HEY EXIT - CAUDATA - CASSETTE
COMES IN A PLASTIC CASE WITH J-CARD INSERT.
ON TRANSPARENT CASSETTE WITH ART/TEXT PRINTED
IN FORREST GREEN INK. COMES WITH DIGITAL DOWNLOAD
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.
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.
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
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: