Wednesday, July 27, 2016

REVIEW - INSTITUTION D.O.L. - 17 SHAMELESS YEARS - CD

INSTITUTION D.O.L. - 17 SHAMELESS YEARS - CD
KLANGGALERIE/GG199
POWER ELECTRONICS/DEATH INDUSTRIAL/HARSH NOISE/DARK AMBIENT/
POST-INDUSTRIAL/EXPERIMENTAL ELECTRONICS
PRO CD IN A JEWEL CASE WITH BOOKLET INCLUDING
IN DEPTH LINER NOTES.
THIS RELEASE IS A COMPILATION FEATURING NEW TRACKS,
REMASTERED VERSIONS OF PREVIOUSLY RELEASED TRACKS,
ALTERNATE VERSIONS AND MIXES, EXTENDED VERSIONS, ETC.
FOR THIS RELEASE INSTITUTION D.O.L. IS:
BARBIE B: COMPOSITION, CONCEPT AND COORDINATION
MK VERMIN: COMPOSITION, VOCALS AND SOUNDS


I.) WITH BURNING HEART:
For those not familiar (And you should be) with INSTITUTION D.O.L., It is an Austrian 
Industrial/Power Electronics/Noise project that has been the main output of Barbie B. 
and many other heavy hitting contributors for many years now. Their debut was released
17 years ago in 1999 to give you an idea and here we have a fine compilation of the
sounds and styles they've offered the underground in their nearly two decade run.
(Still going strong mind you.) "With Burning Heart" opens up the world of I.D.O.L.
to new listeners and re-opens these intricate portals to long time fans as well.
Here we are transported into a slow build up featuring beautiful clean vocal chants
drenched in reverb, Reversed spoken samples that add a cryptic/spiritual vibe followed
by a sudden sonic BOOM! Intense Power Electronics style synth drones rush in. Distorted
and surging with force. Massively manipulated vocals encased in distortion come as pitch
shifted spoken passages that convey a dominating sense of urgency as if calling the many
to take action. Vocals are looped along with the sounds of blades being sharpened as a
rising mist of static/ambiance rolls in like a chemical sprayed down from overhead.
Reversed rhythmic elements create what sounds similar to a million soldiers marching
with burning hearts towards death or victory. Mechanical/Metallic textures are present
and sound similar to dragging chains or some other metal scraping over metal. An excellent
introduction into the world of I.D.O.L. that ends with spoken samples and choirs in a foreign
tongue. Mysterious, and deadly.

II.) ROMAN STRENGTH (REMASTERED NOISY VERSION):
Samples from the film the Exorcist open the track. Soon after we are gut punched by an
onslaught of sludgey and mechanical percussive elements over murky atmospheres. The rhythms
feel like a ten ton weight falling upon you in an endless cyclic punishment. Experimental
Noise elements I.E. Glitchy electronics, Sampled choirs, Sweeping rushes of sound and varying
other manner of aural trickery are employed to create a truly cinematic experience. The vocals
are grim to say the least and range from angered shouts to ritualistic chants. Rushing whispers
swirl and close in around you as if you've become marked for sacrifice. The vocals have a very
cold European Power Electronics sound to them. Stalling machines, Windswept cascades and excellent attention and execution in terms of composition and flow round this one out for us.

III.) MORAL CONFLAGRATION:
"Moral Conflagration" builds on booming down-tempo Death Industrial style bass drum hits.
Heavy kicks to force you forward as strange clicks and glitched Industrial Noise comes and
goes. Pretty female choir samples are heard with a melancholic tint to them. Various spoken
samples are transmitted like long lost broadcasts exhumed for the first time in decades.
Creaking sounds add the feeling that something is lingering on the fringes of the present
ambiance. Down-tuned voices recite what sounds like a final prayer before greeting the
gaping gates of death. A true wedding of beauty and darkness. Deep, Slow breaths are
heard being pulled in and thrusted out as various manipulated screams echo. Stretched
out as if to enhance their agony. Priests gather and mumble inverted sacred mutterings
in a language I do not speak. The track itself feels like a silent exorcism and could
be seen as strategically placed when considering the opening sample of the previous
song. I.D.O.L. have contaminated holy rites in a successful attempt to bring you a
deeply captivating listening experience.

IV.) CIRCLE OF BLOOD (EDITED VERSION):
Grinding metallic machines. Spark birthing buzz saws. Low gusts of distortion. Dust
and debris. All gathering and forming as one solid entity. Distant cries of pain and
terror let you know that we've entered dangerous territory. This sounds like something
out of a scene from Hellraiser coupled with echoing samples over a loudspeaker that make
it sound like you've awoken to find yourself in a WWII concentration camp. Screams of fright
and panic can be heard as an enraged voice barks commands overhead. Sinister haunted house
style organ music is added with additional saws and power tools kick the horror vibes up a
few notches. Moans of suffering are heard echoing from what sounds like a body slowly reaching
it's demise at the hands of torturous madmen. Cue the static and Horror ambiance. R.I.P.

V.) PLASTIC SOCIETY (ADVANCED AND FEMALE VOCALS VERSION):
Glitched/stretched electronic waves and wavering synths open along with a single scream of
pain. Strange minimal percussion's guide things along as semi-spoken/semi-shouted female
vocals are recited through the empty expanse presented before us. Effects and manipulations
are applied to the vocals in the Power Electronics tradition. Elements of the track strongly
remind me of COIL although the over-all sound is I.D.O.L.'s alone. 90's Electro Industrial
meets cold Death Industrial and Dark Ambient meditations. The lyrics are precise and meet
their mark every time. Sampled choirs are present once again to create a haunting/ghastly
atmosphere. The lyrics are philosophical and come with the ability to leave one feeling
empty and without answers. A perfect match for the audio platform on which they are
delivered.

VI.) VERY VICIOUS (EXTENDED VERSION):
This longer version of "Very Vicious" builds on disorienting, Stomach churning synths
that ebb and flow as a grotesque mirror of the nausea they induce. Spoken samples of
what I believe to be a televangelist are heard and as many of you know, This in itself
can cause discomfort. This track is quite an immersive listen, Especially as we're met
with static textures that reach and fall as if attempting to drag us down into the miserable
atmospheres crafted here. Although the attack is slow and subtle it is still quite lethal.
Buzzing electronics devour all that was before and force us into a yawning expanse of harsh
distortion, Ringing feedback, Cascading empty Ambient and rhythmic cycles of looping noise
until what was and is blends into one calculated aural plague.

VII.) UNFORESEEN ANNIHILATION:
Dark and moody synths form a minimal pattern of brooding misery. Darkwave/Coldwave type
of stuff with a really Gothic vibe. The vocals are recited through varying Industrial
music grade effects over synths that pulse and grind in thick and punchy tones. Once
again we have a piece that is fairly minimal, Yet very effective. Oscillating patterns
rise as spacey/cosmic textures are applied. Samples of gunfire and warfare are heard 
withing the electric doom and one starts to feel like they are in the middle of an
oppressive police state type of takeover. The vocals sound like they are being delivered
over a loudspeaker as well. Militant commands that are stern and promise the success of
the forwarded agenda. All hope is lost.


VIII.) THE DECEASED MIND (COMPACT VERSION):
Like a sudden car crash, "The Deceased Mind" hits with massive impact. Aggressive
vocals strike with a passionately inflamed delivery. Audio wreckage shifts and slides
over churning drone waves that come in deep sub-bass tones. Digital industrial sounds
wrestle with distant screams of feedback. Metallic slams come down as hard as concrete
and leave you spitting out blood and teeth. A compact, But thorough kick in the ass.
This is definitely one of the fiercer tracks on the album. A masterpiece in terms of
composition. Aggressive Power Electronics/Post-Industrial in the vein of NYODENE D
and similar acts but with a more "professional" sound quality when it comes to the
mix and production.

IX.) PRAYING THROUGH THE SWORD:
Machines fire up and sparks begin to fly. Inhuman samples deliver a stark speech in
a grim tone. Fuzzy electronic drones surge as myriad sounds and textures mingle and
multiply in coursing electric intercourse. Beeps, Pulses, Signals and transmissions
hang invisible over the airways. Industrial quality percussive elements are present
and consist of mechanical factory and metallic sound sources. Everything is intense
and lethal. A deadly gathering of all things sharp, Caustic, Serrated and able to
tear you in two within seconds of contact. "Praying" might be a good idea.

X.) POETIZING IN A JAPANESE NIGHTCLUB (HYBRID OF:
"MEMORIES IN A JAPANESE NIGHTCLUB" AND "TIRED TEMPLARS"):
A mash-up or remix of two previously created tracks. Natural sounds intro this one.
Birds, Wind, Children playing (And screaming), Etc. A beautiful piano melody is played.
Reverb is applied creating a fragile/hollow effect that only adds to its depth. Voices
whisper adding a surreal and dreamlike state to an already tranquil and transcending 
piece. A major shift in gears when compared to the merciless onslaught of the previous 
track. The atmosphere blackens quickly. Machine rhythms, Haunting empty ambiance, Echoing
female screams are heard as a gathering storm. Female vocals are recited with a hint of
melancholy, Loss and regret. The track is painfully depressive in the most gorgeous way
one can imagine. A piece that resonates deep within the listener and plays heavy on the
heart strings. The emptiness captured here is one that is not easy to contain or convey
through music so this is truly an impressive accomplishment. Emotive to an extent one
rarely finds in any medium these days.

XI.) I GUESS I AM STILL RIGHT (NEW VERSION WITH VOCALS):
Electro Industrial beats pound semi-subdued. A stoic drone persists as emotionless
vocals are delivered like a programmed message of a bleak future to any unfortunate
enough to be the target audience. Steel-works atmospheres come as static blasts and
grinding tools. A factory that manufactures dread and despair. The overall approach
reminds me of TREPANERINGSRITUALEN's earliest material. Minimal, Repetitive and utterly
hopeless. Black Metal style rasps are featured. Distant and unsettling. A promise of
death crawling ever closer with each passing moment.

XII.) JUSTCAUSE (REMASTERED VERSION):
This particular track was/is pretty popular among the Power Electronics crowds.
This remastered version maintains the same ferocity and impact of the original
but with a dare I say, More precise strike. Everything that constitutes a solid
Power Electronics masterpiece is present here. Caustic textures, An overly
oppressive atmosphere. Extremely processed vocals frothing with rage and
bitterness. Think STEEL HOOK PROSTHESES meets FIRE IN THE HEAD. Intro samples
of a sexual/erotic nature. Every staple of the genre is employed and on display
with nothing held back. Junk percussive elements, A rabid and inhuman approach
to the vocal delivery. In other words I.D.O.L. delivers. Pure electronic hostility.

XIII.) THE END OF LOVE WITH A CHAINSAW (ADVANCED AND FEMALE VOCALS VERSION):
Spoken female vocals in what I am guessing is an Austrian tongue escort repeating
loops of glitched electronic experimentation. Calm ambiance flows beneath as spoken
samples are heard. A young girl recalling and re-telling a memory perhaps. Again we
have a very cold and clinical approach to the vocal delivery which matches and compliments
the musical platform on which they stand greatly. Static, Distortion, Cacophonous samples
and more textures are applied for effect. Chainsaws buzz, Crowds panic, Lives end in bloody
horror, All while the vocals persist in a calm and thoughtless manner. I.D.O.L. act as overseers
and you're lives mean nothing in the drama unfolding.

XIV.) PURIFICATION:
Quiet clicks and dreadful ambient. Death meditations and dark horizons. Additional
digital clicking is heard rapidly. Then all becomes a horrific frenzy with the intensity
of piranha feeding on a live human being. Terrified screams, Dense and oppressive layers
of crackling distortion. High pitched swarms of whirring noise. Daemonic growls and miles
of wreckage and bloodshed in every direction in sight. You are in the middle of a total
fucking disaster and there is absolutely zero hope of rescue. Drill like sounds give the
impression of a mad doctor performing excruciating "experimental treatments" of unwitting
and unwilling patients. Pure audio torture. Like a sound collage consisting of the audio
of a dozen black market snuff films.

XV.) DAYDREAMS ALL ABLAZE (EDITED VERSION OF: "LUFTSCHLOSS IN FLAMMEN):
This one continues the distant sounds of suffering but this time they are buried behind
a wall of clean and tranquil ambiance. Spoken samples offer a rallying call to freedom
and liberty. Revolution and victorious peace. A great contrast to the distant samples,
But one that serves a purpose. Inspiring and beautiful. A track that has the feeling of
an 80's cult classic cyberpunk film. One where a select few people begin a revolt against 
a greedy and unfair system to rid the world of disadvantage and build a prosperous future 
on tomorrow's crystal horizons. A declaration against tyranny and the hidden personal agendas
of deceitful leaders. Battle cry's rise and fade into the sounds of air raid sirens over lush
ambient synths and creaking and clicking electronic pulses. Rushes repeat like a steam powered
contraption starting up and preparing for departure. It's time to disembark to another shore.
The soundtrack to the beginning of a wonderful journey.

XVI.) UNIVERSAL PEACE (HYBRID OF: "EIN LIED FUR DEN WELTFRIEDEN" AND
"THE KOJI TANO TRIBUTE SAMPLER TRACK"):
The dream of prosperity is crushed as grinding noise and bitter raspy vocals hit as a multi attack
joined by slamming Industrial percussion's and odd mechanical noises. Following this things switch
into a 90's Industrial collage meets 80's cyber-thriller chase music. A barrage of samples, Pumping
pistons, Electronic signals and pulses, Powerful noise rhythms, And just about every other thing that
makes a Sci-Fi adventure. Somewhat short but very enjoyable.

XVII.) THE LAST REARING UP:
A young girl recites a creepy nursery rhyme. Her voice down tuned making it all the more eerie.
Rumbling drones build and rise, Bringing along with them a static noise that rips like shrapnel
through the senses. Additional drones come as buzzing waves layered on top of one another. Chilling
ambient passages begin to loom on the horizon and quickly take up residence as a bottom layer to the
piece. A mass of samples is heard obscured in the cloud of sound. All quickly fades out as an outro
to this collection of brilliant audio experience. I highly recommend picking this one up and using
it as a gateway drug to dive deeper into the addiction I.D.O.L. injects into the listener.

AN ALBUM THAT IS INTRICATELY WEAVED CONCEPTUALLY. WHICH IS QUITE A FEAT WHEN CONSIDERING THAT THIS RELEASE COLLECTS IDEAS SPAWNED OVER THE LAST 17 YEARS. INSTITUTION D.O.L. PRESENT A GREAT PLACE TO BEGIN FOR NEW LISTENERS TO DIVE DEEP INTO THE PORTALS THEY RIP WIDE OPEN AND A CACHE OF HIDDEN TREASURES FOR LONG TIME FANS:

10/10
-ABATTOIR-

Monday, July 25, 2016

REVIEW - THIRTEEN HURTS - UVB-76 - CD

THIRTEEN HURTS - UVB-76 - CD
NO PART OF IT RECORDS
HARSH NOISE/POWER ELECTRONICS/EXPERIMENTAL NOISE
PRO CDR IN A JEWEL CASE WITH INSERT.


I.) UVB-76 / II.) GENERATOR / III.) TRANSMITTER /
IV.) 4625KHZ / V.) PROPAGATION / VI.) MDZHB /
VII.) MONOLYTH / VIII.) SUPRESSED LOWER SIDEBAND /
IX.) TRIANGULATION / X.) BUZZER / XI.) ZHUOZ:

Thirteen Hurts - UVB-76 is a perfect release in my opinion; 
Furthermore, The switch ups and transitions to sort of minimal-synth 
style to synths infused with a considerate amount of feedback on certain 
tracks is pleasing. I've listened to this album quite a few times and was 
amazed by the high levels of high pitched feedback on certain tracks. Even 
the first track of the release starts off with drones and this piercing high 
pitched feedback that blends together like an abrasive masterpiece. There’s 
lot of voice sampling (which I cannot decipher for the life of me, radio calls?). 
The second and third tracks are harsher than the first (“Transmitter” being a very 
cold, minimalistic track). The third track is also where things get a bit lo-fi synth-
like but is gently interrupting by the high pitch feedback. Now, as we get into the 
fourth track (which spans over 8 minutes) 4625kHz, things become a colder, traditional 
dark power electronics piece. “Propagation” comes off to me as a very creative track 
because of the drones starts off low within the initial beginning, but sort of progresses 
into a cohesive pattern of two distinct levels of distortion. The next one is highly experimental 
because of the breaks between the screeching sound and enormous amount of feedback (besides the 
next track). Alright, the track “Monolyth” is my second favorite track because it contains a lot o
f build up into a point it bursts into a moment of just gritty noise; as if a nuke has been dropped. 
The next two tracks are pretty decent, the former track being much cooler to me because of the lack 
of structure, but that’s just my thoughts. The last couple tracks are pretty well put together as 
well, but the last track is my favorite because it presents itself as a synthy track but is creative 
while doing so. You can really tell Richard enjoyed playing around with the rhythmic aspects of the 
minimalism in the track. Though it is very brief (span over 3:45), I enjoyed every second of it.

In conclusion, I’d say this release was very enjoyable the most part. 
Perhaps, it is because of the amount of exploration of the synth in a 
presentable way. IMO:

9/10
-Dante-

nopartofit.blogspot.com/

Saturday, July 23, 2016

REVIEW - BLOOD RHYTHMS - HEURISTICS - CD

BLOOD RHYTHMS - HEURISTICS - CD
NO PART OF IT RECORDS
HARSH NOISE/EXPERIMENTAL ELECTRONICS/POST-INDUSTRIAL/DARK AMBIENT
PRO CDR IN A JEWEL CASE WITH INSERT.
COVER PHOTOGRAPHY BY: IRIS B. WITH ART DIRECTION BY:
ARVO ZYLO. THE PHOTO SHOOT WAS INSPIRED BY A DREAM 
ABOUT A CHILD PHYSICALLY GROWING UP AND IN AN INSTANT, 
AND THE INHERENT SIDE EFFECTS OF SUCH A TRANSFORMATION.
THIS RELEASE IS A COMPILATION OF PREVIOUSLY UNRELEASED
TRACKS, TRACKS ON LIMITED COMPILATIONS, AND ALT VERSIONS.


I.) IN A VACUUM (ALTERNATE VERSION) / II.) MENTION THIS /
III.) OUTAGE / IV.) MOPE / V.) NEVER FUCK IN THE WOODS /
VI.) MAGGOT'S DRAG (NOTTE DEL CASU MARZU) / VII.) DISMISSAL /
VIII.) REMOVE ALL DOUBT I / IX.) REMOVE ALL DOUBT II / X.)
THE STIFLING AIR.

NOTE: TRACK VI WAS INSPIRED BY VIPER'S DRAG BY FATS WALLER.
ARVO TOOK A PIANO CLASS SPECIFICALLY TO PLAY THIS SONG, AND
ONLY THIS SONG.

Blood Rhythms-  Heuristics is a pretty…
how would I put it… strange, wonky release? Most of the material 
here features more traditional instrumentation sampling and experimentation 
with avant-garde style looping. Throughout the duration of the release, I was 
quite pleased with the usage of minimalist synth and keyboards. To me, it 
seems most of the goal here was to give off a very spooky vibe akin to some 
of Current 93’s and even older 90's post-industrial influenced work. From the 
start of the album, the opening track “In a Vacuum” (which is an alternate version) 
is more along the lines of traditional old school noise; very abrasive but not subtle. 
The rest of the album starts to kick off with the second track and it is immensely 
satisfying to hear a more relaxing collaboration of synth and raw industrial: furthermore, 
it gives off an insane, amusing tone. Third and Fourth tracks are the most entertaining to 
me. “Never fuck in the woods” is quite campy to say the least but it is a great listen to 
because of the blend of harmonic Gothic organs, samples from what seem like classic b-movies, 
and relaxing static/distortion. “Dismissal” is also a nice little six-minute masterpiece that 
focuses on ambiance and rhythmic drones combined with the underlying minimal- esque harmony. 
“Remove All Doubt” Part I and II feature a splendid mesh of dark electronic sounds mixed with 
some very distorted psychedelic loops. The closing of this masterpiece is over 20 minutes but 
begins as a wonderful atmospheric, but turns into a skinny puppy (remission era) or nineties 
post-industrial (not that cyber electro bullshit) followed by intense cold noise near the 
sixteen-minute mark. 

I recommend this for those who wants a pleasant, relaxing, 
reserved piece to listen to. Can’t stress enough how this 
is on the experimental side so you are a fan of Navicon 
Torture Technologies type styles, you may be quite 
disappointed. 

8/10
-Dante-

nopartofit.blogspot.com/

Thursday, July 21, 2016

REVIEW - GASP. - SECOND FOUL - CASSETTE

GASP. - SECOND FOUL - CASSETTE
FUCK MOUNTAIN LTD. RELEASE/FMLR-022
HARSH BLACKENED NOISE/EXPERIMENTAL ELECTRONICS
COMES IN A GREEN PLASTIC CASE WITH
FOLD-OUT J-CARD INSERT. ON TRANSPARENT
GREEN CASSETTE WITH PRINTED TEXT.


SIDE A.) DUG IN: 
The album opens with “Blown Out”. A disturbing, 
off key guitar riff builds. The rattle of percussion 
in the distance. The sharpening of knives fades into 
the ether. Spectral and dangerous. Static builds and 
releases. Chirping and whirring demons appear to steal 
your mind. Less distortion is found here. Relying more on 
cacophony and dynamics the mix crumbles and rots. The rot 
builds. The violence begins. Feedback smashes through the wall. 
Coupled with a tribalistic drumming of the darkest jungle depths. 
The pitch shifts into what sounds like a power drill of a nightmare 
dentist. Teeth break away under the bit. A whine sets in. Eerie and 
dissonant. The distortion builds again. The wall is reformed into an 
impenetrable fortress of filth. Breaking into a jumble of thuds and 
blasts the track closes.

SIDE B.) BLOWN OUT:
Track two, “Dug In”, opens with a blistering wall of distorted noise. 
Angels gouging their eyes out while their wings evaporate into dust. 
The relentless crush of noise continues to form a dilapidated, squealing 
emanation of shrieks. The pitch drops, the crush returns on ly this time 
its layered under metallic torture. Smashing, bashing and crashing its 
way into your ear drums. It’s unrelenting. Decay into inhuman howling. 
A high pitched rips through the mix. Oscillating up and back down. An 
endless, nerve shredding death coaster. Its almost voice-like. More 
akin to the howling of some desert Djinn awakened after a long slumber. 
The wall returns. Pitch shifted and malevolent. Combines with the howling, 
screaming wind of electronics one is reminded of the great Pazuzu and his 
ominous winds. Finally it relents into a humming, feedback drenched drone.
It’s safe to say you won't be the same after this.

8/10
-Hannis Arc-

www.facebook.com/muckfountainrecords/

Wednesday, July 20, 2016

REVIEW - FAMILY PLANNING - TWO SISTERS - CASSETTE

FAMILY PLANNING - TWO SISTERS - CASSETTE
FUCK MOUNTAIN LTD. RELEASE/FMLR-023
HARSH NOISE/EXPERIMENTAL ELECTRONICS
COMES IN AN ORANGE PLASTIC CASE WITH
FOLD-OUT J-CARD INSERT. ON TRANSPARENT
ORANGE CASSETTE WITH PRINTED TEXT.


SIDE A:
I.) FAITH / II.) CHANCE /
SIDE B:
III.) LIVE AT THE NICOLLET/28 OCT 2015/MINNEAPOLIS, MN /
IV.) LIVE AT SECRET SERVICE/9 NOV 2015/MINNEAPOLIS, MN:

Side A of this album opens with the track “Chance”. 
It begins with a mechanical rattle and low howling whine. 
Think of a dog stuck in a barbed wire fence and you'll have 
the idea. As it progresses a distorted squeal rips through 
the mix like a battle axe wielded by some barbarian hell bent 
on murder. A voice sample suddenly appears, lending a uncomfortably 
realistic aspect to a surreal world of gibbering madness. What follows 
is a merciless hellscape of metallic squeals and groans backed by a wall 
of undulating distortion. A seething deep drone emerges. An electric chair 
warming up. Combined with squelches and screams of some otherworldly spirit. 
Repetition seems to be the key here. Building and building like a psychotic 
breakdown. A bloody ritual of the blackest import. The distortion continues 
to build. Violent bursts of static explode and blasts warbling sonic shrapnel 
everywhere. The chaos begins to decay as a spectral voice screams incantations 
into a thundering sky. It melts away only to become a vomiting, ripped loop. 
This gives way into a new feedback drenched horror. Swirling walls of unholy 
machinations beckon you into a tomb of oscillated horrors. It only gets darker.
Besieged by demented screams the wall crumbles away into ripping feedback and 
voice samples. A hissing blast pushes through. As the track comes to a close 
the opening howl begins to repeat. Lopsided and half dead streamers of electronics 
pour in. Sealing your doom. Just when you thought you were safe the second track 
“ 28.10.15 The Nicollet” opens with a spectral voice sample. Resonating with malice 
and despair. A staccato electronic pulse shatters the gloom. The electronic bleating 
becomes a rhythmic pulse coupled with violent static discharges. An alarm sounds. The 
ship is sinking. Suddenly a wall of sub blackened noise cuts in leaving a trail of limbs 
and emotion. A haunting metallic din ensues. The voice returns. Ratcheting, clinking samples 
complete the malevolent ritual. Moaning singsong enters over an oscillated drone. This is no 
dream. This is real. Maybe too real. The track closes with with another voice sample. A warning?  
Time slows. The world hangs limp and damned. The voice recedes to be replaced by low end electronic garble. It appears to be a live track. Track three “9.11.15 Secret Service” opens with a strange sample concerning an extra-planetary cult. It beckons us to leave. Maybe we should listen. 
A pulse appears along with a sickening warble that reverberates into eternity. Nasally plastic 
clicks and whirs accompany a second sample. Jim Jones truly revealed. Static bursts ascend and 
implode. A slithering electric serpent promising eternal damnation writhes into the mix. The 
volume intensifies. The delay burns the voice into the mind. Looming in the distance is a wall 
of unbelievable density. It crashes down. Changes pitch. Tosses your mind like a corpse versus 
the sea. The voice sample returns. Broken by high end seizures and what sounds like a swarm of 
giant wasps. The track comes to a close with another sample. We can never go back.

10/10
-Hannis Arc-

www.facebook.com/muckfountainrecords/

Monday, July 11, 2016

REVIEW - CONCRETE MASCARA - PERENNIAL DISAPPOINTMENT - CD

CONCRETE MASCARA - PERENNIAL DISAPPOINTMENT - CD
MALIGNANT RECORDS/TUMORCD93
POWER ELECTRONICS/HARSH NOISE/DEATH INDUSTRIAL
PRO CD IN A JEWEL CASE WITH 6 PANEL INSERT.
LYRICS INCLUDED.


I.) THE FLESH OF THIS WORLD:
The first thing I'd like to say regarding CONCRETE MASCARA's debut
release for Malignant records is that this is a very different beast
compared to most releases on the label. Much of this is way harsher
and more abrasive than the releases of previous artists that make up
what's come to be known as the "Malignant sound." So be prepared. Although
this isn't something I had expected the label to release and it kind of feels
like it should have been on the labels side imprint Black Plagve, I am glad
that it's here. The artwork and packaging is beautiful, The lyrics are something
that I can relate and identify with on a deep level. They hold a very similar world
view to my own and the writings had quite an impact, One that resonated deeply for
me personally. The music is in your face and extremely hostile for most of the record.
This opening/intro piece being one of few exceptions. We're greeted with booming sub-bass
drums and seething ambiance that feels like a living, breathing and patiently waiting organism.
Waiting for it's prey to stumble upon it's den. Spoken words are recited in an unsettling tone.
The voice is manipulated, Slowed, and cloaked in additional effects for a really inhuman sound.
The ambiance flows in slow motion. A gathering haze of fear and unease. A perfect starting point
for the album.

II.) AREA TRINITY:
Hope you enjoyed what little piece the opener had to offer. You're not going to
find any of that here. "Area Trinity" quickly builds on blown out static and
corrosive textures. Ultra dense and heavy sawing synths cut through you like
a knife through exposed tissue. Static sprays like a fine mist of blood spurting
from an open artery. The vocals are manic, Maniacal and absolutely murderous. Harsh
screams encrusted in massive amounts of distortion. This is one of the heaviest noise
albums I've heard in a long time. Completely oppresive and overbearing music that grabs
you by the eye sockets and smothers you in the filth it's brewed. This is the standard
all Power Electronics/Harsh Noise artists should strive for. Feedback squeals and whines
like the last gasp before the death rattle. This is music that utterly victimizes the 
listener from start to finish. Free form electronic experimentation and sparse elements
of cut-up/glitch type noise make for an interesting build up. Climatic in a way similar
to that of a mass execution. Rumbling bass tones come in relentless assaults and decimate
all in their way. The sound of this album is fucking immense.

III.) UTOPIAN NIGHTMARE:
Hard distorted throbbing via a thick bass stomp pummels you further down as synths and
feedback combine to form an emergency air raid type of sound. Rightly so as you should
probably run for cover. The coming onslaught of destructive audio is kind of unavoidable
though so good fucking luck. A sinister ambiance forms on the horizon as strangled vocal
rasps and bitter screams strike, Peircing through the chaotic and cacophanous mass of
sound. This one hammers down hard and doesn't let up. The intensity of the album seems
to only grow with each passing track. Eight levels of torment explored, Exploited, Utilized
and weaponized. The lyrics are blunt yet poetic and depict a harsh portrait of the horrible
reality we live in. One we so desperately try to escape in our daily lives in vain. The approach
is very straight forward and to the point but brutally effective. 

IV.) DELUSION OF SACRIFICE:
Automatic rapid fire plasma cannons rain a white hot storm of death upon us as murky drones
and other audio sewage fester, gather, bubble and begin to move in a slow descent upon you.
Like black strands of pure negativity crippling hope without mercy. Feedback joins in as a
shrill chorus of despondent energy ringing out a song of demise. The vocals are crazed and
burried like somebody struggling to scream for help while drowning in a sea too loud and
furious for anyone to possibly hear their cries for salvation. Lacerating textures are
funneled in and sound as if they are being forced into you're ears by some mechanism
using compressed air. The switches are cranked past ten and our impending doom is
rushing at us at full velocity. CONCRETE MASCARA holds nothing back in the three
tracks following the introduction. This will completely wreck you.

V.) MOUTH OF FLIES, TONGUE OF MAGGOTS:
Finally we have a short window where we can at least center ourselves from the edge
of our seats. Dense/obscured Industrial drums are heard. Minimal rhythms at mid-tempo.
Metallic, Dingy and buried neath a windswept haze. Resonating drones sweep in and out
like fleeting spectres looped in a tragic imprint of suffering. Although this track
doesn't take the aural beatdown approach of the previous ones, It's just as hopeless
if not more so. Miserable and murky music that has a similar vibe as some Depressive
Lo-fi Black Metal. The vocals mirror the drums in their consistency in the mixing.
This is a wretched piece. Isolationist music for nihilistic nights alone. Hostile
atmospheres are still there, Just slower. A nightmare reality that will swallow
any light like a growing black hole. A stain that continues to seep until it is
all that there is.

VI.) SNAKE SKIN STILETTOS
Strange pulses fill the air against a backdrop of corroded noise. Deep, Distorted
rhythms are heard pummeling in the distance as static crashes upon you wave after 
wave. Thick synth drones course like pure electric energy channeled into a frothing
cauldron. This one really sounds like a spell brewing into a storm of necromatic
power. The vocals are semi lost in the unfolding chaos but still audible. This
almost has a Blackened Noise vibe to it in terms of composition. All manner of
surging electronic maddness can be heard. The vocals sometimes have a quality to
them that reminds me of XASTHUR. Shrieked, But almost hidden. Towards the end
things become a powerful frenzy. Powerful is probably the best word for the
album in general.

VII.) DEFINED BY ABSENCE:
Plodding Industrial bass drum rhythms stomp out in a fashion similar to some
of TREPANERINGSRITUALEN's work. The overall Lo-fi quality is also similar. This
sounds like a long lost recording found on an unmarked cassette in a bunker. The
type of thing that was hidden from the world to preven the catastrophy playing it
would release. Well it's too late, That Hell is upon us now. Rivers of static rush
like white water rapids sweeping away everything you've come to know and love as
a maniac screams in your face through a throat filled with broken glass and gravel.
Imagine a sward of plague ridden insects, Engorged on blood of people who are now
withered carcasses flying through your town in your direction. This is the sound
they would bring. Filthy Harsh Noise with Industrial and Power Electronics elements
come to bring about a slow and painful extinction.

VIII.) DEATH TRIGGER IMPULSE:
One heavy pulse hits hard and expands into a wavering drone buried neath a generous,
But not overwhelming amount of distortion. Pumped full of bass and brutality. Swirls
of slicing audio penetrate like psychic knives into the center of the skull. The vocals
are extremely distorted and wrapped in delay/reverb effects that create a really intense
background sound that echoes along with them like some sort of traumatic taunting. This
is an album that definitely ends on a heavy note. The amount of power present in these
eight songs is unmatched. CONCRETE MASCARA are doing what many others have done before
but in a way that is all their own. This will be a hard one for anyone in the underground
currently to hold a candle next too. Even if you did, The darkness present here would be
enough to devour it's light. Wet synth sounds and pedal abuse mix to create a beautifully
violent display. Amazing stuff that I'll be listening to over and over again for a long
time to come.

CONCRETE MASCARA HAVE TOTALLY BROKEN ALL THE EXPECTATIONS WE'VE HAD FOR A MALIGNANT RECORDS RELEASE. THIS IS NOT THE BROODING DEATH INDUSTRIAL OR MOODY AMBIENT WE'VE GROWN USED TO. ALBUMS LIKE THIS ARE THE REASON I DO REVIEWS IN THE FIRST PLACE:

10.10
-ABATTOIR-

www.malignantrecords.com

Tuesday, July 5, 2016

REVIEW - FACIALMESS - SCAM #69443 - CD

FACIALMESS - SCAM #69443 - CD
BREACHING STATIC/BS77
HARSH NOISE/EXPERIMENTAL ELECTRONICS/DUNGEON AMBIENT/GLITCH/CUT-UP
PRO PRESSED CDR IN A JEWEL CASE WITH INSERTS.
FACIALMESS IS:
KENNY SANDERSON


I.) SCAM #69443 / II.) THEY JUST SCREAM WEALTH /
III.) GOING TO WAR CREATES A LEGACY OF BITTERNESS /
IV.) JUST LET ME HAVE MY MOMENT:

The name FACIALMESS should not be new to you, As this
is a project that has been putting out some of the highest 
quality and most creative Harsh Noise music for some time 
now. If by some odd chance this is a new name in your vocabulary 
then I guess this is as just a good place to start as any although 
their album "Pig Hydraulics" is a hard one to top. That being said, 
"Scam #69443 may just be the strongest FACIALMESS release since.
The title track opens this one bringing us into around six and a
half minutes of sonic badassery that although very well structured
and put together still comes across as more on the experimental side.
Blown out barrages of distorted, Glitching bass are heard sounding something
like mortar and machine gun fire as WWIII falls upon you. Distant samples include
vocal shouts, Classical style string arrangements, Ammo shells clicking as they
fall upon a hard surface and spoken passages in a grimly serious tone. Things
shift into a brief ambient passage before we're assaulted once more. This happens
continuously throughout the album. The harsher and noisier passages are fucking
brutal. It sounds like an army of machines, Pistons, Pumps and metal come to life
and plugged into one collective consciousness that's only thought is destroy. This
is an absolute ravager of an album with enough doom and gloom in the mix to make it
both brutal and completely dreadful. A war zone in some not so distant future. Think
of the most merciless battle scenes of a Terminator or Matrix movie where the machines
decide the world is theirs for the taking. Junk percussion's HEAVY synth drones, Low
end sub-harmonic movements. Everything an album operating in these genres should include
is included and on a level you have to hear to comprehend. Buzz saw synths end this one 
off and next up "They Just Scream Wealth" begins with dense, Desolate and utterly empty
Death Industrial/Isolationist Ambient with hints of experimental noise. Wavering synths
pulse cloaked in a warm buzzing distortion. Thick and fat saw style stuff. Then a mass
of mangled noise hits and hits fucking hard. Phasers, Feedback, Madness and mayhem. This
dies down to allow the nocturnal backdrop of crickets as a minimal pulse takes the lead
until the next attack. On the extreme side of Cut-Up and Glitched Out noise at moments
where at other times we are on the extreme minimal side. Rolling/shifting sound like
large weights being moved is heard. Lazer cannon bursts, Plasma beams set to KILL and
any other manner of aural death you can imagine other than vocals is present. Looped
feedback, Field recordings, Sound collage. This album has it all. The duality and contrast
of sounds featured on track two sounds like an incredibly effortless blend of what should
be impossible to bring together so fluidly. Steam hisses and courses through pipes as minimal
death industrial pounding plods into nothingness. Random, Yet haunting vocal chants and spoken
samples appear as metallic pipe clanging and corroded booming bass kicks hammer down hard. There  is so much to hear on the album that it's impossible to describe it all. Totally fucking merciless. "Going To War Creates A Legacy Of Bitterness" sounds like it'd be the title of some protest/anthem song but instead we're met with more glitched out aggression. Switching from almost rhythmic to fractured and disjointed chaos. Rapid fire blasts of cut-up pedal abuse in full swing. Droning repetition begins and is utterly molested by barrage after barrage. High end signals squeal and scream before they are smothered into silence. At times it sounds like someone ran a DISSECTING TABLE album through a blender and recorded the outcome. I've heard a lot of glitchy, Cut-up, Sound collage style stuff and as far as I know nobody does it like FACIALMESS. King of the genre in my personal opinion. It's like someone took the fucking audio tracks from the fight scenes of Michael Bay's Transformer films and isolated all the wreckage, Carnage, Clanging and Auto-bot assault and battery and burned it to a disc. It literally sounds like massive machines are wreaking havoc on every damn thing around you. Moments of this are stunningly violent. Awesome stuff. The finale comes as the longest track, "Just Let Me Have My Moment" which is pretty much everything kick ass about the previous tracks rolled into one twelve and a half minute onslaught. Miserable sounding drones wearily attempt to peak as chains rattle, Pipes burst, Manhole
covers are blown skyward and a thousand gears, Cogs, Hydraulics, Pistons, Parts of all make and model mash and malevolently mangle all in sight. In short, This cd will kick your fucking ass and make you it's bitch before you even know what hit you. Like a ten ton slab of fuck you falling from the sky directly overhead while you're dumb ass is obliviously taking a shit. You do not even know the beat-down coming your way before you put this bad boy in. Prepare for pain and be real fucking glade that FACIALMESS was courteous enough to fill the album with moments of respite (Although they are silent in a dark, Dingy, Dungeon of death and darkness kind of way.) To keep you alive throughout the disc. Heavy moaning drones and cavernous ambiance (Filled with laborious clatter something like a slave forced to work grueling conditions in a mine full of bullshit.) are present here. Loud and pulverizing metallic slams, Trash/Garbage/Wreckage/Etc type percussive elements. It's a fucked up album in the best way. You can almost feel the shackles you hear rattling as if they were around your malnourished limbs. Every time you think it's over this shit beats your ass once again. All I can say is recommended.

HANDS DOWN THE BEST CUT-UP/GLITCH NOISE ALBUM I'VE HEARD THIS YEAR:

10/10
-ABATTOIR-

breachingstatic.blogspot.com

Friday, July 1, 2016

REVIEW - FUCKMAKER - UNTITLED - CD

FUCKMAKER - UNTITLED - CD
TRASHFUCK RECORDS/TFR-19
HARSH NOISE/EXPERIMENTAL NOISE/CUT-UP NOISE
PRO PRESSED CDR IN JEWEL CASE
WITH INSERT.
FUCKMAKER IS:
PATRICK HARSH (BULLSHIT MARKET/REDSK/ETC)


I.) FATHER OF CASPER, ETERNAL DISAPPOINTMENT,
ACCEPTED WITH PRIDE:
This is a pretty neat Harsh Noise album. Obscure song titles,
Strange cover art, And a whole lot of sonic aggression from
one man noise machine Patrick Harsh. This is a man with an
extensive back catalog. An individual who has been affiliated
with more bands and projects than I'm willing to list off here.
FUCKMAKER being one of his solo endevours. This track takes us
into almost six minutes of pain that shifts between Musique Concrète
style experimentation to overblown audio assaults and cut-up masses
of smothering intensity. Sub-bass crawls up on us and is soon lacerated
by a harsh attack. These attacks come in fragmented waves broken by short
intervals of tones so low they are almost silent. Distorted storms rage as
feedback and pedal blasts blend to create what sounds like a machine shop
become an animated monstrosity on a rampage against anything that falls into
it's path. Random audio clips and parts from unknown songs are chopped up and 
thrown into the mix adding to the confussion. The joining of sounds present here
hits hard like a ten ton slab of concrete landing upon your house hold. The feed
back ranges from shrill, Painful bursts to something like white hot hissing steam
spilling from a broiler room into your bedroom. Drums come in seemingly random 
cycles, At times sounding like low quality live recordings of some mystery band.
All in all it's a pretty fierce track and a cool opener.

II.) ...AND ✡☻★☻✡ WALLS TARNISHED WITH POOP:
At almost sixteen minutes, This is the longest track on the album. Initially 
hitting in a Harsh Noise Wall type style and quickly morphing into free-form
Harsh Noise experimentation. Heavy strikes rush in and pull out punctuated by
strange and chaotic segments filled with all kinds of weirdness. The track
shifts into HNW mode several times but with myriad additional sounds. Blown
out rhythms, Rumbling bass currents, Building distortion, This and more mingle
together into a giant cacophanous blur. There is a lot of detail present if you
take the time to really pay attention to the textures used here. This isn't just
a guy plugging in pedals, Flipping them on and hitting record. Even the stoic moments
appear to be more thought out. There's plenty of flow and movement as well to keep
things interesting and hold your attention. Drums and synth strings that appear to
be taken from an unknown song appear and add a new element. This seems to be the 
signal for all Hell to break loose as this is followed by abrasive percussives,
Blast beats at rapid fire machine gun speed, Hisses of harshness, Corroded distortion
in a smothering, Crushing rain that sounds like a relentless hail storm falling above.
Distorted vocal elements and dense bass guitars are heard. Sound collage taken to an
extreme. Anti-art to make the scholar question everything they think they've learned
and know. I'd love to see the reaction on a music professors face after having this
played in their presence at full volume. The confussion would probably destroy their
fragile minds as their pre-conceived notions of music theory are absolutely fucked
by the savage beating recieved by Patrick Harsh's Frankenstein creation. And while
we're on that topic...Yes, This is an absolute monster. Full of rage let loose in
a frightening display with zero restraint.

III.) OBSESSIVE-COMPULSIVE ANNOYANT:
If you're still listening after that last little number, You'll find yourself having
your ass handed to you once again via "Obsessive-Compulsive Annoyant which is a little 
over six minutes of musical masochism. Muffled and obscured ambience that sounds like
a horror film score right before a bloody brutal murder is heard buried neath ten tons
of caked on density in a distorted mass. The mixing is pretty cool and has sounds traveling
from one speaker to another and everywhere inbetween. Everything about this track sounds
fucking mean. Feedback, Fragmented and overblown bass tones, Crunching distortion, Other-
worldly high end tones. Everything that makes a badass Harsh Noise track is included but
I wouldn't call this an average Harsh Noise track either. The pacing and arrangement is 
perfect and keeps you engaged in the aural onslaught for the entire duration. Samples
are included but way distant in the mix adding a bit of mystery and obscurity to feed
the curiosity. Like cryptic messages encoded in ancient ruins. Before it can be decoded
the track comes to an abrupt stop so you're shit out of luck pal.

IV.) MEAN OLD DUDE:
"Mean Old Dude" finishes things off. What sounds like a garage band rehearsing is
heard in segments that cut off and reappear as a dull low roar of dense windswept 
noise arrives and persists. Static comes and goes on the fringes of the track as
seemingly random sound clips are once again utilized. Bass guitar, Lead guitar
feedback, The click of drum sticks, Voices, Vocals and drumming. It's like some
shitty local band is rehearsing as a maniacal Harsh Noise villian puts his diabolical
schemes into motion to wreck and ruin everything they're striving for. Maybe this is
the mean old dude? If so he has a thing out for these boys and his plots and plans have
been a success. A short track, But not a bad way to end things.

YOU CAN GET THIS BAD BOY AS WELL AS MANY OTHER KILLER RELEASES SPANNING VARIOUS GENRES OF UNDERGROUND AWESOMENESS ON THE TRASHFUCK RECORDS WEBSITE.  BUY IT. PLAY IT. LET IT SWALLOW YOU WHOLE, AND BE SURE TO CHECK OUT ALL THE OTHER COOL SHIT PATRICK HARSH IS AND HAS BEEN INVOLVED WITH:

7/10
-ABATTOIR-

johnathanfromeastpointe@gmail.com
trashfuckrecords.bandcamp.com