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-

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