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

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