Tuesday, August 16, 2016



Considering the nature of A.Z.A.B.'s subject matter, I wouldn't imagine this would appeal to certain crowds, I.E. Hipster or sensitive types, Those who prefer things to be "politically correct" and especially any of the Antifa people in the noise scene. So let the record show that I warned you. A.Z.A.B. does fierce and intolerant Harsh Noise/Power Electronics music that hits like ten tons of concrete. This newest release via Vanguard productions is (In my personal opinion) the crowning achievement to date. Everything that became the A.Z.A.B. sound on previous releases has been honed, Perfected, Utilized and cranked past ten. 

I.) SIEGE! (Intro) / II.) Age Of Inversion / 
III.) Mandatory (Political Rehabilitation) /
IV.) Retaliation 206 (Part I) / 
V.) Imminent Conflict (To The Imminent Death):

Five tracks are present on the A side (Deathmass) starting with the SIEGE! to intro the album. Spoken samples concerning assassinations (Of the president or anyone else who may be in opposition) in the name of "Saving a race" open the door for a flood of dense distorted drones and resonant humming loops. Minimal and ominous. Vocals rush in cloaked in delay/reverb and a little distortion. They create miniature vortexes that send ripples and shock-waves 
following each charred rasp and blackened growl. In between we are met with the same unchanging churning that began the track. After the second wave we are mercilessly tossed into a sea of warped noise, Strange signals behaving in strange patterns. Scratching distortion that claws at the ears and a growing persistent whine of feedback. Things morph and transform various times, Each seeming more manipulated than the last. The vocals remain as they first were. Bitter rage in a torrential rain and sleet of tones both dull and aggressive at once. Rhythmic noise patterns form and repeat  
like marching drones linked to a mother brain. They are soon slaughtered in a whirling blade-like attack. Experimental qualities have taken over. Fragmented patterns emerge followed by new and weirder loops filled with spacey signals transmitted into the cluttered air. Harsh windswept storms eat away as disjointed voices echo in a loud booming manner urging you to "destroy and take back." Bitter croaks and rasps come in along with a fine mist-like spray of static steam. 
The accompanying noise takes on a quality like that of sounds heard emitting from early computers. There is definitely a distinctive Sci-Fi feeling to this. Grainy and grey scale sounds to urge warfare through analog ammunition's. The ominous voice is still heard like an overlord barking commands upon uniform masses. Very gritty and surreal stuff. Dense gusts and muffled mortar fire rhythms. A resonance like the sound of jet fighters on the attack hangs in the air. Voices from  the central command post return. Still furious and surrounded by a static haze that spins into a maelstrom of aural aggression. "Retaliation 206 (Part I)" features spoken samples concerning hatred towards Jews and personal reasons for such feelings. This is soon carried by a tidal force of distortion. This sounds like a long lost recording discovered in a long abandoned army  bunker. Something taken from tape reels burried in decades of dust with the wear and damage of years apparent. Straight forward stuff that serves it's purpose, Says what it needs to say and leaves a wake of wreckage behind it. Pretty much an avalanche of hatred that presents it's case and leaves it at that. A political debate/argument/stance presented within a blizzard of noise. Repeating/slowing
samples are looped/manipulated for a neat ending to the track. "Iminent Conflict (To the Imminent Death)" also arrives with spoken samples that sound like they are decades old. This time concerning the direction and function of soldiers, Honor and manhood. It is later revealed that the sample is a quote of words of Adolf Hitler which should not be surprising considering the nature of this artist.
A Heil Hitler takes us into fragmented loops that conceal faint traces of sub-orchestral melodies. What sounds like heavy stones rolling against gravel becomes a loop that sets the pace until becomes an Ouroborus like drone feeding and excreting itself in endless cycle. The vocals here are similar to those heard earlier. Echoing rasps (This time with different settings) that cause repeating phantom cries. Everything on this album is very lo-fi and grainy. Even the "highlights" and moments of more movement and experimentation have a very old/worn quality. Like something recorded in a submarine deep in the depths. Everything sounds muffled as if by intense pressure. The
same sorta thing is often a feature of many Black Metal bands. Not a bad thing. Just less and less common to hear on Power Electronics albums these days, Especially one that came out in 2016. Additional samples and booming rhythms. Endless roaring like a blaze in the
near distance. One that has already swept you away at this point.

VI.) Eradication Pyres / VII.) Sterilize/Sanitize /
VIII.) Invade The Adversary / IX.) Retaliation 206 (Part II) /
X.) Ravensbrück (Final Solution Cover):

So far this tape is just as grim as the album cover hints at it being. "Eradication Pyres" opens side Ruination with a dense slab of harsh noise. Grinding textures and squealing high end notes. But once again with a somewhat muffled quality. Ascending/diving synth waves escort hostile, Echoing vocals into the frame. A.Z.A.B. has chose his method of attack and remains locked in. Never
venturing too far from his preferred mode, But if it works why fuck with it right? Again A.Z.A.B. strikes accurately with a minimal fury that somehow feels more punishing than many more in your face tactics. Audio warfare in aktion. The vocals come in abrasive, Distant jabs that come out of nowhere and bring lethal force even though the overall sound is somewhat brittle in comparison to
many other similar projects. Still I can see this appealing to those into label mates LONE WOLF INSURGENT, SPIC, PLANTATION, Etc, As well as other artists operating in a similar method. There is a very honest and straight forward quality to the work that is rarely heard on albums released past the 90's. An ode to the glory days of Power Electronics and Death Industrial. "Sterilize/Sanitize"
begins with statements that the Jews are overall collectively a vile and murderous people. Following is a hail storm of harsh textures. A flurrying blizzard of white noise, Warped radio transmission signals, Fragmented rhythms that appear and vanish and myriad other bloops
on the radar screen. Free form experimental noise style fuckery on display featuring additional samples and encryptic propaganda that sounds like it's coming from an isolated outpost on some treacherous frozen tundra. Snow bunker electronics. "Invade The Adversary" brings fourth
broken sounds that wearily trudge onward in a mid-tempo rhythmic noise march. Whistling like a jet landing and the engines winding down lead the way for charred vocals that sound like they bring a blanket of ash behind them. Panzer grade power backing every word. Deadly and a little unique on the album compared to other tracks. Early Industrial style rhythms pave the road and become a path leading to battle. The vocals really stand out to me on this one making this my favorite track on the album. They feature a bestial brutality that is rarely heard in Power Electronics these days. The noise here sounds worn and eroded as if it were decaying and decomposing as it goes on. Interesting rhythms round this one off and take us into the intro samples of "Retaliation 206 (Part II)" which serves as a sequel/continuation of what we heard on side Deathmass. This one also features some pretty awesome rhythmic elements. Churning cycles as if created by the limbs of some massive piece of industrial machinery in an old factory at the edge of town. Shifting and
sliding harsh noise is heard as avalanche waves barrage us without remorse. This is hacked, Slashed and blended into a battering of swirling sound. Turbine blade patterns that chop, Slice, And eviscerate in emotionless butchery. Uneasy sub-bass movements churn beneath like an upset stomach. Frustration and irritation growing by the moment.Multiple mechanical/factory grade industrial elements are present making this another one of my favorites on the cassette. Additional blizzards beat down upon us as distant sub-melodic ambient patterns dance like an Aurora Borealis above it all. Buried samples slowly make their way to the surface along with a mechanical beeping that 
abruptly disappears as smothering density eats said sample away. They soon return looped over harsh rhythmic noise that fade into strange ambient tones until the samples take the spotlight at the finish. We end with a cover of FINAL SOLUTION's "Ravensbrück." To be honest I haven't heard the original in a long time and can hardly recall what it  sounds like (I'll have to get on that soon) But I can tell you that this sounds pretty damn cool. Humming machines fire up as burning coal ambiance fills the room like a sudden rush of smoke. The vocals smolder under this haze and stretch out like grasping hands from within the soot and darkness. Definitely one of the more menacing tracks here.
The vocals are heavily processed through glitchy/robotic/computerized effects but are still very clear and cohesive. A vacuous wind carries the track along, Generated from a sub-bass undertow that sweeps beneath. Another aggressive minimal piece to finish things off. 

Although at times it tends to feel like things drag on a little too long 
(This has always been my opinion when it comes to A.Z.A.B.) Overall Intrinsic 
Deathmass Of Zionicidal Ruination is a success. Pretty solid stuff when it comes 
to heavy, Lo-fi electronics:



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