Friday, December 23, 2016

REVIEW - PCRV - CONTEMPORARY PROCESSING - CD

PCRV - CONTEMPORARY PROCESSING - CD
BREACHING STATIC/BS78
EXPERIMENTAL/HARSH NOISE/POWER ELECTRONICS
PRO CDR IN A JEWEL CASE WITH INSERT.
PCRV IS:
MATT TAGGART - ELECTRONICS


FIVE TRACKS NO TITLES. LET'S GO AHEAD AND CONSIDER
THEM CONTEMPORARY PROCESSING PARTS I-V:

This is another one of my favorite Noise releases from this year. 
It's one that seems to have fallen below the radar as I expected 
more hype to build around this after hearing it. PCRV presents five 
nameless tracks that seem to get weirder and harsher as one turns into 
the next. Each track is over ten minutes in length which roughly brings
this monolithic album to over an hours worth of playtime. The album art 
hints at vague surrealist themes with a bit of a modern/contemporary art edge. 
The music however takes us into an exhaustive journey through cosmic Sci-Fi/
Spacey Noise, Strange synth filled alien worlds and black hole galaxies.
There is a lot of force and power on this one. Buckle in and let the 
pressure crush you. 

Track one. We accelerate and ascend into over fifteen minutes of 
experimental drifting. Lovecraftian madness slowly enfolds as a stellar mix 
calmly gathers and begins to drip from out of the speakers. Melodic glitches, 
Spraying static, Deep bass synth rumbles, Screeching feedback...It all blends 
into a daydream. A soundtrack for dismal wandering. The melodic elements are
simple, Yet haunting. Icy tones and textures seem to mimic the drip of melting
stalagmites. Acid laced strands of sound rise and fall as warning signals ascend
and drop. Humming drones churn into foreboding sub-melodic rhythms. Phased out
pedal noise grinds, Twists, Turns, Shrieks, Fades and repeats. Moments here sound
like alien machinations revving up to fulfill malevolent purposes. Wet effects are
utilized on pinging unearthly lead patterns that attempt to blur reality. Myriad
disorienting lulls are employed. I don't know what sinister plot PCRV is attempting
to unfurl...But it's certainly pulling me in. Tractor beam electronics. Threatening
experimental freak outs lash out and recoil as an entire pedal board seems to put in 
overtime. Multiple signals and transmissions fill the air while shimmering synths
warp into screaming feedback. Cyclic patterns spin like satellites in orbit. The
moments that seem still and quieter are often the most sinister sounding. Matt
Taggart is a man who is in control of his gear. Meticulously crafted and composed
work here. Although the nature of the release is very experimental...It is apparent
that Taggart really knows what he's doing as he's on a level close to mastery with
Contemporary Processing. Violent outbursts over doomy interstellar drifts, Spiraling
textures and repeating feedback segments finish up track one, Leaving you spellbound 
in it's dizzying sonic brilliance. 

Track two is the longest here at over sixteen and a half minutes. A punchy synth
drone intro comes on wavering wings. Slow and curious, As if inviting us further 
down the rabbit hole. Resonant energy reaches peak levels as turning knobs produce
grinding electronic power. Static gathers in several low gusts that seem to linger
rather than rage. Feedback and Harsh Noise lead notes reach skyward over and over
again. Music for meteor showers and solar eclipses. Just about every effect and
filter you can imagine is used at some point. There is a duality to this release
as well. Calm backing tracks serve as launchpads for free form electronic fuckery.
The mix is quite intoxicating. The pedals chirp, Hum, Grunt and choke in countless
different ways. At times sounding like creatures from another plane of existence
far beyond our own. Around midway through track two this becomes a frenzied gathering.
Harsh blasts finally erupt and storm until they fall to sudden silence. Crystal beams
shimmer providing a brief relief before we're hit again. It sounds like we're in a 
vessel that is quickly spiraling to a fiery death. Every alarm, Pulse, Signal and alert
is firing off as we head into the red zone. All becomes a haze of intensity and adrenaline.
Pedals reach max peaks and fall off into immense drones. This is followed by a near silence
populated by scratching textures. Loud bursts suddenly hit and vanish. A mock crescendo that
leaves us in a state of anxious uncertainty. The feeling that disaster approaches but having
no way of knowing exactly what, Where or how to prepare. Guess we're fucked cause all Hell
just broke lose. PCRV lacerates the listener to shreds with a combined attack of Cut-Up
Noise and dense overblown static blasts. It ends with cold empty drones and playful Noise
experiments. Dead or dreaming. At this point...Who knows...

Track Three is the shortest, But here that means slightly over ten minutes. Ultra
dense rock slide rhythms covered in reverb quickly build. It sounds like a cavernous
sub-terranean world has revealed itself before us. Hurried pulses fire off and squeal.
Another gathering of bizarre inhuman lifeforms perhaps? Miniature plasma cannons shoot
the shit bat-like chirps meet with rough distorted scratching. Murky pools bubble and
froth, Synths gain momentum and start to take flight, Failing in their own frustration.
Quick patterns and chaotic rhythms appear as Sci-Fi soundtrack synths play out songs
of warning. The musical equivalent of a sign reading "Abandon All Hope, Ye Who Enter
Here." Cinematic terror begins to sink it's heavy claws in as tones weave together
to form new threats. Luckily this fades before completely consuming us. What we have
after that is a really fucking out there demonstration of just how off the wall Noise
music can be. I don't even know how to word it to be honest. Alien sounds from alien
worlds. It's as if PCRV has opened a portal to another dimension, Shoved our asses
in, And sealed the rift behind him with the turn of a knob.

Track four. Fourteen minutes/Thirty nine seconds. Sonic death. Harsh Noise rushes
in and smothers the life out of everything. Like some asshole just opened a door
that was sealed for a fucking reason and now we're all fucked. Punching synth 
attacks are delivered hard. Type of shit that will smack the smirk off your
damn face. PCRV was just fucking with us before. Like a beast toying with it's
prey before sinking it's sharp static fangs in. Everything that was present
on previous tracks is amped up, Cranked to ten and set lose. A blur of every
aggressive and disorienting tone and sound PCRV could manage to conjure up...
Unless he is holding back in which case I guess we should be thankful. This
is some truly oppressive work. Turbines roar, Whine and take off. Rocket
engines melt all in their radius as fires light. Feedback pours in heavy
streams. Pure Harsh Noise Hell. If this is just a warm up for the closing
track then we're in serious fucking trouble. Caustic atmospheres blow in
and storm shit up as high notes squeal over glitched out soundscapes. 
Fragile glass-like melodies play out as the mind creates odd images of
uninhabitable landscapes. Piston rhythms pump and smash, Drones break
and fall into obliteration, Knives of plasma slice in psychic attacks,
And all is utterly consumed. A mindfuck and a half.

The final track is a little over twelve and a half minutes long. It
finishes things off in a manner similar to the previous but more
hazy and smothered. Obscured patterns attempt to emerge from under
a thick smokey blanket of dense Harsh Noise. Caustic, Seething, Scathing,
However you want to describe it...It's ferocious. Hissing noise like that
caused by steam rushing out of a broken pipe is heard as rhythmic signals
transmit looped messages unknown receivers. We're definitely in much harsher
territory than we started out in. PCRV doesn't let up once things kick off.
This track particularly has a real old school Sci-Fi quality to it if you pay
attention to the details within the massive haze that conceals them...It's a 
damn near religious experience by the time you get halfway through this track.
Such a sensory overload that it feels like your head is about to fucking explode.
As far as Harsh/Experimental Noise goes...This is my favorite release of 2016.
Absolutely fucking crushing. HEAVY low end bass rhythms pummel their way into
existence over and over again as spacey drones wail through delay/reverb.
Various drones gather and echo off of one another as sheets of static wrap
themselves around. Clouds of hazardous sound come as a solid mass and I 
think my brain might be melting? Slimy wet electronics slither up your
spine as the album comes to a close. What a fucking trip. Awesome from 
start to finish.

TREAT YOURSELF TO A COPY OF THIS FOR CHRISTMAS. SEASONS BEATINGS:
10/10
-ABATTOIR-

mattaggart@yahoo.comm
breachingstatic.bandcamp.com
breachingstatic.blogspot.com

REVIEW - LES HOMMES-CHIENS/ACTUARY - LE VIDE MEDITATIF - CASSETTE

LES HOMMES-CHIENS/ACTUARY - LE VIDE MEDITATIF - CASSETTE
G.B.S. RECORDS/GBS021
DARK AMBIENT/EXPERIMENTAL SOUNDSCAPES/HARSH NOISE
ON DARK BLUE CASSETTE WITH PRINTED STICKER LABELS 
ON BOTH SIDES.



SIDE A.) LES HOMMES-CHIENS:

I.) MEDITATION AU CENTRE DE L'OEIL ROUGE:
Ok, So on the A side of this split we have the extended ambient workings of 
LES HOMMES-CHIENS. This single track is my personal introduction to the project 
so I had no real way of knowing what to expect 100%, But I had a good idea that 
it might likely be something very dark and very slow since it was paired with 
horrific Death Noise/Industrial act ACTUARY...and I was surely right. Lone 
contribution, "Meditation Au Centre De L'oeil Rougue" (Which translates to 
English as: "Meditation In The Center Of The Red Eye.") Or at least as far 
as I could dig up that should be at the very least roughly accurate. If so,
Then that would explain why it sounds as surreal and eerie as the cover art 
and layout suggests. (*On that note, I couldn't find a proper translation of 
the album title but I did discover that LES HOMMES-CHIENS appears to translate 
to "The Dogs" in English.*) Anyways...As we first embark on our psychedelic 
nightmare and transcend into the red we experience deep synth strings churning
out a muffled slow motion dirge. Hazy atmospheres build as windswept textures
gather around cosmic signals and wavering drones. Suspenseful bass rhythms come
as a minimal mid-tempo thump that pumps like a beating heart. Synth saws moan
and linger in reverb laced strokes that paint strange and wondrous images 
within the center of the minds eye. Although this sounds isolated, Cold, And
empty...There is a certain warmth to the deeper notes and tones. Like flickering
flames to keep us alive in a barren environment during the harshest of winters.
On that note...This could serve as a successful alternative soundtrack to certain
scenes of John Carpenter's version of "The Thing." It seems I was pretty dead on
in my initial judgment of what to possibly expect from LES HOMMES-CHIENS here. I
don't always nail it but when I do I feel a little proud of myself. Eventually 
everything here seems to warp into a spinning vortex of emptiness. A void of
endless solitude. A dark and resonant tempest where time seems to stand still
or in a state near suspended animation. The sound is immense, Barren, Gnawing
and powerful. LES HOMMES-CHIENS takes the standard Dark Ambient sound and 
meticulously expands upon the subtle textures that can greatly enhance an
album for the listener. This is the type of sound I'd expect to hear on a
Cryo Chamber release. Desert Rock guitars can be heard in the distance as
caustic static blasts, Bellowing drones, And Space Noise experimentation
are heard far off in the distance. So many vague patterns, Changes and
movements can really add a lot, For example, Cinematic pacing is a key
element to a successful Ambient piece (At least in my opinion) And this
is strongly present here. Composition and timing are excellent and the
way LES HOMMES-CHIENS weaves it all together is close to flawless. 
Mournful and foreboding themes play on misanthropic winds. Ghastly passages 
filled with haunting sub-orchestral melody shine through the murk towards 
the end and carry with them a sense of anxious restlessness. Lead guitars
fill the role of wailing wraiths as spectral melodies glide in seemingly
ignorant of the surrounding darkness. Steady tempos return and wind down
into a quiet meditative area. True music for seasoned hermits and wanderers 
alike.

SIDE B.) ACTUARY:

II.) FOR A SPELL / III.) PRESCRIPTION VOID / 
IV.) TERMINAL OUTRO:
On the other side of the void we have ACTUARY, Who I am very familiar with and quite
a fan of as well. ACTUARY craft blackened sonic ritualscapes in a manner all their
own. Decay, Degradation, Rust, Rot and withering. These are all words that come to
mind when thinking of past releases from ACTUARY. With "Le Vide Meditatif" We see
these dogs of darkness in a slightly different, But still fitting form. "For A Spell" 
slowly drags us away, Utilizing see-saw drone patterns in queasy waves, Otherworldly 
animal-like sounds, Chirps, And voices fill the air...Echoing in their peculiar tongues. 
High end signals drift and become electronic waves that wail and resonate in the upper 
atmosphere. This is the type of music that will cause the listener to ascend and drift 
off into the deepest recesses of the imagination. Synths pulse into rhythmic drones before 
being devoured by a raging static/feedback combo along with lead synthesizer notes that stretch 
into their own oblivion. Spoken samples offer dreary, Slurred and indecipherable conversation. 
Oscillators slowly put in work as they wander in various directions. There is a lot to be 
pulled in and lulled by. Trance inducing music that feels like it's slowly eating away at 
your very life force. Draining and leaving to drift endlessly in the rivers of the empty void 
beyond. Death meditations for true devotees. So obviously ACTUARY have taken a slightly more
surreal/psychedelic route on their contribution to this release, But in their case this has 
been a good thing. The direction goes perfectly with what is featured on the A side and also
manages to fit the bizarre surreal-horror vibe of the release as a whole. A great split is 
most often one featuring artists who perform complementary roles with one another, And that
is exactly what we have here. "Prescription Void" follows taking us into another hallucinogenic
soundscape of ritualistic LSD level madness. (Surrealists, Occultists and drug fiends take note,
This is a good one to plug in, Light-up, Crank loud and trip away to.) Ok so, powerful synth
drones wash over us. These have a semi-retro 80's vibe to them and invoke aspirations towards
exploration and mastery of cosmic secrets. A prescription void is exactly what it sounds like
we are in. A lo-fi technicolor nightmare trip that sends us slowly spiraling downward as synths
howl and heavy electronic drones buzz in distortion and rumble with a strong sub-bass pulse.
Phasers run slow as raspy blackened screams fill the void with venomous phrases and poisonous
negativity. Other drones hum and resonate like radiating chimes viewed/heard in a fevered or
dreamlike state. The soundtrack to the very fabrics of existence slowly unraveling as insanity
claims the throne to reign over you for all eternity. A deep and evocative listening experience 
on several varying levels. Minimal synths carry us into a drug fueled coma until, Finally, Our 
descent into madness ends with the grim and foreboding end piece, "Terminal Outro." Death comes on cold resonant wings. Thick ambient strands vibrate like slowly plucked bass strings as slow motion lead notes cling and drop as thick liquid pools. Humming mechanical motors create miniature quakes beneath our boots. Grinding rhythmic noise and phased out experimental noise pulses and signals join together to form a hazy choir of sci-fi chaos. Chirps, Bloops, Bleeps and beeps...Sirens,
Alerts and alarms. A multitude of electronic energies all surging in free-form weirdness within
the parameters of the piece. Bubbling electronics, Wet effects, Pedal drones, Oldschool sounding
synthesizers. You name it. ACTUARY will take over your mind like a parasite until you are nothing
but a stupefied shell. Sweet dreams.

A TRULY GREAT PAIRING. EXTENDED ISOLATIONIST SOUNDSCAPES TO TAKE YOU
PAST THE MOON AND BACK...OR MORE LIKELY, JUST LEAVE YOU THERE TO SUFFOCATE
IN THE INFINITE FROZEN REACHES OF SPACE:

8/10
-ABATTOIR-

www.hommes-chiens.bandcamp.com
www.actuarysound.com

Tuesday, December 20, 2016

REVIEW - LIMBS BIN - BLISS TECH - 7 INCH FLEXI

LIMBS BIN - BLISS TECH - 7 INCH FLEXI
FOLLOW ME INTO THE LASER EYE/MOON MACHINATION PRODUCTIONS/MMR009
NOISECORE/DIGITAL HARDCORE/CYBERGRIND/HARSH NOISE/EXPERIMENTAL/POWER ELECTRONICS
TRANSPARENT SINGLE SIDED FLEXI WITH ORANGE TEXT. COMES IN A PLASTIC SLEEVE INSERT 
CONTAINING LYRICS.
LIMBS BIN IS:
JOSH LANDES


I.) BLISS TECH / II.) STAGE TIME / III.) PROVE IT / IV.) ON THE EDGE /
V.) S.U.R.V.I.V.A.L. / VI.) I AM A NUMBER / VII.) LIVING IN TEARS /
VIII.) FEAR IS PRIDE / IX.) SAVAGE INDIFFERENCE / X.) THE TRIGGER /
XI.) GRIM INEPTITUDE / XII.) TO LOOK AWAY / XIII.) WHY CHANGE /
XIV.) THREE NIGHTS XV.) SKY SEEMS TO FALL:

LIMBS BIN came out of nowhere this year with this solid little release.
This shit hits as hard as a thick concrete brick to the fucking face. 
Fourteen blast tracks in under four minutes. Every one locks in and strikes 
with a fury. This is executed in a similar vein as artists like PISS JUNKIE,
GOODBYE CRUEL WORLD, Etc. CyberGrind/Digital Hardcore meets Experimental Power 
Electronics. From title track "Bliss Tech" straight through to the closer "Sky Seems To Fall,"
we are bitch slapped repeatedly in with no track over or quite reaching
a minute long. In these brief, Yet agonizing four minutes we are assaulted
by pulsating drones and bass heavy programmed blast beats that really rumble 
and shake the floor at a level above your average release. Similar to the way
AGORAPHOBIC NOSEBLEED had those shotgun digital grind blasts in the early days.
A kick to the gut and a punch to the teeth. On top of all this, Each time the 
drums hit we are also barraged by distorted, Raspy screams with heavy vibes 
of bitter angst and aggression. The lyrics are delivered as sharp crisp statements 
wrapped in a perfect static to emphasize their short and obscured/buried messages.
Though this is a very short release it is worth picking up and definitely worth blasting.
If you ever need to destroy a neighborhood's comfort and/or sanity in under five minutes,
This is the way to go. One of my favorite releases this year. 

UNDOUBTEDLY THE BEST 7 INCH RELEASE THIS YEAR.
I WISH IT WAS LONGER BUT RESPECT THAT IT BREAKS IN,
SMASHES EVERYTHING, AND LEAVES A DEMOLISHED WRECK IN IT'S WAKE:

10/10
-ABATTOIR-

limbsbin.bandcamp.com

Wednesday, December 14, 2016

REVIEW - FECAL VOMIT - 434343 -CASSETTE

FECAL VOMIT - 434343 -CASSETTE
NOISE CO. 213
HARSH NOISE/EXPERIMENTAL ELECTRONICS
RED CASSETTE MARKED A & B PACKAGED IN
A RESEALABLE PLASTIC BAG WITH PAPER
INSERT.


NEITHER SIDE IS TITLED AS FAR AS I CAN SEE.

Let's begin:
This recent release from the strange and repulsive but compellingly
titled FECAL VOMIT is quite mysterious at first glance. From the
album artwork on the insert depicting what appears to be a single
monk floating in some kind of enlightened meditative state while
other disciples sit in circles below, To what is possibly a vague 
reference to magick systems utilizing numerology with the album's 
title, And the unknowable secrets contained within the untitled 
compositions, I'd say it's safe to say this will be a strange
esoteric ride through sonic realms of higher consciousness.

SIDE A.)
Side A begins with whipping voice samples, Buzzing drones and
bubbling electronics. This is already some LSD trip, High level
psychedelic shit. Booming vibrations create landslide rhythms as
wet electric bubbles slip and pop all around you. Synth drones 
are grinded into shredded versions of themselves until a wall
of smothering feedback asphyxiates and suffocates. When this
lets up all manner of strange and twinkly creature is heard
making many peculiar sounds in their particular tongues. It
sounds like we are being swarmed by some squishy, Jelly-fish
like alien species. Fragmented radio transmissions come in
choppy waves that mock any real attempt at communication.
Frantic static screams and screeches mirror the horror of
panicked voices as we are helplessly assaulted by the alien 
force. Whatever revelation we are in for. It sounds as grotesque
as the name FECAL VOMIT would suggest. It's like a nightmare
consisting of only the noise elements of Porno-Grind, Only
backed with an Experimental/Industrial pulse. Strange sounds
from dimensions and planes of existence far beyond what we
know as the norm. Sounds like those of dripping Lovecraftian
deep-space madness as it erects into form and devours you.
There are slower, More still moments where we hear machine
-like hums along with ripping, Tearing, Flesh stripping 
distorted sounds. Junk is fumbled until it takes a percussive
form and all blends into a mind numbing blur of samples, Feedback,
Distortion, Noise experimentation in mid-high range tones, And later
what sounds like the agonized cries of a dying wild cat of some sort.
Space Panther!!! Hell if I know what to call it. It's weird and it's
fucking brilliant. All the staples of an interesting Harsh/Experimental 
Noise track are present and the weird human grunts at the end build a 
cool tension to close the side with. The perfect tape for high times 
and late night obliteration.

SIDE B.)
If you're still able after the previous aural mind-fuck, You'll find
an equally interesting soundscape to become lost in on the B end of
the bizarre galactic world that is this FECAL VOMIT tape. (Side Note: 
I wonder what his friends and family think about his moniker, Or if
they know about it...I'd also be interested in knowing how they 
reacted when first hearing it if they we're introduced to it.[Both
the name and content.]) Anyways, Here we find minimal and monotonous
electronic buzzing that is quickly lacerated by a high velocity, Over-
blown Harsh Noise strike. Muffled samples are buried behind booming
and billowing clouds of static dust. This sounds like an entire planet
being wiped out followed by the surrounding star systems and onward.
High esoteric sonic sorcery to lay waste to all in creation. Vacuous
and ever expanding. Drones that gnaw and devour carry swarming rushes
of drill-like mechanical vibration. Small quakes to swallow quasars
along with all and any other matter. FECAL VOMIT cranks everything
to ten...Allows you to recover briefly and then hits again at full
force and then some. Noise Co. 2-13 have always impressed us with
their output over here, But few releases from any level shatter so
many brain cells and decibels. Horrific screams of terror, Matching
feedback, A fight or flight blur of obscured voices, Rumbling motors
and warmly purring machines all follow. It's a quieter movement, But
one that stirs both a strange comfort and a disturbing unease. It
feels like we've discovered a hidden secret recording or transmission
of the last moments of, Or possibly moments before a disastrous event.
Tremolo waves of static come at ever changing velocities, Vacuous lungs
heave dust into empty corners and windswept reaches. Strange music that
strange individuals like myself can really get lost in. 

HIGHLY RECOMMENDED FOR FANS OF: PCRV, METHLAB EXPLOSION, AUNTS ANALOG, NOVASAK,
+DOG+, ENDOMETRIUM CUNTPLOW, FACIALMESS, BOAR, XOME, ETC:

8/10
-ABATTOIR-

nundata@yahoo.com
nundata.bandcamp.com
noiseco2-13.bandcamp.com

Tuesday, December 13, 2016

REVIEW - STRAIGHT PANIC - BRUXISM - CASSETTE

STRAIGHT PANIC - BRUXISM - CASSETTE
FUCK MOUNTAIN LIMITED RELEASE
POWER ELECTRONICS/HARSH NOISE/EXPERIMENTAL/POST-INDUSTRIAL
CLEAR CASSETTE WITH STICKER LABELS.
COMES IN PLASTIC CASE WITH PAPER
J-CARD. EDITION OF 20. ORIGINALLY
RELEASED AS CDR ON APATHETIC TAPES.


SIDE A.)
I.) TOPOLOGY OF FEAR /  II.) CLOSE TO THE KNIVES /
III.) REQUIEM:

For those of you unaware, STRAIGHT PANIC is a project
primarily themed around Homosexual issues, Left leaning
event and true crime involving Homosexuals. 
Those of you who can't get into extremes on any side
of the spectrum should probably avoid Noise music in general,
But if you are here and just so happen to be offended or turned 
off by this concept, That's too bad...You'll be missing out on a
good release due to your own stupidity and lack of the capability
to remain objective or open minded to how others experience the 
world. "Topology Of Fear" opens with dark and solemn spoken samples
confessing violence and sadistic sexual fantasy. Confessions of fucking
and molesting hitch-hikers follow as eerie ambiance and what sounds like
the resonant hum of tires on the cold, Empty pavement are heard. Unsettling
to say the least. To know that these events actually occur to random individuals 
and communicate with (At least online) was capable of creating such an unnerving
atmosphere to be in. Pulsing synths and groaning waves of deep sub-atmospheric
sounds come rising and falling as semi-distant/restrained vocals attempt to
force their rage through the thick fog of sound. Grinding electronic signals
are heard as similar pulses come cranking out of the speakers. This transitions
into wintry gusts of white/grey static over inviting sub-vibrations that lull
you inwards. Agitated computers/machines voice their discomfort and sparse 
lashes of feedback quickly become longer and more common. Rumbling engines
below create a slow and steady roar until they expand into an airy hum...This
is soon blasted by harsh vocals and a static/shrill noise combo. The track 
remains quite haunting throughout, Although at times it feels more frustrated
and angry which brings an air of malevolence. Second track, "Close To The Knives" 
arrives on jagged early Industrial style synth rhythms. Spoken samples intro the 
vocals which are louder and clearer this time around. Each throat shredding scream
is cloaked in hissing distortion that sounds razor sharp. Delay/reverb tricks are
added which fill empty spaces over the minimal instrumentation. Later, We are suddenly
hit with a sonic bomb. Total experimentation with a lot of force behind it. Fans of the
early innovators of the Noise/Industrial/Minimalwave genres will find a lot to enjoy here.
Samples declaring "It's the straight people who are this countries problem" are heard right
before STRAIGHT PANIC drops another round of audio warfare over our heads. All make and manner of pedal and instrument are then abused in unison creating a glorious rift tearing display of
electronic fuckery...The minimal pulse persists..."Requiem" Closes the A side offering surreal
soundscapes buried behind sampled eye-witness news interviews concerning a bombing event at a 
lesbian club. Sawing patterns shift in and out in disorienting phased-out motions. In the 
distance we hear strange groaning movements and sub-orchestral melodies. These are present
most audibly at the end and provide an excellent outro to the first half. An intense listen
from a ballsy artist. Worth hearing. If it effects you, Negative or positive, It's doing what
music is meant to do.

SIDE B.)
IV.) LOWER EAST SIDE / V.) PRISON HYMN /
VI.) CRUISING/STALKER:
Program B drops us into the "Lower East Side" where we experience Industrial bomb blast 
rhythms that form a bass heavy percussive platform for distorted vocal assaults and gothy
rasps traced by feedback. Once again a fairly minimal formula is perfectly effective and
surprisingly powerful. A distorted vortex fans, Exposing it's gaping, Swirling mouth as it
attempts to devour the beat we opened with. Manipulation, Signal crossing and knob destruction
follow in a noisy hazed-out display. Vocals and rhythms return until they echo at the end as
if attempting to really drill their message into your head. Next up, "Prison Hymn" Takes us from 
the ghetto to maximum incarceration while giving us a dreary synth/string ambient dirge over 
equally gloomy sub-bass currents. Feelings of longing, Nostalgia, Loss and bitter-sweet recollection 
rush in swelling floods as passionate vocals are delivered as inspiring commandments...As if telling 
the listener to awaken to an urgent message. The ambiance is truly moving and stirs all kinds of warm and melancholic feelings. There is a slight 80's fantasy synth/soundtrack vibe at times, But nothing 
that makes this feel like it's relying on any gimmick. The drifty and dreamlike nature of the composition will pull you in though if you give it the attention it deserves. This is loosely close to the more emotional sides of NAVICON TORTURE TECHNOLOGIES or something similar. Self-Loathing, Yet tragically beautiful. Finally "Cruising/Stalker" brings back the more sinister vibes the album started off with. I must say that I am impressed  with how well STRAIGHT PANIC brought together very different, Yet related concepts as one cohesive album. "Cruising" opens on windswept gusts, Quiet objects/movements and a growing machine-like motor hum. Icy screams are delivered from some semi-close cavernous hide out as oscillators are tested and slowly tested
harder. The sounds of revving engines overlain between a demonstration of hurt filled memory and corrosive destruction until all is wreckage. Alarm-like signals soar as suspense and tension build to red levels. At this point it seems like we may be on a white knuckle ride to the end. Call your mothers, Tell em you love them and say your prayers cause conditions seem critical with no aid in sight. Toxic hazard zone Industrial for long, Lonely nights in post-apocalyptic times. Perhaps the soundtrack to America's future, Or maybe just wishful thinking...In the final moments all is harsh, Gritty as concrete, And as bleak as a nihilists birthday wish. Rabid Blackened screams and crushing bass distortion end this one. Heavy stuff.

ONCE AGAIN WE WE'RE QUITE IMPRESSED WITH STRAIGHT PANIC'S OUTPUT.
THIS IS DEFINITELY A PROJECT YOU'LL WANT TO KEEP YOUR EYES OUT FOR
AND YOUR EARS LOCKED ONTO. ORIGINALITY MEETS TRUE INDUSTRIAL TRADITION
WITH A MODERN TWIST OF PERVERSE HUMANISM AND TRUE CRIME MOTIFS:
7/10
-ABATTOIR-

straightpanic.bandcamp.com

Friday, December 9, 2016

REVIEW - GNAWED - PESTILENCE BEHOLDEN - CD

GNAWED - PESTILENCE BEHOLDEN - CD
MALIGNANT RECORDS/TUMORCD97
DEATH INDUSTRIAL/POWER ELECTRONICS/HARSH NOISE/HARSH AMBIENT
PRO CD IN A FULLY ILLUSTRATED SIX PANEL DIGI-PACK
GNAWED IS:
GRANT RICHARDSON
ALL SCRAP METAL, PERFORMED PERCUSSION, AND NATURAL
SOUNDS WERE RECORDED WITHIN SEWERS, AND ROTTING
ABANDONED INDUSTRIAL COMPLEXES IN MINNEAPOLIS, 2015.



I.) A BITTER HARVEST / II.) SERPENT IN THE RIVER OF THE ARMS
OF GOD / III.) THE HAND THAT FEEDS / IV.) PESTILENCE BEHOLDEN II /
V.) THE RIVER RUNS DRY / VI.) WHO SHALL REAP? / VII.) WHEAT FROM
CHAFF / VIII.) NIL BUT ROT (NEGATION IS PURITY) / IX.) PERDITION
(DEATHS DISEASE):

GNAWED has been a project I've been quite impressed with ever since
I heard his cassette on Out Of Body Records. In the following years
the project has had a decent output (Although not too prolific compared
to many of his contemporaries) Which is good to me. Quality over quantity
is always preferred around here. In 2015 Malignant Records released GNAWED's
debut with the label "Feign And Cloak" which was a departure from the scathing
Power Electronics sound of earlier outputs into a much more grim and dreary 
Death Industrial sound. This year GNAWED returns to Malignant with their
follow up for the label "Pestilence Beholden." In many regards this newest
full length album is a continuation or companion piece to "Feign And Cloak."
The Death Industrial elements are very present here (Smothering and oppressive
at times.) Perhaps even more note-worthy this time around is the fact that much
of the percussive and abrasive textures featured here were recorded on site in
abandoned industrial buildings, Sewers, And who knows what other crumbling, 
Dilapidated places. Although this has been done (T.O.M.B. comes to mind.) It
hasn't been done in a way producing these results as far as I know. 

"A Bitter Harvest" intro's the album dragging us into a subdued soundscape 
of flowing filth and slow-motion sludge. A black river of ambiance sweeps 
through and debut's the albums reoccurring themes which at times appear to 
be a very dark take on Judaeo-Christian religious motifs. Blasphemy, Anger 
and mockery stripped bare and raw. Windswept textures blow in urgent drones 
that quiver with negativity. The production/mixing is already evident to be 
top-notch. Crashing metallic junk percussion's clatter as unseen reapers emerge 
from the shadows. Haunting, Cold, and unwelcoming atmospheres populate darkened 
recesses that are seemingly unfit for human habitation. Richardson literally immersed 
himself in filth to create this and it does not go unnoticed. Distant voices crackle 
from blown out speakers, Delivering a message that is too obscured to pay heed to. 
The warning is clear regardless as strands of sonic doom close in. 

"Serpent In The River Of The Arms Of God" follows. A brief stay in a hostile 
environment. Moaning drones bleed out slowly as hidden figures carelessly throw 
metallic waste around a still room. In terms of pacing, This is quite intense. 
You know something dangerous is approaching and the suspense is almost too much. 

"The Hand That Feeds" creeps in with a sinister, Wavering drone, Distant dripping 
pipes, And all together uncomfortable atmospheres. Death Industrial thumps begin 
to boom, Each rattling through the emptiness. Experimental noise elements rise and 
flow as brooding synths slowly gain momentum. The vocals kick in suddenly.
Distorted and highly treated to what sounds like a wide range of effects/filters.
GNAWED has somehow taken the direction of "Feign And Cloak" down further corridors
of spiraling madness. Each track feels like its festering, Growing, To the point of
bubbling over into a thick poison injected into the listeners conscience. The type
of dirt and grime that stains the mind while blackening the lungs. Good luck scrubbing
that shit off. Especially from the inside out. Malignant is known for releasing records
that sound like disease as audio, But I can't think of a record that was this deep in
the muck since STEEL HOOK PROSTHESES "The Empiric's Guild." (Although THE VOMIT ARSONIST's
"Only Red" came close.) 

"Pestilence Beholden II" is a sequel to a track on last year's album. Oppressive ambient 
filled with deep and quietly quaking vocals. Music that engulfs the listener. Sudden metallic 
clanging rears its head as GNAWED begins to bare their fangs. This is about as overpowering 
as Death Industrial gets. A soundtrack to the arrival of malevolent Gods. Mercilessly powerful 
cold winds rush in as utterly terrifying vocals come in violent strikes. Richardson isn't playing 
around on this one. He has honed in his rage to perfection. Bitter verses are unleashed on us over 
and over as isolationist ambient textures conquer all and hard hitting percussion's beat us into 
total submission. 

"The River Runs Dry" delivers the news that God is dead. Drones rise with a strange tonality 
that is similar to the lowest notes of a cello. Feedback lingers on the fringes as pitch black 
resonance reminds us of the loneliness of our true nature. Meditative and bleak are key
words here. Feedback increases into a painfully shimmering brilliance. The sonic equivalent
of starring at the sun as eternal blind darkness takes hold. Industrial factory machines 
animate and squeal as if we've stepped into the heart of a construct torn asunder. A boiler
room chorus or the sub-orchestral flare of a hungry furnace. Even though it's an instrumental
piece it feels like a living mechanical organism. One long abandoned, Neglected and left to
rust as it becomes self aware and schemes revenge. 

"Who Shall Reap?" takes us into the bowels of the album. The floor trembles as heavy 
Industrial rhythms crash over what sounds like brass trumpets signalling war. Wraiths 
of chilling resonance dance overhead until lead synths usurp their place. The vocals 
are wretched bursts heavily cloaked in tremolo and other effects. By far one of the 
strongest tracks on the album. Richardson becomes a ferocious beast here. One that 
seems to hate you more than you think you deserve. The overblown vocal strikes only
get louder and more threatening with time. Relentless. 

"Wheat From Chaff" begins with static laced metallic fuckery. Synths rise slowly 
forming a weak pulse. The sound is brittle yet abrasive. Dreadful Dark Ambient 
drones replace the faint pulse as slamming percussion's rattle with bass and 
aggression. Harsh static textures welcome another vocal ass beating perhaps 
even more pissed off than the last track. Extremely hostile and not afraid 
to fucking show it. GNAWED sticks to a pretty simple formula on this record, 
But it's definitely working for him. The "drums" sound like falling boulders
crashing down upon you, Burying you in a ten ton tomb of industrial wreckage.
I don't know what happened in Richardson's life to cause him to create something
so utterly hopeless but it's a damn good record. 

"Nil But Rot (Negation Is Purity)" features looped industrial/metallic rhythms
that bring to mind some of the work on the last album. Heavy drones are laid
over-top that really cause a vibe of despair and uneasiness. A choir of caustic
roaring is heard in the distance along with screeching metal ringing. Again the 
vocals are all aggro and no mercy. Feedback and pedal abuse are amped up at times
which, Together with everything else going on, Makes for a really claustrophobic
experience. The weight of this track is felt hard as if GNAWED is trying to force
you into a premature grave once more. Killed and killed again. As for purity...This
is pure negativity and nothing more. A true tribute to the traditions of the genre.

"Perdition (Deaths Disease)" Hammers the lid on the coffin. The longest track on
the album at a little over eight minutes, "Perdition" builds on low, Despondent
atmospheres that are much more ambient than I am used to hearing from the project.
Strange spoken vocals (Samples?) recite unknown fragments in a solemn, Mournful tone. 
Sounds of despair and loss...Grief while lacking the ability to cope. I can't help
but feel hopeless and damn near suicidal while listening to this. Metallic textures
are present and sound like rusted shackles rattling as a frail corpse of a person
attempts to free themselves in vain. Emotionally powerful, Yet filled with a hollow
emptiness...The kind you can't shake no matter how hard you try...Like a gnawing
hunger after days in a lightless dungeon. Squealing and grinding metal movements
are heard...The mind is filled with images of plague rats feasting on the slowly
dying body of a person lost in a fevered delusion. Music for cold winter nights
alone. Absolutely alone. One of the most depressing album closers since HUMAN
LARVAE's "Home Is Where The Hurt Is." Music to give up and die to.

GNAWED HAS RETURNED SOUNDING MORE JADED AND HATEFUL THAN EVER. PURE NEGATIVITY
CHANNELED INTO A SOUNDTRACK TO SUFFERING:

8.5/10
-ABATTOIR-

gnawed.blogspot.com
www.malignantrecords.com