortion. This
short respite gives us a quick chance to catch our breath and regain
our grounding but doesn't last long. A million sounds, Tones and textures
blur to create what sounds like large mechanical beasts of burden dumping
massive amounts of wreckage into an overfilled landfill. The feedback elements
are really showing off on this one and create a viscious display of sharp, Slicing
madness. Sounds like those of broken wires sending a rain of sparks are heard until
they become chopped into bits and re-purposed by the relentless feedback. Overblown
distortion forms dense and claustrophobic movements giving the track unstable ground
to stand upon. At times it sounds like the loudest moments of a Transformers movie.
Steel clashing against steel and iron scraping upon iron as a caustic rain of sparks
and lazer fire falls upon everything in sight. Spiraling patterns arrive and sever
themselves from existence. Archaic machines beep and scream until they die and fade
to dust. Imagine every object in your local city dump coming to life and forming a
composite gollem that exists as the living incarnation of chaos and spends about an
hour imposing it's will on all in it's wake and you'll have an idea of what we are
dealing with here. To sound this pissed without ever uttering a word is quite an
accomplishment. Oscillating rhythms close the track and make for an excellent end
to the song. Job well done.

IV.) SPLIT MY SELF IN HALF:
"Split My Self In Half" is slightly calmer...Or maybe slower is a better way to
put it?...But not by much. There is still a lot going on. Denser at times than
what most of the previous stuff was. Hissing bursts of static mimic steaming
boiler rooms and over-filled pressure tanks ready to erupt. Moaning electric
hums throw tiny tantrums and vanish. Violent quakes of sub-bass tear through
your living room and displace the floorboards and serrated blades of virtual
aggression saw at your sanity more and more with each passing moment. AUNT'S
ANALOG prove to be a force not to fuck with and deliver a quality Harsh Noise 
release that is sure to see repeated listens...In fact this is one of the finest
pure noise albums I've heard in some time and being that I am the dude that does
what I do that is really saying something. The quieter moments in this track are
pretty cool and grab your attention among the merciless storm that makes up most
of the cd...Even if they are few and fleeting. If I ever meet Matt Lacomette I am
buying the man a beer and shaking his hand. Well done my friend.

EXCELLENT AND ENGAGING HARSH NOISE. AUNT'S ANALOG IS A POWERHOUSE RECOMMENDED FOR FANS OF:
XOME..+DOG+..ARVO ZYLO..ETC:
8/10
-ABATTOIR-

www.breachingstatic.blogspot.com