Wednesday, June 29, 2016

REVIEW - MASTURBATORY DYSFUNCTION - CLUELESS CRUSH: A COLLECTION OF LOVE SONGS TO MAKE OUT TO - 2XCD

MASTURBATORY DYSFUNCTION - CLUELESS CRUSH: A COLLECTION OF LOVE SONGS TO MAKE OUT TO - 2XCD
ALTAR OF WASTE/AOW400
HARSH NOISE WALL/HARSH NOISE
TWO PRO-PRESSED CDRS HOUSED IN A DVD
CASE. HAND NUMBERED ON BUSINESS CARDS
IN AN EDITION OF 50 COPIES.
MASTURBATORY DYSFUNCTION IS:
FELECIA GAGGINS.


DISC ONE:
I.) FROM THE MOMENT I LAID MY EYES ON YOU /
II.) FOND FEELINGS / III.) UNDER HEATED SKIES /
IV.) SIZZLING SUNBATHE / V.) DON'T REJECT ME NOW /
VI.) DIRTY SKIN / VII.) LONG LAWN STROKES /
VIII.) TAKE ME TO THAT SPECIAL PLACE (ROOFTOP ACCESS):

MASTURBATORY DYSFUNCTION is a one woman Harsh Noise project
operating in the HARSH NOISE WALL genre. On her recent release
on Altar Of Waste (Arguably the best label when it comes to this
style) We have a great deal of strength and thought put in. Conceptionally
speaking this is an album themed around those special moments during puberty
where one transitions from horny teen to de-virginized adult. Everything from
the artwork and packaging (Which is always stellar when it come to the AOW label)
to the song titles and themes blends together to invoke nostalgia and the last few
days of "innocence." Musically speaking, there is a contrast that could be considerd
misleading in a way similar to that of THROBBING GRISTLE's "20 Jazz Funk Greats" as
to someone on the outside looking in, This is the last thing they'd expect to hear
on a cd that looks like an 80's Pop album. At the same time the various walls here
(12 in total spanning the two discs) could be seen as the overflow of welling teen
emotions. That moment when fantasy becomes a surreal reality and it's almost too
much to take. Each track is unique compared alongside the others and comes as a
raging blast of sound with the power of all those highschool hormones hitting at
once. From The Moment I Laid My Eyes On You" opens and engulfs us in a dense blast
of suffocating static. Like that moment you see someone you instantly "fall in love
with" and it takes your breath away. Textures and layers mix like a rush of feelings
and create HNW tracks that stand out from your average two pedal trendy. "Fond Feelings"
crashes upon us even harder than the previous piece. Here the distortion is cranked up
and crunching on us like a midnight snack. Roaring and raging like a teen girl during
her worst period. The tracks hang around just long enough to tear shit up but don't go
on forever. There are slight changes in the tonal mass and moments that are "softer"
than others. So it's not just the same sound recorded and looped. "Under Heated Skies"
is harsher on the high end of the spectrum. Here we hear shrill hissing tones over a
heavy bottom layer of overbearing density. Things seem to slow down after the first
initial blast and shift into a moody rhythmic sort of direction. Not to say this is
easy listening by any means as there is enough sonic violence here to kill a bull.
"Sizzling Sunbathe" is quite different from the rest and disgards most of the low
end. What sounds like air raid signals is heard buried in the mix as a hostile gust
of corrosive steam-like noise whistles through the speakers. There is an undercurrent
of deeper tones that produces a sense of movement but it is much further in the distance
when it comes to the mix. "Don't Reject Me Now" is a jagged tearing mass much like the
worry and fear that hits when you put yourself out there unsure if the one you've done
it for will share the same feelings. Gnawing noise to mirror the feelings of potential
embarrasment, Regret, Self loathing and shame you may soon be facing. This one is more
on the straight up Harsh Noise side of the spectrum and features howling gusts, Ripping
rhythms, Fragmented debris and crackling chaos. HNW purists may not dig it but it gives
the release something special. "Dirty Skin" comes in contrast as a blast of low roaring
sound. Rumbling like building thoughts ready to spill out after you've marinated in your
own self hatred for too long. An inferno in a furnace down a dingy hallway. The sound of
anger cooking into a fine roast of rage. This could also be taken as the festering passion
of an intimate act. A bubbling and frothing path to pleasure on the road to spasm of orgasm.
Sub-bass tones rise and carry you further into ecstasy as what sounds like crumbling rocks
falling and "wet tones" mimic the feeling of losing yourself in a chasm of lust and the rush 
of endorphins that comes with it. "Long Lawn Strokes" is a soft caress of live wire electric
energy. Sparks fly as crackling surges ignite like your nervous system as you are touched for
the very first time. The intensity builds as if fingers are bravely crawling closer to the
button of your pants. Rhythmic addictions rock back and forth like bodies in motion and grind
like heavy breathing school kids in the heat of the moment and excitement that comes with the
danger of being caught. This is the HNW equivalent of a dime-store romance novel and I mean that
in the best of ways. "Take Me To That Special Place (Rooftop Access) keeps the humor and harshness flowing but in a more subdued way. Muffled and hidden sounds blare behind a resonant ringing as if to conceal a secret. Perhaps the "special place" is one few know of. The double meaning of access in the title is a nice touch and is mirrored by the duality present. The main focus of the listener remains on highs and lows for the most part which creates an interesting experience and a fine closer to disc one.

DISC TWO:
I.) THE COLOR RED / II.) ALMOST MINE /
III.) SUNDAYS / IV.) YOUR LIPS, YOUR SHRINE:

"The Color Red" shoves our heads down into a long form piece of ferocity. I like that the title is
open to interpretation. Red dress?, Lipstick?, Shoes?, The color of passion?, The splash across the
bed sheets as the cherry pops? Perhaps all or none of these were in mind. Regardless we are neck deep in an orgy of distortion so we'd might as well smile and enjoy the ride. The track absolutely assaults the listener. But you can't rape the willing and if you're listening to this album after reading this you knew what you were in for anyways. For an album with art depicting scenes that look like something you'd see on Saved By The Bell this is sure one hell of a listen. This track makes up the greater part of the cd but the following are just as powerful. "Almost Mine" sneaks in and switches things up a bit. Feedback and muffled bass tones blend with buried melodies to create what sounds like an extremely rough recording of a noisey live band mixed with a whole lot of aggression. Imagine trying to salvage a recording of a house show off of an old cassette tape that has been damaged by heat, Cold, And years of sitting in dust. Now imagine running the audio through several distortion pedals cranked up to ten and you'll have a bit of an idea of what this sounds like. "Sundays" is another low roaring number. Dull tones that pull you into the murky depths. Much like the lazy, Restless, Sloth like feelings most people experience on an average Sunday. Looped metallic ringing is heard hidden in the background as crawling static swarms the senses. A hectic mass of nothing and everything to devour your day away. "Your Lips, My Shrine" finishes us off with another dense wall of writhing sound. This one dwells closer to the bottom end and features low tones that moan on as what is most likely an illusion of cyclic rhythm  is formed from a corroded heap of distorted static. Things die down at times it seems which adds an interesting  sense of pacing to the track but this could all be a figment of the mind after being exposed to these kinds of sounds for this long. Either way, It's a cool release. Endure it til the end. Pain is pleasure. 
Pleasure is pain.

MASTURBATORY DYSFUNCTION STANDS OUT IN THE GENRE. NOT AN EASY ACCOMPLISHMENT WITH
SO MANY ARTISTS JUMPING ON BOARD THE HNW BUS THESE DAYS. GET A COPY WHILE YOU CAN:

8/10
-ABATTOIR-

masturbatorydysfunction.blogspot.com
soundcloud.com/masturbatorydysfunction

Monday, June 27, 2016

REVIEW - ARVO ZYLO - HELLO WALLS - CD

ARVO ZYLO - HELLO WALLS - CD
NO PART OF IT RECORDS
MINIMALIST HARSH NOISE/EXPERIMENTAL NOISE/AMBIENT NOISE
PRO PRESSED CDR IN A JEWEL CASE WITH INSERT.


I.) BODY OF DEFECTIVE MEMORIES:
"Hello Walls" was originally released on cassette by Enemata Productions
in 2008. Later re-issued on No Part Of It Records in 2010 on cassette in
a black latex bag filled with funerary soil. Finally we have a cd version
also re-re-issued via No Part Of It. This is an album I missed out on the
first two times around and one that I am extremely happy to own a physical
copy of now. ARVO ZYLO is a project that you never know what to expect from.
Past albums have presented everything from Harsh Noise, Extremely experimental
Industrial and Glitch, Sequencer experimentation and music closer to Electronica
and a dozen other sounds and styles that would take up far too much space to list
here. With "Hello Walls" my first thought was "Is this a Harsh Noise Wall style
release from ARVO ZYLO?!?!" Three long tracks with dark and dingy minimalist art
also added to that initial impression. Well it was wrong. What we actually have
here is a Minimal Harsh Noise masterpiece. "Body Of Defective Memories" opens
the album and drags us into a nearly thirty five minute sprawl of cavernous,
Sub-terrain exploration. A very slow build up leads us deeper down and further
in. Short bass movements cloaked in small traces of distortion are looped along
with a silent hum. Foggy atmospheres are invoked by a resonating cloud of long
stretched moaning sound. Crunching sounds like fragmented voices appear and vanish
until they become a frequent addition. Upon length we hear that they are wet and
sloshing sounds like that of foamy water licking the shoreline in repetition. 
Additional Ambient tones begin to rise after some time. Tranquil reversed drones
that create a faint, But beautiful melody. Meditative and thought provoking. Over-
time these transform into ghostly choir like voices and high pitched distant ringing.
The vibrations made feel as if they bounce off of the walls of your skull endlessly.
Harsh bursts like steam billowing from some hidden schism in the center of the earth
come in phased loops crossing from one speaker to the next in cyclic motions. Secondary
textures begin to accompany this from somewhere far in the distance. The effect this has
on the listener is entrancing. More and more harsh sounds are added to this to form an
expansive and immersive listening experience. Eventually this winds down into a more
minimal and stripped down segment. Crunching rhythms are looped along a backdrop of
synth organs and choir-like tones. Curiouser and Curiouser, Further down the rabbit
hole we go. Again the rhythmic sections become more dominant and things begin to
warp once more. Deep melodic tones are heard in tiny intervals. Harmonic keys play
a spooky intermission like something you'd hear on a classic Scooby Doo cartoon.
The theme of something mysterious lurking in the shadows. Highly experimental and
very weird sounds become the main focus as the melody continues. Playful, Pitch-
shifted voices are heard coming from every direction like a gathering of mischievous
Ghouls, Goblins, Imps and entities. This slows down into a spiraling downward slope
until all is hissing and exhaling static and muffled inhuman vocal patterns.  

II.) HELLO WALLS:
(FEATURING GUEST VOCALS BY: INFECTIOUS REX/MORGAN MCDONALD/NIKOLA VASILIC) The following title track is much shorter at under nine minutes. A gathering
frenzy of sound is heard. Crowded rooms full of obscured and voices and deep
windswept textures. It sounds like there is a 1950's era party on the other side 
of several walls. This is slowly drowned out and engulfed by the massive gathering
of a powerful storm brewing. High end Harsh Noise style feedback and signals begin
to make their presence known. High pitched frequencies of spacey sound. A large
vacuum expands and lets loose a cosmic storm. Ultra dense tones blend with distant
high pitched pulses creating what sounds like an interplanetary war. The audio 
equivalent to something out of a 50's dime store Sci-Fi tabloid. Harsh Noise elements
come in a mangled array of scraping, Destructive force. Stretched out ambient drifts
are laid over top gently in haunting patterns. Sub-bass grows like to an earth shattering
quake. Loud, Rumbling and devouring. The guest vocals noted at in the album insert must
be very buried in the mix. I can hear traces of what sounds like voices but they are
too far gone to comprehend. Things become much quieter suddenly and softly sung female
vocals are heard barely above a whisper which concludes the piece.

III.) PHANTOM DECORUM:
The final track "Phantom Decorum" is slightly over thirty minutes long, Making this
quite a demanding listen. It begins close to where "Hello Walls" left off. Windswept
atmospheres wrap around and whip about as a gentle piano melody plays a slight-fully
mournful and contemplative tune. Blowing gusts and random field recordings of what
sounds like activity at a market or busy street are heard. The fumbling of objects
and children's laughter, Distant whistling, Car horns, Etc. Free-form organ playing
is heard at times. Resonating tones rise and fall and rise again to loud drones.
Random voices call out random words. Sound collage meets free-form experimentation.
Very different from anything else I've heard from ARVO ZYLO while also featuring
signature tones and things that bridge the gap between this and other releases making
it feel like part of a whole. Wet phasers contain strange otherworldly noises. Brakes
squeal. Children scream. And the main drone begins to invoke uncomfortable feelings.
Impending doom, Dread, Anxiety, The fear of something awful on it's way. Hammering
sounds make me imagine the citizens of a once quiet and peaceful town boarding their
homes shut in anticipation of a coming nightmare. The drone grows louder and brings
with it a more threatening and urgent feeling. The streets sound mostly deserted other
than clueless hooligans and trouble makers. A sense of panic is conjured by what has
become a very bleak soundscape. Bass tones flood distant streets as the previously 
mentioned wet tones re-appear. More alien and violent this time...Whipping with deadly
strikes. What sounds like a steam engine screeching on distant tracks is heard as oscillating
bass tones mimic speeding vehicle engines. Weird synth/keyboard sounds and Industrial rhythms
begin. Power tools grind metal on metal. Things begin to take on a "Factory sound." Perhaps
preparation are being made for a coming terror? Clanging, Metallic piano keys play a playful
melody that sounds almost devious. Things are quieter now but things still don't feel "Safe."
Drones are still present sounding like some infinite infernal machine motor whirring for an
unknown, Sinister purpose. Things warp into another dimension. Alien voices take over the
remainder of the track. The End? Not quite. There is a hidden surprise at the end but I 
won't spoil it for you.

A TRULY UNIQUE ALBUM. RECOMMENDED FOR FANS OF ENDOMETRIUM CUNTPLOW/BLOOD RHYTHMS/
NITE SHADEZ/UNCERTAIN/GHOST MINER/ETC:

7.5/10
-ABATTOIR-

nopartofit.blogspot.com
nopartofit.bandcamp.com

Wednesday, June 22, 2016

REVIEW - LONE WOLF INSURGENT - DEFEAT NEVER, VICTORY FOREVER - CASSETTE

LONE WOLF INSURGENT - DEFEAT NEVER, VICTORY FOREVER - CASSETTE
VANGUARD PRODUCTIONS/VP061
POWER ELECTRONICS/HARSH NOISE
COMES IN A PLASTIC CASE WITH
FOLD OUT J-CARD INSERT. ON
PURE WHITE CASSETTE.


I.) SPIRITUAL CHAINS / II.) DEFEAT NEVER, VICTORY FOREVER /
III.) OPEN SEASON (THIS IS W.A.R.) / IV.) THE SHOT HEARD
ROUND THE WORLD:

LONE WOLF INSURGENT return with a solo release showcasing the 
project alone and in full swing. Here we really get to see LWI
as a stand alone entity in action. "Spiritual Chains" opens the
tape escorts us into the first round of an intense four track
thrashing. A low ambient resonance expands bringing with it
spoken samples concerning rebellion and retaliation on a 
racial scale. Low roaring distortion follows as the speech
continues to be recited in an attempt to spring fourth a
resistance and eventually a call to arms that would erupt
into a race war the likes we have not seen in our lifetime.
Distant thundering and clattering is heard like a cloud burst
followed by a corrosive rain of hail and debris that slowly
erodes the senses and leaves us open for the first real assault.
"Defeat Never, Victory Forever" opens with samples as well. This
time slightly more political in nature. Shifting rhythms like massive
stone slabs grinding upon one another repeat in a cyclic manner creating
a throbbing pulse. Feedback and bitter screams in a rasped tone of rage
pour out like molten flame and magma spewing from the mouth of a volcano
and then all Hell breaks loose. Roaring Harsh Noise comes in a landslide
of aggression to match and mirror the enraged vocalizations. A war machine
awakening and beginning it's campaign of slaughter in a stand against it's
enemy. Looped feedback and noise rhythms are heard somewhat buried in the 
onslaught. Their are brief pauses barley long enough to catch your breath
in between beatings. Each attack comes more furious and merciless than the
last. LONE WOLF INSURGENT mean business and are not here to fuck around.
This is by far one of the angriest and most passionate Power Electronics
releases I've heard in years. Opening samples are repeated and looped until
the next barrage where the vocals pick up and continue the mantra along a
war zone of cacophonous controlled chaos. "Open Season (This Is W.A.R.)"
opens with glitched/fragmented electronic experimentation and spoken samples
of a Black female talking about killing all white men. The following is most
certainly an anthem of retaliation. Again a call to arms to stand up for ones
self if they happen to have been born in a position where they may need to do
so. Machine gun blasts and distorted quakes form a backdrop for the vocals which
are harsh shouts and dry throat screams with a voice like gravel. The lyrics as
expected concern a defiant retaliation against the previous threats. The song 
unfolds like a grand drama that we'd expect to be from countless decades before
our time. Hate is very much alive in America. Spoken samples, This time a Black
male, Speak phrases like "It's not safe no more to be white in America." LWI
counters with "This is White Aryan Resistance, This is war." "The Shot Heard
Round The World" closes the album and opens with spoken samples of an Aryan 
resistance type meeting where an address from one party member to his peers 
is heard. Afterwards we're met by cold ambiance under harsh noise elements.
Feedback, Distortion, Everything you'd expect but cranked up to ten and then
some. The vocals here somehow sound more pissed off and fed up than the previous 
tracks which is really saying something. Spoken samples similar to those that opened
the album are heard along a battlefield of sound. Pedals mimic mortar fire and the
screeching of tank treads against a jagged terrain. The battle is raging on and reaching
it's peak. Various samples are tossed into the mix creating a blur of information transmitted
amidst chaotic aggression. Closing samples bring the album themes full circle and serve as a
good end note for an album of this nature. Not for the faint of heart or the easily offended.
If keeping things politically correct is your thing then don't even bother with this one.

LONE WOLF INSURGENT'S BEST RELEASE TO DATE. IF THIS IS THE CALIBER LWI HAS
REACHED IN THIS SHORT TIME THEN THE FUTURE WILL CERTAINLY BRING SOME GREAT
WORKS FROM THIS PROJECT:

8/10
-ABATTOIR-

www.vanguard-productions.com

Tuesday, June 21, 2016

REVIEW - SPIC - BLOOD IN THE STREETS - CASSETTE

SPIC - BLOOD IN THE STREETS - CASSETTE
VANGUARD PRODUCTIONS/VP014
POWER ELECTRONICS/HARSH NOISE
COMES IN A PLASTIC CASE WITH
FOLD OUT J-CARD INSERT. ON
PURE WHITE CASSETTE.


I.) HUNTING SEASON / II.) THE NEW ORGANIZATION /
III.) WHITE OATH:

I am a very firm believer in freedom of speech. That is exactly what this
Web-Zine is when you break it down. We are exercising our freedom of speech.
I am also an individual who can enjoy various types of music despite what the
work is themed with something. Whether or not my beliefs or ideals align with 
what a particular band or artist is talking about really has no effect on my
ability to enjoy their work if it sounds good and demonstrates skill in their
particular craft. I have noticed quite frequently lately (Especially in the
Noise/Heavy Electronics scenes) that a great number of individuals can not see
past themselves when an artist deals with subject matter that is confrontational
to them. If I'm not mistaken, Noise music, Especially Power Electronics has a long
history of being in your face, Confrontational, Unapologetic, Brutally honest,
Challenging, Raunchy, Violent and an infinite list of other adjetives...Why people
are so focused on being "Polite, Nice, Accepting, Tolerant, and Politically correct
within the extreme underground is absolutely beyond me. This is the bottom of the
extreme underground. This is where censorship is molested in a triumphant array of
personal will and freedom. And this is where you most certainly will find artists
who center their music around things you will not like. There is a good chance that
SPIC along with pretty much every other artist affiliated with Vanguard Productions
will be one of these artists. Offensive to many. No fucks given. And exactly what
Power Electronics is. Now I am not saying that Power Electronics is about Racial
intolerance. However it is about self expression and zero compromise. So in that
sense SPIC is part of a dying breed. Musically, "Blood In The Streets" offers up
a traditional 90's Power Electronics sound. Harsh, Abrassive sound structures and
gruelling distorted vocal blasts. Screeching feedback rings as a mass of rubble
quakes along with deep oscillating synth drones. The vocals are somewhat buried
in the mix and come as rough grunts through a chaotic whirl of sound. Mid-paced
movement via oscillating synths keeps things at a steady flow and adds a sense
of dynamics as the feedback rises to usher in a much louder vocal assault. Cyclic
rhythms are heard in the distance as constant feedback rings like a tribute to
the earliest days of WHITEHOUSE. This is a rough but rewarding listen. Wind blown
textures create a semi quiet, But furious frenzy of mangled sound. Electric energy
courses after a very brief pause and brings with it another barrage of vocal rage.
The hate, Spite and intollerant overtones are very apparent even without knowing
what the lyrics are. Spoken samples are heard but almost entirely obscured making
them quite unintelligible. Tranquil clean ambiance begins to flow from underneath
the sonic onslaught creating a stark contrast and sense of duality as reverb treated
screams come in layered attacks. Truly stunning work that brings to mind the work of
WHITEWATER ORGASM. A very satisfying end to the album. The same tracks repeat on both
sides but are worth repeated listens.

EXCELLENT POWER ELECTRONICS RECOMMENDED FOR FANS OF: LONE WOLF INSURGENT, PLANTATION, GENOCIDE ORGAN, THE GREY WOLVES, SLOGAN, SWALLOWING BILE, BRETHREN, ORGANISED RESISTANCE, ETC:

8/10
-ABATTOIR-

www.vanguard-productions.com

Tuesday, June 14, 2016

REVIEW - POWER MONSTER - EMANATIONS - CASSETTE

POWER MONSTER - EMANATIONS - CASSETTE
DANVERS STATE RECORDINGS/DSR66
HARSH NOISE WALL/HARSH NOISE
COMES IN A PLASTIC CASE WITH
FOLD OUT J-CARD INSERT. ON
BLACK CASSETTE WITH SIDE A/B
INDICATED BY CARVINGS IN THE
PLASTIC.
POWER MONSTER IS:
ALEXANDRA PHARMAKIDIS


SIDE A.) SLEEP TO DEATH:
This a pretty standard Harsh Noise Wall style piece that
definitely lives up to it's name. Not to say it's boring
so much as that it can have a lulling effect on the listener.
Some may disregard the genre entirely and miss the point, But
for what it is, POWER MONSTER offers a solid example of HNW.
Although I do have to be in the mood for something like this,
When that mood does hit this will surely be a go to from now
on. The track mainly consists of a static mass of seething
distortion that slowly creeps up from the opening silence
to spread out into a sprawling abyss of caustic crackling,
scraping, tearing and devouring sound that is similar to 
that of a low roaring, But quickly spreading forest fire.
In true HNW tradition, Dynamics are completely disregarded
in favor of letting the pedals create whatever they will.
This can be seen as Stoic, Soothing or completely destructive
depending on how you look at it. The piece does seem to become
a little more intense and immense as time rolls by but with this
style of music it's hard to tell what's real and what is merely
a trick of the mind trying to rationalize what you're hearing.

SIDE B.) THE GRID:
The B side is similar to the previous in that we are presented
with one long form track that takes up the entire duration of the 
side. The textures and consistency of this piece vary from what
we heard with "Sleep To Death." "The Grid" more of a jagged edge
to it and comes across as "hazardous" or "perilous." If we looked
at it like an expanse of terrain mapped into sound, It'd be one
best not explored if you care about you're own personal safety.
There is a lot more "movement" here. Thrashing waves of static
relentlessly whip and rid as if being tossed at the mercy of 
an enormous storm at sea. The grid is obviously not a place 
meant as a habbitation to any lifeforms familiar to our daily
lives. This track offers a great contrast to the almost tranquil
quality of the A side. The tones here die down at times. A temperary
respite before once again gaining momentum and stripping the skin off
of our backs. You are at the mercy of the monster when listening to 
this one. The tones and sounds contained here are like that of crunching
rows of teeth as they hungrily grind bone into dust in a cycle of suffering.
Truly a monster of power.

A SOLID RELEASE TO ZONE OUT TO. TWO VOIDS EXPAND AND DEVOUR IN
THEIR OWN PARTICULAR MANNER. RECOMMENDED:

7.5/10
-ABATTOIR-

soundcloud.com/pwrmnstr
facebook.com/pwrmnstr
danversstaterecordings.blogspot.com

REVIEW - STONE WIRED - DARK PHOTON - CD

STONE WIRED - DARK PHOTON - CD
EXABYSS RECORDS
DARK AMBIENT/DEATH INDUSTRIAL/EXPERIMENTAL ELECTRONICS
PRO CDR. COMES IN A 4 PANEL DIGI-PACK WITH ART AND INFO
INSERTS.


I.) BONECHURCH+STONE WIRED - WHERE THE STRAIGHT WAY WAS LOST
(YOU WERE FOUND DEAD) / II.) MISERY RITUAL+STONE WIRED -
EVOCATION OF THE FALLEN / III.) DARK PHOTON / IV.) VON
COGWELL+BONECHURCH+STONE WIRED - COMING OUT OF THE WALLS
(PISS AND BLOOD) / V.) SOMNAMBUL / VI.) COLD BODIES / VII.)
THE INSECT WORSHIP COLLECTIVE / VIII.) SUBSEQUENT GALAXY /
IX.) NEGATIVE CORRIDOR / X.) SECRET FUNERAL:

Dark Photon. A 10 track album of complete ambient aggression and despair. 
It opens with a slow progressive boom that pounds your skull and reverberates 
into your shockras. With vocals that resemble the anger of a power electronics
vocalist with the calamity of pure ambiance. We transcend into track two featuring 
noise act Bonechurch, where the two create a track of unpredictable ambient chaos, 
where as you expect to be nothing but total tranquil drone glitch after glitch after 
glitch scrapes against your eardrums. Then Dark Photon makes its way you into your 
membrane with layers and layers of reverberations. As each sound penetrates your 
skull, you feel yourself slowly reach a state of nirvana. But not for long, as 
"Coming Out Of The Walls (Piss And Blood)" makes its way into the mix. 
A collaboration between Stone Wired, Bonechurch, and Von Cogwell, 
this harsh ambient ballad has an opening drone that gets your blood 
boiling. As the track progresses the harshness increases and the variety 
of the track shows slight industrial influences along with odd power 
electronics. As you reach an elevated state of no return, Somnambul 
brings you back to the earth, letting the scatters of creepy crawlers 
rattle your brain with ambient scrapings that pound your skull. Then 
suddenly you feel yourself rushed through a dark hole filled with construction, 
chaos and despair that whispers, "welcome to the end." Then we make an approach 
to The Insect Worship Collective (Final Cut). So ambient, yet so abrasive. Like 
a blanket of echoes that softly crushes your insides. As the whispering white 
wall fades into nothing, Subsequent Galaxy makes a harmonious build up that calms 
the nerves. When all seems well, a drone scrapes against the surface, only to fade 
back into the void again. You feel a sudden jolt that gets your heart pounding, 
then a point of calamity within the universe sets back in. This song truly depicts 
the everlasting rush that is experiencing the depths of outer space. Negative Corridor 
makes a warm yet soft approach into your membrane with a subtlety powerful decaying choir. 
Then what I can only describe as pure ambient bliss echoes through this negative corridor 
for six satisfying minutes. At long last, we arrive at the death of the album, fitting with 
the track title, Secret Funeral. This track was actually produced to be played at a ritualistic 
funeral. Waves and waves of an echoing scrape dampen the listener to feel calm as the rest of 
the track brings absolute ambient destruction. Not many words I have can describe how beautifully 
depressing and heart wrenching this song makes me feel. I truly feel the calling of death every 
time I hear this track. This song will surely be played at my funeral. 

In total, Dark Photon will leave you feeling angry, sad, but overall, 
content with a feeling of numbness that one can only feel from the void:

9.3/10
-NIHILIST-

https://exabyssrecords.bandcamp.com/
https://www.facebook.com/Exabyss-Records-388337041314896/

Thursday, June 2, 2016

REVIEW - EN NIHIL/PROCESSION OF THE BLACK MOTH - MASK OF THE PREDATOR FLESH OF THE PREY-SPLIT - CASSETTE

EN NIHIL/PROCESSION OF THE BLACK MOTH-MASK OF THE PREDATOR FLESH OF THE PREY-SPLIT-CASSETTE
WHISPERING EYE RECORDINGS-WE07
HARSH NOISE/POWER ELECTRONICS/DEATH INDUSTRIAL/BLACK AMBIENT
COMES IN A PLASTIC CASE WITH J-CARD INSERT.
ON A BLACK CASSETTE WITH LOGOS PRINTED ON THE TAPE.


SIDE A.) EN NIHIL:
I.) THE DEATH COLLECTOR / II.) BONE TROPHIES /
III.) AND TIME WILL CRUMBLE WITH THEIR BODIES /
IV.) MASK OF THE PREDATOR FLESH OF THE PREY:

SIDE B.) PROCESSION OF THE BLACK SLOTH:
V.) UNEXPECTED DEMISE / VI.) TAKE THE POWER /
VII.) UNDER THE FLOOR / VIII.) THE ONLY WAY /
IX.) DISCARDED.....FORGOTTEN:

En Nihil/Procession of the Black Sloth split Mask of the Predator, Flesh of the Prey gives off a very strong, horrifying vibe. Both artists have some rather chilling tracks on this split but what really drew in my attention was the Black Sloth side. Each track sounded like an old 2000's killing spree waiting to happen. Though En Nihil’s side was both ominous and angry in its own right, I felt that the shining parts of it was the fact it was quite reserved in a sense until the third track. 
First off, let’s start with the En Nihil side. This side features some pretty gruesome and grimy ambient stuff. Listening to the first track, you get the sense that you’re in for a more harsh yet spooky style of darker shade of ambiance. The second En Nihil track titled “Bone trophies” is some really ear shattering and spine tingling stuff. This track features some intense static and shrieking drones that paint the mental image of running through the forest from some unseen force. Third and fourth tracks are my favorite because they are the harshiest noise; no I am not thinking about Nurse With Wound. The third track titled “And Time Will Crumble Their Bodies” displays is an eleven-minute symphony of low drones that evolve into a rhythmic, bleak noise. The greatest masterpiece from the En Nihil A-side is the 4 track because of the amount of grittiness and anger the track conveys. Listening to it full-blast is a must for that ear-crushing, grimy, disgusting sound of static. The amount of feedback going into this track is simply one for the ages because it sounded like Whitehouse did a fusion with Deathpile and dialed it up two notches.  

Now let’s start off with the five track Procession of the Black Sloth’s side. This side of the split truly caught my attention because the amount of explicit, gore filled mental images each track can engrave into one’s mind. The first track has the strongest opening; the piercing, tormented screams of agony and horrid samples from God knows where is unnerving. To me, I have never felt such ecstasy throughout the violent track. The second track “Take the Power” starts off as a dark ambient track but evolves into a horrific power electronic masterpiece. It starts off with nothing but fear and anticipation of what wretched story comes next and then comes the distorted vocals that sends shivers down my spine at the 3:45 mark. The third track starts off with the standard loops and clanging of who knows what tools for destruction and distant distorted vocals in the background. “The Only Way” is a beautiful transitional dark ambient/noise piece that is just dense atmospheric noise until around the 3-minute mark; furthermore, it is more of a experimental song you could say. Some underlying harmonious undertones can be find somewhere in this track like a needle in the haystack. Now “Discarded…Forgotten” returns to the traditional death industrial style with atmospheric wails of both suffering and distortion of unrecognizable speech. Sounds like it should be featured on a new age Grindhouse film. Though it was rather short, the dark sounds are etched into my mind.

So in conclusion, if you are a fan of the darker p.e. sound, then you should give this split a listen. Both fans of En Nihil and Procession of the Black Sloth will be satisfied immensely. I thought this split was a masterpiece and definitely needs to be on repeat for the days to come when I’m a blood-thirsty, chaotic mood. WARNING: May cause you to experience some spacing out and crazy ass thoughts but hey that’s just fine.

GOOD JOB:

9.5-10/10
-DANTE-

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