Thursday, June 29, 2017

REVIEW - LIMBS BIN - BLISS TECH+ - CASSETTE


LIMBS BIN - BLISS TECH+ - CASSETTE
AGGRESSIVE RHYTHM RECORDS/ARR016
NOISECORE/DIGITAL HARDCORE/CYBERGRIND/HARSH NOISE/EXPERIMENTAL/POWER ELECTRONICS
TRANSPARENT BLACK PRO-CASSETTE WITH GOLD PRINT.
COMES IN PLASTIC CASE WITH 4-PANEL J-CARD INSERT
CONTAINING LYRICS.
LIMBS BIN IS:
JOSH LANDES


SIDE A.) BLISS TECH+
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:

Ok so this is a reissue of one of my favorite semi-recent releases.
This excellent cassette reissue of LIMBS BIN's "Bliss Tech" flexi 7
inch, Entitled "Bliss Tech Plus" offers us all of the contents of the
original record on the A side. I reviewed the O.G. version and that 
can be analysed after clicking on the following link with that little
device of yours: ---> 

http://traumaticstaticwebzine.blogspot.com/2016/12/review-limbs-bin-bliss-tech-7-inch-flexi.html

---^ ---^ ---^ ---^ ---^ ---^ 
---^ ---^ ---^ ---^ ---^ ---^
---^ ---^ ---^ ---^ ---^ ---^

SIDE B.) LIVE IN LARAMIE (FOR DENVER):
(Recorded At Baby Hospice In Laramie, WY, On 1.25.17)

On the cassette version there is more!!! The good person(s) 
over at Aggressive Rhythm Records have blessed us with further
explorations of sonic bliss and technologically based soundscapes.
This time presented as a documentation of a live version of the
album. This is a rare treat for those of us (Like Myself) who 
live in shithole towns with no noise scene. (E.G. Here people 
listen to Pop/Rock hits, Shitty modern breakdown bands that claim 
to play HxC, Modern Country hits, Christian Alternative hits, 
Modern Radio Hip-Hop, And a slew of other God-Awful "art-forms.")
So yeah, For those of us who rarely have an opportunity to catch
a Noise artist live, Releases like this are a much appreciated
chance to at the very least have some resemblance of experiencing
a live performance from a band/project we enjoy. And let me tell
you, This is quite an enjoyable listen. Here we get a full live
set that is just as blistering and grueling as the original release.
One major difference being that on the live recording, Josh Landes
(Ya know, The dude that does Limbs Bin) adds a brief introduction/
commentary at the start of each track. Humor and the feeling of
being entertained by a true performer are present. I recently saw
Alice Cooper live. He is renowned for being a master entertainer 
in a live setting, And while it was mighty entertaining...One 
thing I noticed was that Mr. Cooper engaged in virtually no
interaction with the crowd. No words in-between songs. No "How
are you doing tonight!!!," No nothing. LIMBS BIN did not make 
that mistake. He seems very aware that it is his job as a live
performer to entertain within his mediums. Josh Landes nails it.
Strong content from a strong contender. 

AWESOME REISSUE. NOT ONE I EXPECTED TO SEE, BUT I'M VERY GLAD
IT EXISTS:

10/10
-ABATTOIR-

aggressiverhythmrecords.limitedrun.com 

Sunday, June 25, 2017

REVIEW - HOGGLE - THE CLEANERS - 7-INCH - LATHE CUT VINYL

HOGGLE - THE CLEANERS - 7-INCH - LATHE CUT VINYL
HAIR ON MY FOOD TAPES/HOMFR002/FOREVER ESCAPING BOREDOM/FEB-086
HARSH NOISE WALL/HARSH NOISE/HNW
TRANSPARENT VINYL WITH A/B STICKERS.
COMES IN DUST-JACKET/7-INCH COVER/PLASTIC SLEEVE.
HOGGLE IS:
JOE THE STACHE


SIDE A: I.) TERROR IS THE FIRST REACTION/SIDE B: II.) A NARROW ESCAPE FINDS A NEW PATH:

HOGGLE is the HNW project of Hair On My Food (And several other) 
label curator: Joe The Stache, Who's nickname is a reference to
his well groomed mustache. (R.I.P.) If you haven't put it together
yet, HOGGLE is a project themed solely around the 1980's film LABYRINTH.
The project is named after one of the films main characters, An imp-like,
Goblin-esque elderly fellow who accompanies the female lead on her adventures
in a bizarre Alice In Wonderland/Never-ending Story type fantasy world. Each
release by the HNW hoggle is themed around a specific scene/event in the film,
This particular release centered around the infamous "Cleaners" scene where the
characters barely escape certain death in a small underground tunnel via razor-
laden machines called "The Cleaners." Track one, "Terror Is The First Reaction"
Opens with samples familiar to any who've seen the film taken from the appropriate
scene. Following this we are absolutely pummeled with some of the strongest Harsh
Noise Wall material I've heard in 2017. To put it simply, HOGGLE sounds immense.
The artist has truly captured the claustrophobic, Smothering terror that one felt
watching the movie as a child. Suspense is mostly discarded and replaced with raw
tension. Now this is a 7-inch release so the walls present don't have nearly as
much time to expand and engulf as in a typical HNW format, But given the quick
and heart racing nature of the part of cinema we are dealing with, This is absolutely
fitting. Perhaps one of the most well executed and comprehend-able HNW style tributes
my ears have heard. Rusty, Rough edged, Jagged and hostile. The spiritless mechanization
of destruction that inspired these two pieces are extremely well represented. Track two,
"A Narrow Escape Finds A New Path," Differs slightly from the roaring furnace waves and
strange buried samples of track one. Both walls we're created using original audio from
the scene as source material. Side B follows the same path as the former, But here after
initial samples we go into a maelstrom of vacuous ripping/tearing distortion. An avalanche
of caustic junk and protruding barbs. Furiouser and furiouser. Both tracks offer a titanic
onslaught to the senses. Crank this loud and let the roar of the world fade into one of
greater power.

IMPRESSIVE STRENGTH. CAREFUL DETAIL WAS OBVIOUSLY PAYED TO THE CRAFTING OF
BOTH SIDES. A HIGHLY RECOMMENDED SLAB OF HNW GRADE HOSTILITY:

10/10
-ABATTOIR-  

HTTP://HOGGLEHNW.BLOGSPOT.COM
HAIRONMYFOODTAPES.STOREENVY.COM
FOREVERESCAPINGBOREDOM.COM

Friday, March 10, 2017

REVIEW - GOPOTA - MUSIC FOR PRIMITIVE - CASSETTE

GOPOTA - MUSIC FOR PRIMITIVE - CASSETTE
LUCE SIA/LS024
DEATH INDUSTRIAL/HARSH NOISE/HARSH AMBIENT
BLACK CASSETTE WITH STICKER LABELS,
COMES IN PLASTIC CASE WITH J-CARD INSERT.
GOPOTA IS:
AA & EVP

I.) INTRO / II.) MEANINGLESS / III.) SUMMA LITURGICA /
IV.) ATTITUDE / V.) EMPTY EYE:


SIDE A:
GOPOTA is an Italo-Russian project that crafts caustic sonic
atrocities and uneasy listening atmospheres like nobody's 
business. Today we'll be exploring their release "Music For
Primitive" which was released via the Swiss label Luce Sia,
Who have a solid back catalog of great releases. 

Side A opens with an intro piece that sounds as bleak and grim as 
the albums gritty, Xeroxed cover art. Dreary Industrial ambiance builds 
as a foggy drift. Trumpets sound as if signaling Armageddon. Stirring
synth strings add an eerie ambient element that sounds like something
that could have easily have worked as a soundtrack to a Wes Craven,
Clive Barker, Or Tom Savini film. "Meaningless" Arrives next on smothering 
static wings. Lo-fi windswept Harsh Noise textures are heard along with dense
Industrial pummeling in the form a slow steady kick-drum thump. The vocals
here are delivered as miserable moans that add an uninhabitable air of 
wretchedness and long-suffering. Live-wire lashes of electric energy whip 
out in buzzing strikes. Slamming Death Industrial percussion's come via the 
sounds of heavy machinery pounding and releasing clouds of skin blistering 
steam...Streams of Harsh Noise flow below as all begins to sound like a slow 
cruise down the river Styx. Each whip lash another's torment, Each woeful 
moan another's Hell. And that's what this sounds like; Field recordings from 
an observer in a Hell like the one depicted in Dante's "Inferno" Segment of 
his classic poetic trilogy. Feedback is used sparsely and lightly adding an 
unsettling chill. Deep bass vibrations rise from cracks below or beyond. 
The way GOPOTA captures despondent feelings is quite remarkable and reminds 
me of artists like TREPANERINGSRITUALEN, BRIGHTER DEATH NOW, And others in 
those areas of aural disturbance. Funeral paced despair, Decay, Emptiness, 
And utter grief on one convenient cassette. "Summa Liturgica" starts with 
the spiritual chants of monks. Blissed out within their own minds. Cold 
waves of static slowly creep in like a hunting morning tide. The chants 
reach peaks of divine beauty as Harsh Noise textures ebb and flow. Drones 
church beneath as lightning gathers in crackling electricity and humming 
fury. Blurred ambient movements create shimmering pools as vocals morph, 
Exploring new tones and depths. Whistling noises add a cool nocturnal vibe 
as things twist into a slightly more ambient direction. A haze of voices 
coupled with spiraling ambient dust-devils spill out over an obscured 
backdrop of echoing drums accompanied by gorgeous female choir vocals. 
Distant, Distorted Blackened shrieks/rasps are heard...Like someone who's 
lost within the slowly droning tempest having a mental breakdown...Alone 
with their own insanity...Things begin to drop into a slow spiral that sounds 
like a heavy mix of harsh anxiety and drugged out mental oblivion. The compo-
sition's depth here is engaging and all is very well arranged. GOPOTA are 
talented individuals within the genre and I hope many of our readers check 
them out soon.

SIDE B:
On the back end of the cassette we start with "Attitude" which blows in as gentle
Dark Ambient filled with shifting sounds in cyclic movements. Calm and warm tones
glide and blend with colder clinical Industrial aspects. Breathy sounds and humming
drones collide in slow motion as glassy organ-like melodies are played softly from
somewhere within the haze. Sub-bass vibrations rattle and quake as additional Noise/
Experimental sounds float overhead. It sounds like this was recorded in a cathedral
in a misty ancient place. The quiet melodic arrangements featured here blend in well,
Rather than contrast the murky, Swamp-like ambiance of the piece...Again showing off
GOPOTA's composition skills. This is music that will lull you off into a drifting,
Dreamy state. Transcendent work that fills the minds eye with vibrant rushes and
frightening imagery. A marriage of brooding darkness and frail beauty. The sounds
collected here (On this track and the others) explore a variety of emotional realms.
Primal fears and brittle dreams, Nostalgic images and horrid nightmares. GOPOTA has
a lot to offer despite their fairly minimal nature. Lush and crystalline synth notes 
combine with deeper synth pulses and distant percussion's to end the track. "Empty Eye" 
closes the album, Taking us into dense, Slightly distorted drones that feel like they've
climbed out of primordial depths. Harsh walls roar softly in the distance as curious
ambient measures expand and explore. Claustrophobic atmospheres are created along with
feelings of tension and frustration within the music. Being immersed in this feels like 
stepping into an ancient temple containing vast metaphysical knowledge. Arcane secrets
buried within washed-Out wastes among long forgotten and partially fallen stones...But
like all great works of art...It's more or less open to interpretation. Various vocal
chants blend and form a hanging cloud. A deeply pulsating drum rhythm is looped. It
warps and changes as mysterious spiritual vibes energize the air. Cacophonous Industrial
clatter suddenly falls upon us and then vanishes into another extended ambient segment
that eventually builds and grows slightly harsher and quite a few degrees darker. There
are melancholic moments that really dig their emotionally draining talons in you if you
let them. We end in this territory where we hear this as well as metallic scrapes, Object/
Junk abuse, Static/Distortion and pulsing bass frequencies. Quite a journey.

PACK WHATEVER SUPPLIES YOU MAY NEED. GOPOTA'S "MUSIC FOR PRIMITIVE"
WILL TAKE YOU INTO ABRASIVE WASTELANDS OF EMPTINESS, DREAD, FLEETING 
BEAUTY AND VOID WANDERING:

8/10
-ABATTOIR-

https://www.facebook.com/LUCE-SIA-168848936784613/

Tuesday, January 31, 2017

REVIEW - ZOLOFT EVRA - MURDER CHAMBER - CD

ZOLOFT EVRA - MURDER CHAMBER - CD
FROZEN LIGHT/FZL047
BLACKENED AMBIENT/DEATH INDUSTRIAL/DRONE DOOM/EXPERIMENTAL NOISE
PRO CD PACKAGED IN A JEWEL CASE WITH 8 PAGE INSERT.
ZOLOFT EVRA IS:

ZC 
(MACELLERIA MOBILE DI MEZZANOTTE/DETOUR DOOM PROJECT/CRONACA NERA) 
- DRONES/SYNTHS

BLACKFROST 
(APOLOKIA/EX-NORDAVIND/EX-NOSTALGYA/EX-IN NOMINE) 
- RITUAL VOICES/LYRICS

COLD 
(NOCTURNAL DEGRADE/SCENT OF SILENCE/DER NOIR)
 - SHARP RAZOR GUITARS/FX


Today we will be diving into the smeared depths of ZOLOFT EVRA. 
A project formed in 2014 by ZC with the intention of creating 
suicidal atmospheres and dark depressive voids to dwell within. 
With the addition of two more members; (Cold/Blackfrost) ZOLOFT 
EVRA (Who's members are located in Rome and Norway.) have created 
a realm that contains the knowledge, Perspective and most importantly, 
The musical skill, Of people who have been around and know how to craft 
dark underground soundscapes. A cold, Obscure and clinical sound centered 
around pure negativity. ZOLOFT EVRA explore and embrace subjects such as: 
Sadism (Human cruelty in general,) Drug abuse, Death cults, Perverse and 
murderous activities, Etc.) In 2015, Naked Lunch Records released ZOLOFT 
EVRA's debut album: "Negative Infliction Pleasure" as a six panel digipack 
limited to 500 copies which was followed by a pro cassette re-issue of the 
same album through Signora Ward Records which gave fans and collectors the 
option of owning it on another format, although at ninety nine copies it was 
a much more limited run. Next we were offered a split cassette with DJINN released 
via Swiss label: Luce Sia. The split was titled: "Self Destructive Comfort" and was 
issued in a run of sixty hand-numbered copies. Finally the world got another full 
length dose of pure audio misery when Russian label: Frozen Light, Released "Murder 
Chamber" in November, 2016. A few compilation tracks saw light in between longer releases 
but it wasn't until "Murder Chamber" that I got to really dive into ZOLOFT EVRA's stunning 
sound, Which they refer to as:"Negative Drone Ambient." I'd say that's my kind of party.

I.) RAZORS DEEPTHROAT:
(FEATURING ADDITIONAL DRONES BY CORY ROWELL OF "DEMONOLOGISTS"
AND VOCALS BY CAITLIN DITURO)
We get off to a very strong start with album opener "Razors Deepthroat."
To make things even better the track features additional drones by Cory
Rowell of DEMONOLOGISTS (Who I've long been a fan of) and excellent female
vocals by a woman by the name of Caitlin Dituro...Although her name is not
familiar to me, I will say that ZOLOFT EVRA seem to have a pretty good idea 
of who they'd have the most success collaborating with as is apparent here. 
Abandoned industrial complex ambient sweeps in. Spiraling electronic textures
settle like dust as subteranean drones pool and move in slow waves. This is
music that carries strong feelings of isolation, Hostility, And negativity in
general. Cold, Sinister and murderous. The drones begin to move like quiet dark
water as winds pick up and barriers swell...This creates unsettling sub-bass
vibrations that pull us into harsher and more caustic territory. A clinical machine
hum is heard vibrating in warm radiance and resonance. Creaking metallic scraping
sounds follow...These sound like a large rusted hoist of some sort struggling against
the weight of it's cargo and it's own failing screws and bolts. Frighteningly spectral
Dark Ambient soundscapes are also present among the wreckage. The sonic combination of
sounds representing so much depression and negativity can be sensory overload if not
constructed carefully, Luckily ZOLOFT EVRA have control over their deliberately crafted 
chaos. Painfully stretched drones, Foggy ambient walls, Wailing slowed down choirs ,Choked
sounds that mimic inhuman growls and agitated wraiths...There is much trauma to behold. The
vocals are quite buried. Haunting wails and moans that drift through the onslaught of horror
around us. Charred static blasts and resonant bass finish track one.  

II.) MURDER CHAMBER:
Title track "Murder Chamber" starts with cold synth ambient. Lo-fi tones that hum
and linger. Melancholic and meditative. Whispered vocals come as hissed chants that
add an occult/ritualistic feel to the piece. Static winds hiss like extended steam
bursts as melodic feedback rises. Soon after we are hit with churning Drone/Doom riffs.
A vortex forms. Phaser effects on guitar experimentation that makes a blistering rift
of sound. The vocals seem to become more malevolent as time goes on. Delivering incantations
against a brooding Death Ambient storm. Mournful melodies are hidden within the static that
add a blood-stained and anguished passion to ZOLOFT EVRA's sound. Dense and heavy in all the
right ways.

III.) KROKODIL DEATH RIDE:
Our next death ride comes as a plodding funeral march along windswept graveyard atmospheres
and ritual devotee chants/moans. Minimal and ceremonial. Obscured/muffled mechanical Death
Industrial elements are heard clattering in the distance, Adding a cinematic purity to this
raw expression of emotional pain and trauma. Great art is often born of suffering. Ringing
waves arise with dreary drones and spoken samples concerning drug abuse. What was once eerie
whispers has become dry throat Black Metal style rasps. Dense kick drums hammer down at the
pace of decay. Incantations in a foreign tongue are heard along with ceremonial grave calls.
Tribal ritualism meets experimental blackness. This has the atmosphere of a forsaken place.
Like a cave where countless ritual slaughters were carried out...A place that reeks of blood
and resin. The pacing is perfect and greatly amplifies the effect music centered around such
themes can have on the listener. Pick your poison and let this one paint your visions black.

IV.) DEADLIFE OBEDIENCE:
(FEATURING VOCALS BY TENEBRA OF "DREARINESS")
This is my personal favorite on the album. Scorched static intro followed by a haunting melodic
haze. Pure depression is channeled into clean electric guitar with beautiful chorus effects. 
Doomy bass/riffs crawl as nostalgic feelings take hold. I haven't heard anyone utilize this
guitar sound/style this well in a primarily Death Industrial song before. The guitars here 
have a sound that sits somewhere between early Trad-Goth/Post-Punk and U.K. Doom/Dark Metal...
Similar to the guitar style heard on KATATONIA's "Discouraged Ones" album from 1998. Anyways,
It's not often that I hear this guitar sound on a modern release...Let alone one outside of 
the usual genres that use that sort of thing. The vocals here are gorgeous and swelling with
emotion. Agonized female operatic notes and manic depressive screams. True torment and sadness.
Death Industrial/Ambient/Noise that takes the D.S.B.M. aesthetic and uses it to paint a portrait
of pain with in gritty clarity and tragic beauty. Moody synths and a darkened ethereal atmosphere
add additional Goth-Rock elements in a way I've simply not really heard before...Not with Death
Industrial at least...Not like this...Kind of like early DIAMANDA GALAS meets XASTHUR with hints of DEATHSTENCH for good measure. Music for rainy days and attempted suicides.

V.) COLD HYPNOTIC BLOODBATH:
Anytime a track title or song description features the words "Cold" or "Hypnotic" it peaks my 
curiosity pretty instantly...Curiosity killed the cat and it sounds like I've just stepped 
beyond the veil into a realm of death as well...Seven minutes in the land of the breathless.
This is total death indulgence. Deep rich ambiance, Shifting distant landslides and steaming
fissures, Surreal glassy tones and vibrations...Whispered calls beckon the listener to go
further and further into ZOLOFT EVRA's spiraling dimension of shadows and daggers. Reversed
tribal drum patterns, Corroded static textures, Humming bass drone resonance...Dark and spiritual
material that weaves like fog or smoke. A fractured form manifesting within an immeasurable void.
Waste and ash as tools of sonic expression. A tranquil outro sinks in it's talons and lulls us
with it's poison bite...We drift into the closer. 

VI.) THE SCREAMING WALL:
We end it all kicking and screaming as "The Screaming Wall" arrives before us. Phased out 
otherworldly atmospheres are conjured forth. Cascading static and ambiance blend into a hazy
current that slowly collects and spirals. The phasers add additional movement and the sense
of a pace as reversed patterns flicker by and pulsing sub-bass drones help to carry things
forward into abyssal nothingness. We shift into another movement where a swell of crushing 
emotive synth strings are heard playing a deep and mournful arrangement as harsh winter storms 
blow in as powerful static gusts. Feelings that come with isolation, Loneliness, Depression and
other mental disorders are quite difficult to properly/effectively express in music. ZOLOFT EVRA 
is one of the rare acts that make it seem easy. Ringing lead notes hang in the air like clinging
ghosts as harsh tidal/winter atmospheres complete their stay. Solid ending

ZOLOFT EVRA HAVE THE IMPRESSIVE ABILITY TO CRAFT MUSIC CENTERED AROUND REAL LIFE DARKNESS THAT FEW POSSESS. MURDER CHAMBER IS A TRULY GRIPPING 
RELEASES:

8/10
-ABATTOIR-

www.facebook.com/zoloftevra
https://zoloftevra1.bandcamp.com/
zoloft.evra111@gmail.com

Thursday, January 26, 2017

REVIEW - STRESS ORPHAN - MASS CASUALTY EVENT - CD

STRESS ORPHAN - MASS CASUALTY EVENT - CD
PHAGE TAPES/FUSTY CUNT TAPES/PT:228/FUC159
DEATH INDUSTRIAL/POWER ELECTRONICS/HARSH NOISE/POWER VIOLENCE
PRO CDR IN A JEWEL CASE WITH INSERT.
STRESS ORPHAN IS:
ERIC TRUDE


STRESS ORPHAN is an American political/Left leaning electronics
project helmed by Eric Trude. With his last few releases, Trude
has shifted STRESS ORPHAN from a primarily Harsh Noise project
into a slowly crushing Death Industrial/Power Electronics war 
machine featuring brutally resonating Power Violence style vocals 
that stomp your skull into dust. A true hybrid of many underground 
genres.

I.) THERE ARE MANY KNIVES:
"There Are Many Knives" intro's the album, Clocking in at a whopping 
fifteen minutes and thirty two seconds!!! It appears that S.O. is not 
a project that plays around. A static build-up arises and breaks off
into fragments of it's former self as it is smothered by gathering
static blasts. Experimental/Harsh Noise freak outs follow. Billowing
gusts, Grinding electronic pulses, Shrill hissing blasts, Wavering
drones and more...It all comes in a solid, Building mix until it fades
out into punchy synth drones, Distorted/Rotted Death Industrial rhythms
and heavy vibes of pure analog dread. Suddenly we are hit off guard by
immense vocal shouts/grunts bathed in reverb. Oldschool Power Violence/
Grindcore style stuff as if S.O. is channeling the early spirit of M.I.T.B.
...Or maybe now it's "Trude Is The Bastard"??? Anyways, The powerful drone/
vocal combo hits pretty fucking hard. The vocals are carried into ghostly
echos via the very nice cavernous reverb employed here. Shrill Harsh Noise
textures and booming earthquake kick drums add even more excellent elements
as we fade into a semi-quieter movement. Static walls grow in angry thorned
agitation as the drums increase in volume until they suddenly end. A few moments
later severe HNW grade static storms hit in rhythmic blasts while strange looped
measures come in a phased out swirling sewage drain style. Harsh textures are let
loose to play off of one another until drones of doom resonate along with the steady
thump of the previous bass drum kick. The vocals are spewed fourth like belt wielding
commands, Echoing in trails that somehow transform into choral drifts at the will of
the delay/reverb. Skyrocketing high-end noise is heard exploding above and breaking
off into cascading shrapnel trails. Comfort piercing missiles are fired off in the form
of extended surging electrical pin pricks until this fades into a grave-ward stomp that
backs spoken samples concerning lower class communities, Crime, Struggle, Etc. A pause
in the sample allows for long-form sweeping Power Electronics pulses to drop in and phase
in and out. Static grows in frustrated frenzy and pained/laborious electronic signals grind
in with a spoiled persistence. Warm clouds of distorted fog roll in and coat all else in
their glowing rhythms. Additional rhythms fall over top of these, Creating a weaving web
of brooding electric darkness for Trude to deliver his brutally decimating vocals over.
Drones rise and fall at appropriate times to add suspense and overall intense pacing.
Fifteen and a half minutes and not a dull moment. 

II.) BREEDER REACTOR:
At a little under seven minutes long, "Breeder Reactor" is still quite a lengthy
follow up track...At least in comparison to your average album...But this is not
your average release. It's something a little better. The kind of album that really
digs in and forces your attention. Track one fades right into "Breeder Reactor" making
for a continuous ebb/flow of aural dis-ease, Audio disease, And general unease. Dark 
Ambient drones roll in along with thick, Pulsating synth waves. The vocals enter the
frame. Low death grunts and daemon growls trailed by echoing whispers. The type of thing
I'd expect to hear on a brutal Death Grind album intro. A slow churning nightmare. A
turning corridor of vertigo that locks in and takes hold. Here Trude sounds like an
evil villain in the process of unleashing his most nefarious doomsday plot yet. Dark
vibes for dark times. Eventually the rolling cacophony reaches it's end after an
extended trance inducing rhythmic noise/warm pulsing drone combo that makes achieving
ego death as easy as pie. 

III.) MASS CASUALTY EVENT:
With four tracks coming in at around forty five minutes, Track two is the shortest
in comparison to the other monolithic tracks on the album. Take the title track 
"Mass Casualty Event" for example; Thirteen minutes and seventeen seconds long and
opened by powerfully pulsating electronics that sound like blaring emergency alerts
/sirens/alarms/air raid signals/whatever. Vocals are screamed over this. Loud, but
subdued yells that seem to originate from somewhere in the distance. Similar to the
vocal style of COLUMN OF HEAVEN, BASTARD NOISE, Etc...Secondary alarms squeal over
buzzing drones until another destructive sonic event begins to unfold. Spacey synth
transmissions fill the air as the track is slowly engulfed by a low roaring static
that grows slowly like a fresh fire coming into existence to devour acres in it's
relentless hunger. The static doesn't quite prevail over the piece for a while, But 
it's presence is known and it begins to grow like an incubated pestilence...Soon
spilling fourth more and more until all is nearly eroded by it's touch. As Trude
screams about being "buried further and further down", We hear the static debris
pile up more and more over the track. A looming black cloud that sucks at the rest
of the piece until there is nothing left but a static corroded withered husk. The
track packs an urgent punch and builds on it's repetitiveness rather than dwelling
in it. A fairly minimal, But very effective approach. Dense blown out static blasts
are fed into the track. Funneling clouds that kick in with a booming crackle. All
while an obscured version of what we heard in the beginning of the track ties it
all together. Spoken samples finish it off. Well composed stuff. 

IV.) WELCOME TO THE ISLAND:
"Welcome To The Island" ends the conflict coming at close to ten minutes in length. 
Deeply resonant drones make the floor tremble. Like dooming synth brass played on
the lowest notes or with their pitch shifted far downwards. This repeats as an 
instrumental mantra for some time. Volume increases along with feelings of dread.
Loud vocals strike as powerful grunts/yells presented clean other than slight traces
of reverb. These welcome us into the island, The Trenches...and servitude among other 
horrors. As we tread shackled and enslaved into our own demise we hear the drones change 
shape and morph as filters are cranked up, Abused, And pushed to their limits before 
dropping back down into a slow-death decent. Again STRESS ORPHAN utilize a minimal 
approach while amping up the bleakness that can be achieved through such methods. 
A misery stained dirge of utmost despair. The phrase: "You will die here." Repeats
as an ominous coming fortune. Things slide into electric funeral atmospheres filled 
with vocal depictions of horrid fates. Grim and gritty while dense and full of substance.
Quite a punishing closer.

STRESS ORPHAN MANAGES TO TOP ALL PREVIOUS RELEASES WITH EACH NEW ALBUM. THIS PROJECT HAS BEEN ON AN IMPRESSIVE RISE LATELY AND THIS NEWEST OFFERING KICKS ASS AND CONFIRMS THIS:

8/10
-ABATTOIR- 

www.phagetapes.blogspot.com/
www.fustycunttapes.blogspot.com/
www.fustycunt.bigcartel.com/

Wednesday, January 18, 2017

REVIEW - ACTUARY/DEATHSTENCH - SPLIT - LP

ACTUARY/DEATHSTENCH - SPLIT - LP
KING OF THE MONSTERS/KOTM056
BLACKENED NOISE/POWER ELECTRONICS/HARSH NOISE/
DEATH INDUSTRIAL/BLACKENED AMBIENT/EXPERIMENTAL 
ELECTRONICS. 
DARK/FORREST GREEN VINYL HOUSED IN A DUST-JACKET WITHIN 
A FULLY ILLUSTRATED SLEEVE FEATURING EXCELLENT ARTWORK 
CREATED BY DEATHSTENCH MEMBERS. COMES WITH INSERT AND 
DEATHSTENCH SIGIL PATCH.
ACTUARY IS:
P. MAJORS
A. MASOE
D. JOHNSTON
DEATHSTENCH IS:
DAREA PLANTIN
JOHN-PAUL WHETZEL

(The bones are not included unfortunately...)

Today I am very fucking excited to be reviewing a split LP
from two of my absolute favorite bands in the underground
right now. This is a dream pairing for me but I'll try to
contain my excitement enough to get this review written.
The unholy trinity of ACTUARY have been scorching my ears 
for awhile now with their own unique brand of Occult Electronics.
Often very experimental in nature with a strange organic quality.
A sound that I could only describe as genuine. On the other end
of the split we have the shadowy duo DEATHSTENCH who's sonic rituals
have a grim/serious quality that few can match. Again I'd use the
term genuine when discussing DEATHSTENCH as well. Both artists present
material beyond worthy of the senses. This record is a complete package.
Everything from the layout/artwork/presentation to the aural invocations
contained within is top notch. A lot of bands do Occult themed works in 
underground music. It's hardly shocking at this point...But for me I
seek more than shock value anyways. I want something legitimate...
Something pure. These two bands bring that to the table and then
some.

SIDE A.) ACTUARY
I.) FRACTURED HARMONY / II.) WORLD IN SHADOWS / 
III.) RUTHLESS THOUGHT MACHINE:
Up first we have three tracks from ACTUARY. The first being the
brilliantly titled "Fractured Harmony." Weird Industrial drones
loop with feedback and clawing rhythms. A steady pulse forms a
backbone for all manner of strange tones, Textures and resonance 
to sprout out from. Necrotic Black Metal style rasps are spewed 
forth over psychedelic Industrial soundscapes. Oscillators are 
punished as drones sweep in to steal the spotlight from time to time. 
ACTUARY must have quite an impressive gear set-up at their disposal. 
There is a lot to hear if you pay close attention. Layers upon layers.
Everything is backed by heavy bass currents so when the more free 
form and experimental elements come in they immediately stand out
against the backdrop. Even with the steady rhythm the track still
seems to slowly glide along like a mass of spectral nightmare beings 
looking for a place to set down and terrorize. High-end signals are 
sent overhead as the tempo picks up. The rhythms featured are very 
machine-like...Giving the piece a cold maniacal feeling as a whole. 
Minimal throbbing under a variety of synth sounds that all swirl together 
in an odd blur. An urgent and dangerous track that invokes anxiety and dread.
Static spray hisses over trudging bass drum patterns as multiple strange
chirps and sonic patterns fill the atmosphere. Walls of harsh static
noise build as the vocals take on a crazed, Murderous quality. Like a
building tension/frustration. A combination that sounds as miserable
as it does powerful. Some tracks don't live up to their name...This
isn't one of them. Obscure 90's Black Metal vocals/attitude over a 
slowly building early Industrial/Noise track. Killer combination.

"World Of Shadows" is another piece that absolutely fits it's title.
Sinister ambiance crawls out of the pit at the pace of creeping death.
Shimmering feedback resonates as abrasive, Scratching Noise textures 
climb out from the dreary ink black pits that the drones originate
from. Inhuman Blackened rasps/growls are heard as if an ancient
evil is awakening. Things start to grow unstable. Shifting sheets
of harsh sound make their presence known through quiet explosions
of violent eruption. Caustic and unsettling. Discomfort music at
it's finest. Synths paint vibrant images within the minds eye as
the vocals are delivered in reckless agitated assaults. The rhythmic
scratching along dread ridden vibrations. A short interlude, But one
that injects a lethal dose. 

"Ruthless Thought Machine" ends the A side, Taking us into buzzing
static drones coupled with spoken samples. Everything moves as a
smothering blur of light engulfing blackness. Experimental Electronics
provide a variety of Sci-Fi style sounds that are heard like alien life
forms dancing in the background. Bizarre rites from a dimension where no
human being has ever been. Solemn and melancholic spoken word vocals offer
cryptic phrases before being devoured by a maelstrom of Harsh and blown
out noise. Once again we are attacked by multiple barrages of croaking
Black Metal style vocalizations. This is by far some of the most ferocious
material I've heard from ACTUARY to date. Drones stream with immense power
sounding like they've come to rip open rifts allowing a flood of inhuman
entities through to rape and consume all in their wake. D.S.B.M. style
screams of anguish battle with low Daemonic grunts...Both soon to be 
eaten away by the silence at the end of the record.  

SIDE B.) DEATHSTENCH
IV.) THE SHRINE BELOW / V.) TRANSCENDING VOID:
Next we go into "The Shrine Below" with DEATHSTENCH 
at the helm. Windswept torture dungeon atmospheres 
arise over quaking sub-bass detonations. Dry throat 
vocals wheeze into the frame soon joined by deep grunts. 
A dual vocal attack that adds a "Possessed" quality to an
already supremely evil sound. Sub-orchestral patterns weave 
and vanish as corrosive whispers hiss with a very apparent 
hostility. Clean guitar drones and ringing feedback are heard 
as scathing, Scraping noise textures create gut-wrenching dis-ease.
Low notes ring out in a slow song of black despair. The vibrations 
that trace behind each note are felt physically in the body. Music 
with impact...And this was only the calm before the coming Hellstorm.    

"Transcending Void" is where all Hell really breaks lose. A slow
burning descent as we transcend flesh and bone. Ritualistic hand
drumming and what sounds like a large resonating cymbal are heard
first. Drones creep in forming a fevered haze over quaking sub-bass
vibrations. Just wait. It gets worse. Volume increases along with
intensity to a level right at the threshold of true punishment.
DEATHSTENCH utilize their trademark charred vocal approach as
swirling layers and negative emanations spiral into a vortex
of chaotic might. Although this is a fairly slow track in terms
of tempo, It is by far one of the heaviest and more immense works
I've heard from this fiendish duo. Occult energies are channeled 
and harnessed before being let loose to reek havoc on anything
that breaths. The effect is similar to when I said ACTUARY were
"Opening rifts"...Only here we have a lot more fire and brimstone.
Scorching static blankets like harsh winter snow adding even more
of an obscure sound. John-Paul Whetzel sounds rabid and bloodcrazed
more than usual which is quite a feat to accomplish. Here too we are
subjected to windswept and uninhabitable atmospheres. Billowing waves
of pure corrosion. The track moves like an old ship at sea as the tides
slowly rock it into a watery grave...Not to say that this would be a
relaxing listening experience to most, But it does have a lull that
will pull you into it's depths. Hypnotic in all the right ways for
this type of music. Finally, Blown-out bass quakes fade into reversed 
drones that carry us into nihilistic emptiness.

A DANGEROUS MEETING:
10/10
-ABATTOIR-

www.actuarysound.com
www.deathstench.com

Friday, January 13, 2017

REVIEW - VARIOUS ARTISTS - HOW VERY - 3X CASSETTE - COMPILATION

VARIOUS ARTISTS - HOW VERY - 3X CASSETTE - COMPILATION
HAIR ON MY FOOD TAPES/HOMF025
HARSH NOISE/HARSH NOISE WALL/EXPERIMENTAL NOISE
THREE PINK CASSETTES WITH STICKER LABELS HOUSED
IN A DELUXE PLASTIC V/H/S TYPE OF CASE WITH
GLUED IN INSERT.


Today we'll be reviewing a various artist compilation released
via Hair On My Food records. The oddly titled "How Very" Comp
features six projects who team up offering a single track each 
themed around the film "Heathers." Although I haven't seen the
movie, I do know that it is a 1980's Teen-Drama film with a 
cult following and a plot centered around four teenage girls, 
Three of whom are named Heather, In a clique at a fictional Ohio 
High School...So naturally weirdo's and outsiders who happen to
be Noise artists are bound to be obsessed (Possible/probable 
perverse reasoning's and fetishes aside.) The album features an 
all pink layout with a woman choking on the front and another 
woman with a grim expression holding and pointing a gun. This 
combined with the sounds it contains has me interested in viewing 
the movie. I'm sure it's safe to say that this release is full of 
references that only fans of the movie will pick up on and appreciate. 
This is the type of release I'd expect from CORY STRAND or another artist 
on Altar Of Waste records. It's interesting to see other labels releasing 
Harsh Noise/Harsh Noise Wall tributes to film works. It's a different take 
to the same idea. Very Cool, Anyways on this one each artist gets ten minutes 
to showcase their crafts. Here we go!!!

CASSETTE ONE:

SIDE A.) SMALL HOURS -QUE SERA SERA:
We begin with "Que Sera Sera" performed by SMALL HOURS.
The song opens with a sampled song I've never heard before
serving as its intro. It's an old acoustic/synth ballad with
female vocals. Pretty, Melodic, Harmonic stuff an a chorus of
"Que Sera Sera, Whatever may be will be." A slowly creeping 
wall of dense low-end Harsh Noise begins to sneak up and 
devour Lue Sera Sera little by little until it's completely
sucked up by it's black hole of sound, Texture and doom.
Smothering Harsh Noise walls with distant churning sub-
movements and rhythms are heard deep beneath along with
crackling static energy overhead. There are various 
movements where vague shifts bring us into subtle 
differences at varying levels. Small changes from
SMALL HOURS. A perfect approach towards isolationist
winter storm atmospheres of total nihilistic emptiness.
Windswept textures and a blurred static ambience frozen
in a still-motion void arise and carry us slowly fading
into the end where we hear some really cool retro 80's
synth soundtrack music. Ultra nostalgic waves to unexpectedly
bask in. Totally Awesome Dude!!!

SIDE B.) CLIVE HENRY - I DIE KNOWING NO ONE KNEW REAL ME:
With CLIVE HENRY I've come to expect pleasing sounds every
time at this point. You could say I'm a fan so I'll try not
to write some biased bullshit and present this as what it is.
Cathedral synths and sampled dialog where we hear a young woman
say "Dear diary, My teen angst bullshit has a body count." I know
I've heard that phrase many times or seen it on the Internet even
though I don't recall ever watching the film it's taken from. After
this a Harsh Noise thunderstorm suddenly erupts. Sky splitting static
electricity with a radiant buzzing energy met with cacophonous sub-bass
quakes and rumblings. Once the storm ceases we are thrown into another
one that sounds more like a storm at sea heard from a semi-safe position
below deck. On top of the roaring ocean we hear a constant electric buzz
with a pulsating crystal ball like energy and distant winds that howl 
powerfully, Yet subdued on the far horizon. We eventually shift into
another movement that sounds like rickety structures struggling to
not give way against dense torrential winds. Deep Daemonic vocals
appear as if from a rift in the sky and add a sinister blanket 
over what previously sounded more like a natural disaster than
a malignant entity. Bubbling textures and phased electronic
bird-like chirps enter the picture. Soon they begin to battle
blown out static barrages, Striking in frantic pecks. Spoken
samples concerning chaos and extinction finish off tape one.

CASSETTE TWO:

SIDE C.) WHERE IS THIS? - KURT AND RAM ARE FUCKING IN HEAVEN:
Starting the second tape we have WHERE IS THIS? Today will be
my first time hearing this project. I'm familiar with SMALL
HOURS, CLIVE HENRY, and GINGER CORTES, But everything else
here will be an introductory experience to my ears. Tape
two kicks off with sarcastic samples which fit the song
title perfectly and billowing sub-bass resonance along
with surging electrical current noise. Live wire electronics
and smothering bass waves. Minimal, But a pretty decent mix
of sounds that locks you in and keeps you engaged. Seemingly
randomly generated electronic waveforms that create the audio
equivalent of a laser/light show for your listening pleasure,
While at the same time stimulating the visual centers in your
minds eye. Volume increases past previously set thresholds
erupting in a blown out blur of moaning resonance and whining
flat feedback in an agonizing dull ring. The mood has changed
into a slightly more dreary experience. Dense Harsh Noise edges 
begin to form around the sawing electronic signals and drowning
bass rivers...Static atmospheres and humming sound waves populate
the ending segment of the track. A fine way to achieve ego death. 
Get lost in the noise and ask yourself, "Where is this?"

SIDE D.) GINGER CORTES - A DARKER SHADE OF PINK:
I've been really into what I've heard previously by GINGER
CORTES. A project featuring two guys who are involved with 
or are solely behind several projects I really enjoy. So I'm 
definitely excited to hear them in action here with a track 
that's new to my eager ears. Looped mechanical rhythms against
a backdrop of static spray that is synced in time with the
throbbing machines. Minimal perfection. Imagine stripping
a MUSLIMGAUZE song (As minimal as they already tend to be.)
To the barest form possible. Although much different than
what I'd expected to hear, I'm really digging the hypnotic
lull that this creates. Almost maddening but with enough of
the right tonal quality to send one into a comfortable state
of sleep paralysis or oblivious drifting. A state where one
can envision a darker shade of pink...Suddenly we are hit
with tormented experimental noise pulses and screeches mixed
with slamming Harsh Noise static textures and retro spoken
samples. Following this all becomes a total blur of a female
voice looped and lost in a hallucinogenic haze of delay/reverb.
Kind of unsettling in a strange unknown way. While the voices
repeat, Pause, Repeat and warp we are treated to intricate and
creative patterns within an Experimental/Electronic/Sci-Fi style
delivery. Repeating clips, Blips, Waves, Pulses, Etc in a cinematic,
Mid-tempo exploration of a vacuous and remote region. A suspenseful
climax to tape two.

CASSETTE THREE:

SIDE E.) SWELLS OF HAPPINESS - ATTEMPT I (DATURA BLOSSOMS):
To begin the third cassette we have SWELLS OF HAPPINESS. 
Whether the moniker is pure sarcasm or a description for harsh
audio bliss is open to debate but I'm going to bet on a bit of both.
"Attempt I (Datura Blossoms)" takes us into lacerated glitches and
cut-up noise featuring butchered samples from the 1980's. Dense and
blown out static gusts are featured here and there as sampled dialog,
Sci-Fi/Horror sound effects, Pedal/synth creations/monstrocities and
more Industrial junk and debris than you can handle while remaining
in good health are all tossed into a blender with some shiny, High 
quality blades. Imagine watching Videodrome while under the influence
of a solid hybrid of harsh uppers and downers. Chaotic all while being
delivered at a mid-tempo rush which can somehow create a staggering 
slow-motion blur effect on your mental processing capabilities. The
audio elements of long lost or forgotten adds and movie dialog are
heard in refreshing cascades to long deprived ears...All this while
avalanches of crumbling Harsh Noise are fired off in machine gun
patterns between the samples. A frantic composition, But one that
is masterfully put together. Much more movement than previous tracks,
And in very rapid intervals. A sinking synth ambient piece is heard.
It sounds like it's being played on an old V/H/S player that's seen
better days. Warped and wonky. One sudden Harsh Noise blast and then
we are in silence.

SIDE F.) PLANET SHITHEAD - I'VE SEEN A LOT OF BULLSHIT:
Ending the compilation we have PLANET SHITHEAD, Which (Other than
being an accurate description for my life thus far,) Is also the
project of Hair On My Food Tapes label owner "Joe The Stache."
PLANET SHITHEAD opens the final side with spoken samples concerning
sex, Weapons and a lot of bullshit that soon loop under sweeping waves 
of dense static distortion and shimmering ambient resonance. This is
another track with a very vacuous atmosphere. Windswept barren fields
of sonic waste in a hazed out blur filled with obscured rivers of
sub-bass drifting. Various Experimental Noise explorations are heard
taking place beneath the fog-like blanket of sound. This provides a
sense of additional movement as the samples repeat and blend into
morphed and mirrored versions of themselves. A powerful wave of
slowly moving electric plasma energy is heard coursing overhead
like an Aurora Borealis of aural enticement. Layers of sound now
blending into one solid mass of quaking, Roaring, And rumbling
bliss. Power Electronics, Harsh Noise, Experimental Electronics
and Industrial Drone all mashed together in a perfectly balanced
mix of monolithic momentum. Once again we are immersed in meditative
ecstasy by a track on this release. One of the most well put together
compilations of the year. The phrase "I've seen a lot of bullshit."
is the last thing you hear on the album making for a perfect conclusion. 

A TRULY AWESOME HN/HNW/ANW COMPILATION WHERE EACH ARTIST
STEPS UP TO THE PLATE AND DELIVERS SOME OF THEIR FINEST
OR MOST INTERESTING MATERIAL TO DATE. A STELLAR RELEASE 
AND A WONDERFUL COLLECTORS PIECE AS WELL:

10/10
-ABATTOIR-

haironmyfood.storenvy.com

Thursday, January 5, 2017

REVIEW - LARVA MONSTROSUM - ALIENATUM DIABOLICUM - CD

LARVA MONSTROSUM - ALIENATUM DIABOLICUM - CD
BIG PHARMA RECORDS/BPR106
BLACKENED NOISE/DARK AMBIENT/DRONE DOOM/HARSH NOISE
PRO CDR IN A JEWEL CASE WITH INSERT.


I.) VOLCANIC WINTER:
LARVA MONSTROSUM, As the project's name and cover art suggests, 
Is a Blackened/Occult Ritual Ambient project with elements of
Drone Doom, Harsh Noise, Etc...Alien soundscapes and gloomy 
static ceremonies. This release is a true gem of the underground. A great 
example of the types of darkness you can find lurking on the 
fringes between genres. "Volcanic Winter" opens with thick
winter ambient and sampled dialogue from a horror film concerning
the fear of being alone and what may dwell in the shadows. Crackling
fires roar and spectral choir synths form breathing walls of agonized
atmosphere. Windswept textures trail behind sweeping synths that come
in sudden gusts. LARVA MONSTROSUM have a True Death Ambient sound that
is hard to compete with. It's minimal but so simply dark that it will
absorb you. The sounds of dismal cavernous voids swallowing you alive.
A horrific, Fevered vision of absolute decay in torturous slow motion.

II.) THERIOMORPHIC SHAMANISM:
"Theriomorphic Shamanish" comes on a steady low end metallic 
industrial thud. Dreary synth drones creep in and deep moaning
vocals with mournful and melancholic tones are heard along with
charred blackened rasps wrapped in crisp distortion. The heavy
booming percussion's pick up in tempo as wavering drones and
buzzing harmonics mingle as if in the ecstasy of ceremonial 
dance. Down tuned daemonic vocalizations are heard like a pit
filled with growling abominations yearning in diabolical hunger.
LARVA MONSTROSUM have opened the very gates of Hell and the horrors
spilling fourth sound immaculate.

III.) RED BONES UPON BLACK ASHES:
Swirling atmospheres cycle and sweep by one another, Leaving 
a resonating metallic ring in trails behind. Deep woeful vocals
are heard over pendulum blade rhythms and distant Industrial clatter.
At times this sounds like total BRIGHTER DEATH NOW worship, Which in
many cases (This one included) Is a good thing. Spectral voices, Ghostly
whispers, Creaking growls...All of this weaving in and out of a paranormal
haze. Anxiety nightmare music. The sounds mixed here blend to create something
truly eerie. Music with the ambiance of walking alone on a foggy day somewhere
far away from people...The sounds one hears or "imagines" hearing when left to
their own thoughts for too long. In red bones and black ashes...Something stirs.

IV.) PYTHON WORSHIP:
Again we are in a ritualistic fog. This time it sounds like we've conjured
some intimidating entities. Daemonic hisses, Grunts, Growls and more in what
sounds like the awakening of Lovecraftian deities or Hellish principalities.
Serpentine Gods and Goddesses whisper cryptic phrases in otherworldly voices.
Reverb and delay are added for cavernous atmospheres. Playful voices echo and
vanish like fading memories of times long past. The growls of the pit become
more and more restless. Choirs of moaning wraiths create a drifting backdrop
to accompany the rise of malevolent forces. Resonant ambient tides turn into
blaring synth drifts that hover overhead as churning rivers begin to pool
below. At times sounding like trumpets signaling the arrival of apocalyptic
warfare on a medieval biblical scale.

V.) FALSE GODS TO THE CAVE LIONS:
"False Gods" picks up right where "Python Worship" left off. Obscured
Dungeon Synth with crackling and decayed blackened vocals in multiple
voices in tones ranging from deranged croaks to deep death rasps. The
ambient drone beneath seems to collect and fester with esoteric energy.
The easiest way I could describe this sound is imagine an early SATYRICON
intro or interlude and combine that with very early CURRENT 93. Monk choir
vocal chants are featured adding a spiritual, Metaphysical and meditative
quality to the track. The main Black Metal styled vocals in the piece are
of the total fvkking nekro variety and tend to sound like a crazed, Animalistic,
Primitive shaman casting spells of necromantic sorcery. The drones are dense 
and very murky. A river of filth to carry Black Magik prayers to Gods of dark
desires.

VI.) AURIGNACIAN BURIAL RITUAL:
Another ritual. This time one concerning only death. Scraping metallic
objects that sound like giant industrial sized pipes are heard dragging
across one another. Water begins to pour in and we hear it collect in
a pool in the near distance. Monotone vocal chants are heard. Recited
calmly with an air of mystique and mystery. Additional cryptic chants
are heard slowed down along with this. Deep ritualistic bells ring as
slow cinematic synth ambient and strange machine-like whirs are heard.
The bell tolls as last rites are spoken in solemn emptiness. Cold winds
blow and the electricity of paranormal energy is heard and felt gathering.
Something rattles and keeps rattling in fragmented intervals. Synth saws
slice fresh wounds to feast on warm fluids...Like blades of raw occult
power cutting through to the psyche. Slicing open third eyes. Static
textures and disorienting daymare ambiance meets drifting sub-bass
currents and Experimental Noise elements that are presented in a
slow, But frantic struggle...As if battling for their existence.
This fades into airy vacuous atmospheres and windswept haze.
Strange crawling music for shadowy abandoned places. 

VII.) NOT HUMANLY POSSIBLE:
At a little over seventeen minutes "Not Humanly Possible" is quite 
a lengthy closer. When it starts you'll probably get startled and
feel stupid...Especially if you've been listening to the album since
the start. LOUD Harsh Noise. Pure and raw. And did I say LOUD!? This
one comes out of nowhere and knocks your teeth in. Caustic, Blown out,
Grinding, Screeching, Squealing, Pissed off, Frustrated, Harsh Fucking
Noise. It sounds like a fucking murder tape ran through massive distortion
and weird effects. Wet electronic sounds and electrical screams of total
agony, Torture, Torment and suffering. The audio equivalent of what a 
really bad migraine headache feels like. People with normal social lives
don't often listen to shit like this...Not that I'm one of them, Just saying...
There are some pretty sick loops and rhythms buried in here that you'll find
if you're paying attention. Constant static and insane live wire electronics.
This sounds like a machine subjected to the most painful treatment you could
imagine (If the fucker could feel that is) on an absolute rampage. A diabolical
world ending weapon set to all out destruction and fired off in your direction.
Manic vocal freak outs and nerve shredding Harsh Noise at the end to top it all off.

AT SEVEN TRACKS AND ALMOST AN HOUR OF OTHERWORLDLY
DARKNESS AND SMOTHERING HARSH NOISE, LARVA MONSTROSUM 
HAS PUT FOURTH A SOLID DEBUT AND HINTS AT A PROMISING 
FUTURE IN THE UNDERGROUND DEPTHS:

7.5/10
-ABATTOIR-

www.bigpharmarecords.bandcamp.com

Sunday, January 1, 2017

REVIEW - BEYOND ENCLOSURE - DUNGEON OF TOTAL VOID - CD

BEYOND ENCLOSURE - DUNGEON OF TOTAL VOID - CD
MALIGNANT RECORDS/TUMORCD98
POWER ELECTRONICS/DEATH INDUSTRIAL/HARSH NOISE
PRO PRESSED CD COMES IN A SIX PANEL DIGIPACK.
BEYOND ENCLOSURE IS:
SAMANTHA DIABOLIK - COMMANDS/ELECTRONICS/DEVICES/METAL/RESEARCH
THE ANALYST - ELECTRONICS


So it appears we have another perverse/S&M/B.D.S.M. themed Power Electronics
project crawling around the underground. With extreme music you are bound to
get extreme subject matter, But are we too desensitized to feel anything from
it? In the case of BEYOND ENCLOSURE...You will feel something...And it may not 
be pleasant. BEYOND ENCLOSURE is a Portuguese duo consisting of front woman 
Samantha Diabolik and "The Analyst" Who is none other than Andre Coelho who
is known by his past works with SEKTOR 304. S-304 may be no more but Coelho
proves he is not ready to throw in the towel. Dungeon Of Total Void offers
us eight tracks of pure electronic perversion. Sonic fantasies where debauchery
reigns and clinical horror blends with intoxicating pleasure. Let us commence.

I.) INTO THE DUNGEON:
The blurred album cover depicting two obscured shadowy figures is about as
detailed a glance as we'll have of who holds our fate as we stay in these 
eight suites of torment and ecstasy. "Into The Dungeon" opens, Taking us 
into BEYOND ENCLOSURE's own brand of frightening and erotic depravity with
lo-fi static walls that seem to be covered in a dripping viscous liquid.
Animalistic breathing is heard over buzzing electronics and black ashen
atmospheres. Inhuman growls and rumbles mix with spectral whispers, Rattling 
chains, And overall unsettling vibes. A machine whirs to life and adds it's
vibrating voice to the murky dirge spread out before us. This happens in 
brief intervals. A warm hum to give a false sense of comfort in an inhospitable
environment. This is the ambiance of a slow, Painful death on the horizon. Buzz-
saw blades grind and wear down at our resistance to fear and perversion. This
tolerance we've long acquired will soon be shattered.  

II.) AUTOEROTIK PUNISHMENT:
See-saw drone waves come in oscillating, Churning blasts that invoke nausea and
dis-ease. Next this becomes a smotheringly, Oppressively loud Power Electronics 
style synth pulse. Multiple rhythms populate the deep depths of the central drone.
Like a core expanding outward with multiple reflections of itself busily buzzing
around it. The electronics serve as the altar. The vocals are delivered as cold,
Clinical demands. Devoid of any single shred of empathy. Almost robotic, Stern
spoken orders are delivered in a soft but arresting manner. The voice is female
and heavily treated with effects/vocal filters. Multiple layers are heard at
once as if the vocalist is possessed or connected to some inhuman source of
energy. Hazy Dark Ambient strands glide and hang over as distant cries of
unimagined agony echo beyond peripheral spheres. Male vocals intertwine.
Equally cold and malevolent. Whirring electronic pulses send coded messages
into the mind. Brainwashing tactics to reduce the listener into a submissive
slave towards BEYOND ENCLOSURE's shadowy agendas. This is one of the most
legitimately disturbing albums I've heard since I first discovered GNAW THEIR
TONGUES. A level of grim clarity has been achieved here that few others have
managed to attain. Feedback and vacuous atmospheres arise and take us into
a dense corridor with a slow rhythmic pulse. Like a heartbeat in a slow motion
state of panic. Dense junk metal sounds form a shaky percussive element as 
strange, Cutting feedback comes in subdued, But violent shrill lashes. Glowing
synth resonance and static laced bass churning movements sweep in and carry us
away into a drug-like oblivion. A repeating mantra of the words "Autoerotik
Punishment" still rings in my ears.

III.) ELECTRICAL SURRENDER:
Heavy, Punchy electronic jabs repeat over dizzying drones and various layers
of experimental noise and inventive texturing. Vocals hit as ragged wails. I 
believe it is a male subject delivering the cryptic phrases this time. The voice
is drowning in delay/reverb but still very audible. Feedback is heavily relied
on here along with some really intense drone work. Corrosive distortion roars
from the bowels of the track. Walls of wailing voices are heard creating an
atmosphere of horrid suffering. Pulses and chirps come in various forms to
chip away at our comfort...Or perhaps offer up a place in a nihilistic void 
of pure experience on varying levels???...Guess it depends on what you look 
for in music. I like to take the Hellraiser approach..."We Have Such Sights
To Show You." and all that shit...Just keep it horrific, Sleazy, And full of
death, Sex, Darkness and insanity...So this is exactly what I've been looking 
for personally. Mix that with my personal tendency to be a disturbed pervert 
and horror/true crime fanatic and you've got a winning combo for an individual
like myself. I know a lot of Power Electronics, Death Industrial, Harsh Noise, 
And Dark Ambient fans alike have been craving a depraved release such as this.
(Even if they don't always admit it.) "Electrical Surrender" (Such a beautiful
track title) finishes it's session off with grimey surges and nails on chalkboard
level feedback. A spoken female voice comes distorted by sheets of crisp static.
The unknown elements that are heard and hinted at are a really nice touch. Keeps
things dark and mysterious. Free-form experimentation seems to be utilized just
enough to keep things interesting but never too much. Static walls crackle, A
moaning resonance devours...And we shamble deeper into the miserable darkness.

IV.) BASEMENT PARAPHILIA:
I often think of dilapidated basements, Rusted pipes, Walls dripping with
filthy water and overall inhabitable areas when listening to this style of
music. The caustic Industrial sounds and imagery go hand in hand. "Basement
Paraphilia" is a great example of what I'm talking about. Murky synthetic 
voices. Spoken intro. Already eerie. There is a hollow tone in the voice
that makes it feel like it's coming from a body completely void of empathy.
Hollow. Feedback and tidal drones crush us suddenly. Booming rhythms, Moaning
drones and feedback with a strange melodic quality join the mix. An empty
resonance howls in the distance. Static textures and distant distorted 
voices weave in and out and then we fade into a slightly more somber
passage where emotionless female spoken word phrases are recited over
hospital atmospheres and crude self-surgery electronics. The bass elements
are incredible here. Someone did a top fucking notch mixing job. Swirling
hazy textures and emergency alarms are heard as deep backing vocals amp
the doom levels up. Spoken phrases full equipped in strange effects/filters
and put through a ringer of manipulation end the piece.

V.) VORTEX OF STEEL INTO FLESH:
This truly sounds like what it says it is. Slow motion wind cycles whip
by our ears. As if generated by some massive industrial turbine. Pulsing
electronic instruments go to work as an unnerving feedback begins to ring.
Empty vacuous atmospheres and wavering drones all mesh. Volume increases.
Heavy bass. Heavy resonance. Heavy everything. Echoing spoken/shouted phrases
are delivered with a deadly passion. Pulses circle the head through phaser
filters. Doom laden dirges churn underneath as unseen figures wail in torment.
Vocalist "The Analyst" speaks like a man giving orders. Grim commands that will
surely lead to bodily damage. Things shift into powerful phased out drones that
carry a haunting echo with them. Funeral drones hit with sloth paced force as the
sounds of the "vortex" from the intro are heard over high-end electric purring.
The way it's mixed has a really cool pendulum effect which makes it even better.

VI.) FORCEFUL ACQUISITION OF FAITH:
Pure Death Industrial. Corrosive static and filthy electronic sludge.
Debris, Grime, Dirt and worse gather beneath and coil into slow serpentine
motions. Death rattles and sub-bass rivers. Quaking percussive elements and
cold, Calculated male/female vocals with extremely "alien" effects behind
them to amp them up. The subject matter is dark. The atmosphere is darker.
Dingy and dim lit corridors of sonic malignancy. The vocalists play off of
one another like a surgeon and nurse. No emotion...And no hope for you.
Next Horror Ambient blends perfectly with clinical Power Electronics.
Crackling static lashes land in timed intervals of additional cruelty.
BEYOND ENCLOSURE and the feelings they invoke from the listener are the 
musical equivalent of an watching actual snuff film that takes place in
the most depraved B.D.S.M. society imaginable. If the film hostel was a
porno. The track ends on a long melancholic drone followed by a single
vague phrase. Discomfort as an art form.

VII.) CHAIN OF COMMAND:
"Chain Of Command" forces us into submission as slithering electronics
ignite erotic imaginations. Heavy Industrial drone pulses drill into
our heads as a cacophony of static horror and agonized screams of total
fucking terror are heard along with ghastly choirs, Feedback assaults 
that come in Attack/Recoil styled strikes, Robotic spoken phrases, All
kinds of really fucked up shit. It is evident in this track more than
any other that a member of SEKTOR 304 was involved. This sounds quite
a lot like S-304 at their very very finest...In fact I honestly might
think this is even better somehow. The female element really adds to
the seductive vibes. (Plus I've got a thing for accents and she's
got one of those.) The force of the electric surge that follows what
was apparently the track's intro is immaculate. BEYOND ENCLOSURE are
obviously doing P.E. of the highest fucking caliber. The bar has been
reset. Everything that makes Death Industrial and Power Electronics
my favorite types of music is present here. Plasma blasts unwind over
a field of barren static energy. The void howls restlessly as rhythmic
distorted drones climb over shifting sub-bass currents. All fades into
a slow motion avalanche. Cascading fragments crumble and crash in the
distance as glassy winter ambiance resonates along to a synchronized
choir of feedback. Some really vibrant Ambient textures here for those
of you that really soak in the atmospheres.

VIII.) BLACK RUBBER MAN:
"Black Rubber Man" may sound like an innocent song title to some but
in this case that "rubber" man is likely drugged up, Suffocating in 
latex and being subjected to a vibrating foreign device forced crudely
into any given orifice...A strong pulsating electronic backbone featuring
wet signals, Creepy looped deep exhalations, Throbbing bass currents and
eerie spoken word. Feminine, Erotic, And very fucking dangerous. Samantha
Diabolik sounds like a pretty girl. The kind that'll string you up from the
ceiling, Tie your balls up, Being sure to cut off all circulation, Turn the 
lights out, Leave the room and bolt the door shut. The atmospheres here
shift and morph forming a twisting corridor of nightmare ambient. High
levels of anxiety are injected into each sound utilized here. Truly
unsettling tones. Sounds that force discomfort and unease. Clinical to
the point that you might start feeling a little insane listening to this
alone late at night. Unless you're like me...Then probably a little turned
on...I should probably seek help but I'm not going to. I've accepted what
I am. Luckily for me, There are artists like BEYOND ENCLOSURE to cater to
immoral freaks like myself...

EASILY ONE OF THE BEST RELEASES OF 2016. WE'VE
BEEN ABSOLUTELY OBSESSED WITH IT SINCE IT'S ARRIVAL:

10/10
-ABATTOIR-

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