Sunday, May 22, 2016

REVIEW - LIMBS BIN/PISS JUNKIE - SPLIT - CASSETTE

LIMBS BIN/PISS JUNKIE - SPLIT - CASSETTE
HARSH NOISE/NOISECORE/POWER ELECTRONICS/DIGITAL HARDCORE
CHAOTIC NOISE PRODUCTIONS/SCPR-41
COMES IN A PLASTIC CASE WITH FOLD OUT J-CARD
INSERT. ON BLACK CASSETTE WITH STICKER LABELS
ON EACH SIDE.


SIDE A.) LIMBS BIN:
I.) YOU CAN DO ANYTHING - INTRO - YOU'D BETTER STARTED WHAT YOU FINISHED /
II.) PART I - SHIT IN / III.) GAGGED VISION / IV.) WASN'T HE OVER THERE BEFORE? V.) PART II
- DIZZYING SPECTACLE / VI.) SOMETHING DESTROYED / VII.) NO MIRRORS TO SEE IN / VIII.) CAN'T
TRUST FURNITURE / IX.) PART III - SCANDALIZED / X.) FAST AND LOOSE / XI.) PUNISHMENT AWAITS /
XII.) EPILOGUE - MIND LIKE A KNIFE:

LIMBS BIN at face value seems like your standard one man Harsh Noise/Power Electronics
prpject. A handful of releases and perhaps another face in an oversaturated crowd. So
what seperates LIMBS BIN from the masses and endless hordes of noise lords in the 
underground? What makes LIMBS BIN stand out in the crowd and why should you listen 
to this? The answer is simple. LIMBS BIN has a fury and an energy that would be quite
hard to match. A project that is electric in more ways than one and on this tape we
hear this in full swing. This is a great place to start for both projects present here
but LIMBS BIN especially shines on this one. So what we have is a dozen songs or themes
composing what feels more like one solid piece. High end signals rip through the room
over dread inducing drones as scattered, Cut-up and rabid vocals come as harsh distorted
rasps in quick jabs and stabs. "Wet" electronics ascend and drop in tones and textures 
that bring to mind ATRAX MORGUE's Sickness Report album. Warped and wavering pulses
create rifts and gateways to utter madness. At times the vocals sound like they are
being delivered from the jaws of a bone munching beast. Circular patterns at varying
speeds create an unstable atmosphere that causes disorientation and uncertainty. The
vocal treatments are heavy doses of caustic distortion that creates an audio yin-yang
against the backdrop of Noise on the experimental side. Spacey synth dirges create a
feeling of drifting through infinite nothingness as some deranged lunatic screams
unintelligable threats and poetry right in your fucking face. At other times oscillating
feedback (Which eventually breaks into a writhing mass of electrical aggression) and 
throbbing synths serve as the platform for the vocals (Which are still an all out barrage
on the senses) to be delivered. The recording quality is absolutely raw and DIY with a very
90's Power Electronics feel to them. Don't confuse raw or DIY for poor however as everything
is audible and pretty balanced. Blown out screams are kind of a staple in the genre so there
is no problem there. Blasting vocal outburts that become a bleedy throat Black Metal croak
end the LIMBS BIN side with even more ferocity than we began with.

SIDE B.) PISS JUNKIE (FEATURING FLESH TRADE):
I.) PISS POLICE / II.) PISSING ON CRUSTIES / III.) YOU'RE LUCKY IF YOU GET 4 MINUTES /
IV.) PRECIOUS PISS MOMENTS / V.) UNFILTERED / VI.) PISS GERM DEFEATING SPERM / VII.)
YA'LL DON'T LOVE US? / VIII.) PISSBURGH, PA / IX.) PISS BIN / X.) IT'S DRAINING MEN /
XI.) PISS BY NATURE, JUNKIE BY CHOICE / XII.) BLAZING UP A PISS BLUNT / XIII.) SUPER
SOAKER / XIV.) POND MILK:

PISS JUNKIE is a project that I am a little more familiar with and one that has never
failed to deliver the goods before. This collection of songs demonstrate PISS JUNKIE
doing what PISS JUNKIE does, And that is offering up abrassive, Short length/Full throttle 
Noisecore/Digital Hardcore that hangs a little closer to the Harsh Noise side than most.
Basically think Grindcore done with Noise gear and a drum machine. Like LIMBS BIN, It is
extremely Lo-fi and raw with a similar DIY Punk attitude in terms of production/Recording
quality. This is the extreme underground so if you're reading this you've gotta have some
idea of what you're getting here...Unless you are new to all this and in that case, Rest
in piss my friend...Acording to the liner notes this side features a project called FLESH
TRADE that I am not too familiar with but it looks like we're in for an aural gang bang so
strap the fuck in cowboy. "Piss Police" kicks things off and beats us into pulsating synths
that are soon nearly completely consumed by blasting programmed blast beats at ridiculously
inhuman speeds and rough grunts and deep rasps. Cut-Up style noise is featured here which
is new for PISS JUNKIE and I am gonna go out on a urine soaked limb and guess that this is
FLESH TRADE's doing. There are more sounds and textures here than I can keep up with or
even attempt to put into words. Dripping synth tones, Harsh blasts, Glitching electronic
fuckery and every manner of high end shrill terror. Walls of dense noise expand as frantic
live wire energy sparks in every direction...Basically this shit is probably hazzardous to
your health in more ways than you'd want to know. After the Cut-up assault and some other
shit we do have a pretty cool Experimental Noise style interlude type thing that serves 
as an extended outro. This is a project that was innactive for quite some time so it is 
awesome to see PJ back in action and still as badass as ever. Oscilating drones take over 
and soar as the other textures struggle to regain their dominance only to be chopped into 
bits by feedback and utter sonic weirdness. A mangled mess of bizare sounds carry us into 
an abrupt silence. Total piss overdose. A bit different for PJ which is interesting. Definitely
pulled it off so no complaints there.

THIS IS ONE OF THOSE SHORT TAPE RELEASES THAT YOU CAN FLIP OVER AND OVER AND LISTEN TO
ON REPEAT ALL DAY WITHOUT GETTING TIRED OF IT. DEFINITELY RECOMMENDED FOR THE NOISE
FREAKS:

7.5/10
-ABATTOIR

www.cnproachmotel.blogspot.com
www.chaoticnoiseproductions.bandcamp.com

Sunday, May 15, 2016

REVIEW - ATARAXIC ATAXIA - SHADOW SEA - CD

ATARAXIC ATAXIA - SHADOW SEA - CD
NO PART OF IT
DARK AMBIENT/EXPERIMENTAL NOISE
PRO CDR IN A JEWEL CASE WITH INSERT.
ORIGINALLY RELEASED IN AN EDITION OF
23 COPIED BY SIDE OF THE SUN RECORDINGS
ATARAXIC ATAXIA IS:
DOMINICK DUFNER
NICOLE PIZZTO


I.) AU CLAURE DE LA LUNE / II.) WHITE BUFFALO (LIVE) /
III.) A MASOCHIST'S HEAVEN... / IV.) SHOTGUNS, PHRENOLOGY
AND A STEADY HAD / V.) IF IT ONLY HAPPENS ONCE IT MAY AS 
WELL HAVE NEVER HAPPENED / VI.) ...SURELY MUST BE HELL:

Shadow Sea by Ataraxic Sea is an interesting release which focuses 
more on a dreary classical ambient style. The duo Dominick Dufner 
and Nicole Pizzato did a marvelous job creating a very interesting 
mix of traditional string usage alongside noise/ambient equipment. 
This release sees to create more of a neo-classical style with some 
noise overlaps mixed together quite interestingly. From the beginning 
of the release, the listener gets a sort of "orchestrated descent" 
into madness. This album conveys a very brooding atmosphere; furthermore, 
it can be very chilling and yet relaxing. Let us explore the overall release 
in detail.

Au Claire De Le La Lune- Has a very interesting structure to it, instead 
of starting with a huge thrash of intense drones, it eases into it 
throughout the song.  It’s sort of like a beautiful piece you’d hear 
in the next modern day century horror flick starring some killer ghost. 
No, you won’t necessarily see much resemblance to an Atrax Morgue track 
on this one, but in all honesty, it is a pretty damn eerie track to start 
off with. I like the classical clashing of key notes thrusting its way into 
the ominous scratchy static at the 1:45 mark. Yes, I say this was a calm release 
to lay back and zone out to. White buffalo is a live track extending over 9 mins 
of raw violin and noise thrown into the blender to the audience. I can easily say 
this one is my favorite track on the release. This is where the Gothic undertones 
seem to come into play because of the neoclassical experimentation. Since this is 
a live track, one gets the raw piercing electronic masterpiece. A Masochist’s 
Heaven is actually pretty ironic because it is actually very peaceful. The work 
is almost akin to something you’d hear on a Premature Ejaculation release but 
except a bit grittier. Pretty strange minimalism infused with a low harsh sound 
going on here but very refreshing. Now by the fourth track, one’s attention is 
caught immediately by the rhythmic start and progression of the loop that kicks 
in throughout the song. In combination with the violins, the fourth track is 
almost dance able as it slowly transcends into a sort of more beautiful chaotic 
orchestra by the six-minute mark. The 5th and 6th tracks focuses more on an 
immense morbid atmosphere as opposed to the previous tracks on the album. 
Listening to the track “…surely must be hell” one can get the overwhelming 
sense of dread washing over them because of the wonderful violin structure. 
I must say, even the collaboration of screeching drones gives off a haunting 
vibe; one could say it is like taking some darker version of Throbbing Gristle 
or Einsturzende Neubauten and blending it with some pretty experimental sense 
of depressing stuff. This track exudes a sort of dark cabaret vibe thanks to 
the neoclassical elements going on.

I must say, this masterpiece surprised me and I listened 
to it at least 3-4 times today to soak in the Gothic, 
harsh ambiance. If you are into a different direction 
of noise/ambient and enjoy the traditional usage of 
classic string arrangements, give it a listen:

8/10

-DANTE-

www.nopartofit.blogspot.com/

Saturday, May 14, 2016

REVIEW - FEMEHEIM - DOMINIUM TERRAE - CD

FEMEHEIM - DOMINIUM TERRAE - CD
DEATH CONTINUES RECORDS/DCRCD006
POWER ELECTRONICS/DEATH INDUSTRIAL/HARSH NOISE
PRO CD IN A JEWEL CASE WITH 4 PANEL INSERT.
FEMEHEIM IS:
JULIUS SCHNEIDER


I.) CAMERA SILENS:
With "Dominium Terrae" the second release on Death Contiunes Records
from Germany based project FEMEHEIM, We see the project shifting into
a more Power Electronics style. Previous album‎ Grenzniederkunft is said
to be more of a Death Industrial/Death Ambient style album, So it looks
like this is a new direction for FEMEHEIM. This is my introduction to 
the project and while I hadn't heard it before, I had a pretty good idea
that it would be dark and intense judging from the releases I've heard and
own from the label. "Camera Silens" serves as a brief introductory piece
that greets us with caustic, Lo-fi static textures and a snapping Industrial
drum loop. Rhythmic, Yet minimal with resonant dense ambiance and distant
thundering sounds that come as muffled booms. Cacophanous and "busy" voices
call out in a language I don't speak. This is looped and layered over itself
until it sounds like several men speaking the same command in the same tone.

II.) EWIGER SUHNETOD:
Heavy Power Electronics drones come in wavering waves like a slow oceanic
tide licking the shore in endless repetition. Slightly distorted tones create
a corrosive and claustrophobic atmosphere. Combined it serves as a platform for
Schneider to deliver his speech. Treated vocals come through wet effects cloaked
in delay/reverb. Clean and/or shouted throughout the track in a style very similar
to GENOCIDE ORGAN or THE GREY WOLVES. The atmosphere is intense and utterly grim.
Sparse metallic percussions and dissonant synths are utilized to full effect. This
is composed, arranged and structured on a throuroughly professional level. Cold
European Power Electronics at it's finest. The throbbing drone that serves as
a main current throughout the piece is excellent and a fine example of the Power
Electronics style. The whole piece weighs heavy with an inescapable feeling of
dread and ends with heavy accelerating synths that lead into an interesting 
Medieval/Dungeon Ambient style segment that comes as an unexpected surprise. 
Fantastic stuff.

III.) VOLUNTAS...INFAMIA:
The third chapter opens with immense sub-bass drones under electronic buzzing.
This is soon engulfed by a chopping wave of electric power. Again the classic
Power Electronics style is on full display. Hazy synth strands hang overhead
as the vocals begin. There is more fury as well as an urgency in Schneider's
voice that wasn't present on the previous peice. Rougher and in a demmanding
tone as if Schneider was barking commands to a row of soldiers before storming
onto the front lines. FEMEHEIM takes a fairly minimal approach, But one that is
so well done that repeated listens are often craved. A break in the choppy pulse
takes us into a meditative outro that slowly winds down into the next track.

IV.) ABSOLUTE UMKEHRUNG:
Martial Industrial marching drums thunder with a metallic stomp like a war
machine churning through an infinite field of corpses. Immense and dangerous.
Feedback and low vaccuous windswept textures aid the pace and flow as secondary
rhythms and other tricks of the trade display FEMEHEIM's skill and caring when
it comes to attention to detail. This track sort of feels like an interlud or
a bridge connecting tracks three and five. However you wish to look at it, It's
an excellent work that has an amazing atmosphere. Inhuman and emotionless, Yet
awe inspiring and rallying at the same time. An aural call to arms.

V.) AM BIRKENSTREIFEN:
Feedback expands to reveal well placed sub-harmonic melodies that inject the
atmosphere with an uneasy and anxious vibe. A cold, Hallow resonance eventually
accompanies this. One that behaves as morning fog on a cold winter day dawning.
Heavy sub-bass currents carry us downstream as the resonating murk grows thicker
and the sense of impending danger increases. This track conjurs the type of feeling
you get from the slowest and most disorienting scene of a horror movie right before
something jumps out to startle you. A "Quiet, all too quiet." sort of feeling. Spoken
vocals through crisp distortion applied lightly bring in a foreign narrative. I don't
know what Schneider is saying and I probably don't want to. There is a strong sense of
malevolence that clings on and stays with this one.

VI.) ENTFLAMMTE HERDE (EPILOG):
Track six offers up thick electronic pulses that sound like some sort of emergency
alarm. A red alert type of sound like something you'd hear in an underground bunker
during a serious problem. Invading feedback squeals and shrieks (although not overly
loud or overbearing.) Electronic experimentation comes as a distant barrage of signals
and warped psychedelic sounds. An obscurred mantra is recited from multiple voices in
unison. It sounds like it's coming from a small horde of brainwashed zombies a few
rooms away. Brief but well done. 

VII.) ADVENIAT REGNUM TUUM:
Ultra dense sub-bass comes with crushing weight and wrapped in a nice amount of
distortion. Sparse Death Industrial percussive elements are heard as echoing
metallic clangs. The vocals are similar to the ones heard on track two although
here they are very burried in the mix and warped in hazy effects and filters.
Definitely an interesting approach to the vocal treatment. Ringing feedback
hangs in the air and also comes from some distant area. Towards the end the
vocal really shine. Bubbling through wet effects and phased out. Another short
but worthwhile track.

VIII.) OPPORTUNISTISCHE INFEKTION:
This is one of my favorite songs on the album. I just wish it was a little longer 
as this and the previous two tracks are all less than three minutes long. Unsettling
atmospheres are created via clanging metallic clatter that echos through a void space.
Synth saws buzz and vibrate in strong tones. The vocals are bitter with anger, but some-
how still subdued and controlled. There is a very Death Industrial feel to this one even
though it is technically probably closer to Power Electronics. Again FEMEHEIM demonstrate
just how effective a minimal approach can be. Sometimes it is what you don't hear that is
the most disturbing. This track feels like it conceals something malignant lurking within
it. What that is remains unknown.

IX.) DOMINIUM TERRAE:
The finale comes with the title track "Dominium Terrae" which takes us into just under 
five minutes of fury that begins by building on oscillating synth drones wrapped in a 
pretty generous amount of distortion in comparison to many of the other tracks on the
album. Surreal and anxiety inducing atmospheres are weaved by strange clean ambiance
that sounds something like the voices of miserable wraiths singing a melancholic and
mournful lament of woe. This ceases to give Schneider room to unleash a wrathful spoken 
narrative full of scorn upon us. Powerful electronics create a see-saw pattern...Tilting
as if in the struggle of maintaining balance and self control before rage and bitter hatred
get the best of you and take over. There is a lot of tension to this piece that is quite
unlike much I've heard before. A perfect ending to a flawless album.

THE CLASSIC ANGRY EUROPEAN POWER ELECTRONICS SOUND IS VERY MUCH ALIVE AND WELL.
A STUNNING DEMONSTRATION OF HOW IT SHOULD BE DONE:

10/10
-ABATTOIR-

femeheim@yahoo.com

Tuesday, May 3, 2016

REVIEW - HEY EXIT - CAUDATA - CASSETTE

HEY EXIT - CAUDATA - CASSETTE
SELF RELEASED
DRONE/AMBIENT/HARSH NOISE/EXPERIMENTAL/POST-ROCK
COMES IN A PLASTIC CASE WITH J-CARD INSERT.
ON TRANSPARENT CASSETTE WITH ART/TEXT PRINTED
IN FORREST GREEN INK. COMES WITH DIGITAL DOWNLOAD
CODE. 


SIDE A.) 

I.) OLM:
Here we have Caudata from HEY EXIT. A project that presents
skillfully composed and arranged pieces ranging in style from
meditative drones to harsh noise outbursts and much more inbetween.
The album is themed around nature and various flora and fauna, And
like nature the release takes us through various moods ranging from
tranquil to destructive. "Olm" is a brief intro track that clocks in
at a little over a minute and a half. Drifting tones blend in a foggy drone. 
A resonating hum that pervades the silence. Clean electric guitars drenched 
in delay/reverb offer a beautiful melody as corrosive static and obscured 
radio transmissions send disembodied voices over the airwaves. These have 
an odd, Dark tone to them as if concealing some malevolent hidden agenda. 
Their plot is soon unleashed as "Olm" bleeds into the following track.

II.) IRISES:
With a title like "Irises" I had expected something light and flowing.
Drones that sway like pedals caught in a Summer breeze...Well my expectations
were bullshit. "Irises" is a six minute fire storm that comes on caustic and
abrasive blasts of Harsh Noise and distorted fury. Feedback dances along a 
backdrop of wailing ambiance as a relentless disaster tears through the room.
Warped experimentation is heard among howling distant tones. Frantic high end
sounds mimic the agonizing deaths of small woodland creatures. This is powerful
stuff. Blown out static and white hot hissing steam rip and roar. Geisers grade
blasts that sound like they are peeling the tissue from your brain strike again
and again. The backing ambiance is a hollow resonance that is in stark contrast
to the rest of the piece but a perfect addition at the same time. The pedals
utilized by HEY EXIT pack a serious punch. Some of the strongest sounding Harsh
Noise I've ever heard and that is truly saying something. Barrages of sonic violence
morph into a rhythmic mechanical march that slowly dives into an ocean of haunting
clean ambient. Absolutely brilliant. 

III.) BUT IS NOT CONSUMED:
"But Is Not Consumed" stays true to it's title as the ambient layers from the previous
track rise above and take the reigns. Beaten to a pulp by the previous endevour, But as
the title noted, Not consumed. The ambiance is warm and and subdued. There is might behind
it but it is bidding it's time. Fragile chimes and distant choir vocalizations are heard
along with the slight addition of static textures at times. Clean guitars are once again
utilized and as everything mixes together it begins to sound like the calmer moments of
HORSEBACK meets the most beautiful works of ELUVIUM. In fact this sounds like something
that could have been released by Hydra Head records in the early 2000's. An album that 
most certainly deserves a lot more praise and recognition within the underground. The
tones present here are beyond beautiful. They are absolutely gorgeous. There is definitely
a heavy lean towards the Post-Rock style on this one. The guitars are very reminescent of
GODSPEED! YOU BLACK EMPEROR, But with the emotive undertones of GREGOR SAMSA and the droning quality of NADJA, BIRCHVILLE CAT MOTEL or FEAR FALLS BURNING. The overall theme begins to shift into slightly darker territory which takes us into the last track on the A side.

IV.) SO THEY SPOKE:
"So They Spoke" comes as an ominous ambient wave. Metallic ringing and a dense buzz
is heard attempting to cover brittle melodies that refuse to be fully silenced. 
Static type sounds and the grinding of picks scraped across thick strings create
a distant crackle like that of a low fire struggling to stay alive. Shifting stones
and buzzing input cables take us into a segment that is purely Avante-Garde style
Noise fuckery. The type of stuff bands like NURSE WITH WOUND used to do back in 
the day or what many do today under the guise of "Performance Art." It sounds
pretty cool though and it works for the song. This ends the A side and I really
had wished for a stronger ending before flipping over to B, But overall this is
still an excellent album so far.

SIDE B.)

V.) SMALL BURIALS:
On the other side, "Small Burials" shares a length with "So They Spoke."
Both at exactly three minutes and twenty one seconds. I guess you could
sort of consider this an intro piece to side B. There is a rusty and archaic
quality to this one that lingers in the distance as curious drones wander and
inject a sense of mystery into the air. Audio exploration would be a good way
to put it. Warm hums and what sounds like vibrating metallic wires swaying in
the wind are heard as clean guitars send a minimalistic and fragmented melody
into the air. Synth strings stir and provoke emotion to well up as the piece
becomes increasingly beautiful. This is where HEY EXIT shines brightest. The
combination of sounds is minimal, Yet masterful and is truly a delight to listen
to. Sorrowful as well as uplifting and with a strange sense of nostalgia that you
can't quite seem to place.

VI.) TWIN MOSS:
"Twin Moss" continues in this direction, But greatly expands on the beauty and
elegance of HEY EXIT. A very emotive and haunting piece featuring stunning choir
voices and deeply entrancing guitars. All reaches a wonderful crescendo and is then
overtaken by a roaring waterfall of dense noise. Fumbling and exhalations are heard
bringing this to way too soon of an end. I really wish this track would have been
expanded upon. It could of been really interesting, But the intensity within this
brief few moments (Under three minutes) really makes it a special addition to the
release.

VII.) LANTERNS, CHRYSANTHEMUM:
At eleven ad a half minutes, "Lanterns, Chrysanthemum" should have no such problems.
A wavering low end hum fills the room like the sunrise of a new day dawning. Powerful
bass strings and hang heavy in the air like a stifling blanket of dust. Background textures
are mostly metallic and cinematic in nature. Utilized for effect rather than anything you'd
hear in a song arranged in a traditional structure. This could have easily been a release on
Utech records as well as it has much in common with their Drone oriented offerings. This track
is basically soundtrack music. The kind of stuff you'd hear during a scene before something really
climatic happens. Music for wandering through desert wastes or deserted city streets after nightfall.
Seething, Creeping and somewhat sinister, But posing no immediate threat. Like having the feeling you should keep an eye on someone, But not worried to the point of any further action or panic. The tempo begins to slowly pick up as a hazy sheet of cascading ambiance fills the corners of the room, Taking the lead. Quiet static joins in as well as a single note pulse that eventually phases in and out until it transforms into corroded squeals of Experimental Noise. What becomes of this is a display of dense, grimey, audio filth. Debris and dirt until we reach silence. Again not the strongest ending. I was hoping that this track would build to something more as HEY EXIT have clearly demonstrated being capable of. As a whole though, This is a pretty damn great release.

DEFINITELY RECOMMENDED FOR PEOPLE INTO ARTISTS LIKE NADJA, HORSEBACK, DANIEL MENCHE, FEAR FALLS BURNING, 
KAYO DOT, RST, ARCHITEUTHIS REX, URAL UMBO, TIM HECKER, MAMIFFER, ETC:

8/10
-ABATTOIR-

www.heyexit.bandcamp.com