CONCRETE MASCARA - PERENNIAL DISAPPOINTMENT - CD
POWER ELECTRONICS/HARSH NOISE/DEATH INDUSTRIAL
PRO CD IN A JEWEL CASE WITH 6 PANEL INSERT.
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: