Wednesday, November 28, 2012
Dumpster Score Home Recordings has hand crafted a slick looking release here. Glossy, purple hued cover art features some sort of monolithic brick archway structure. Fitting, it seems to evoke the feelings of solace and time worn refection that the tracks themselves arouse. Vellum strip and purple lyric sheet w/ contrasted lo res performance photos add a nice touch of class to the package.
Regosphere side contains coagulated synths stewing in swelling bass cavities, lurking in the bowels of Morpheus. Mood-stabilizing fog of blown low-drone wavering modulated flutters of creepy newly sharpened automated industrial torture probes. Clear electronic haze attacks your senses. Distorted lightning in stereo. Expertly placed hillbilly rant about how ...God doesn't hate the sinner, he hates the sin... The death-industrial force is strong with this one. Just about all the bells and whistles are right here. On this tape. From 2011.
Content Nullity lays out a couple surrealistic composed dark-industrial tracks with some straight-up PE vocals plastered right on top. The tracks compositions are strong. Numbing midriff-fuzz drones blend with loop layers of rhythmic bleak synth. Constantly building. Turning up the heat. The vocals reign over this with an assertive underwater raspy-robot decepticon sound. A little hot in the mix, but I pay no mind. Typical syllabic PE vocal pace and delivery. Climax and the deconstructive break-down. 2nd track is unreal. Sounds so good in my ears. Could play this all day. Has a catchy loop-tape feel. Fluid melody and static-saturated bass shadow walks you slowly to your grave. This time the vocals creep in like an angelic choir lost in its own forest of loop-delay & endless decay.
Posted by PRISONFOOD at 6:50 AM
Tuesday, November 27, 2012
Eraritjaritjaka crams a shitload of harsh walls, jarring distortions, noise, choice movie quotes, and thrash metal riffs into micro snippets, firmly juxtaposed together forming sort of a story. Breakcore speedranch collage style. Moving so fast, with so many cuts, its nearly impossible to tell where the first 6 tracks end or begin. Blistering hi-fi laptopped audio barrage executed with precision. Shits on fire. The final track is a recording of a live set. These sounds convey the honesty of the live medium but are much more lo-fi and distantly hollow, like many live recordings can be, and mostly amount to tape filler.
Bestand Aus Kleinen side consists of a single HNW track. The harsh erosive wall itself is thick, gritty, and full of textured crackle, but the recording seems muffled and distant. Not as completely enjoyable as most harsh wall noise jams. This is the latest in a string of releases from the side-project of Richard Ramirez, the highly prolific Texas noise monger. I'm not good with translations, but I believe this project name translates [very] roughly into: Collection of Young Girls.
Posted by PRISONFOOD at 7:46 AM
Monday, November 26, 2012
Hailing from Denton Texas, Nite Shadez is an audio/visual electro-dust-noise duo. Live shows feature tape layering and visual projections. The visual element isn't easily communicated onto audio cassette. The J-card artwork looks like it was designed by a 4th grader. Interlaced pixel screen-shot of a bolt of lightning. Deep black purple and green aurora behind a clear overhead transparency J-card with ghosts, graveyard and album title scrolled across the bottom. Pro dubs and nice print jobs. Comes with 1" pot-leaf sticker insert. Info card on heavy paper says no computers or overdubs, play at max volume with sunglasses. Reverse side has a contrasted out photo of two dudes in sunglasses.
Nite Shadez - Black Holes for the Face and a Graveyard. The meat and potatoes of these tracks consist of drum-machine, synth pad, bass lead sequences layered with vocal mutterings, distorted moaning screams, and spoken word samples played in reverse or at high speeds. These samples bring to mind Dr Phil, but I'm too lazy to play em in the other direction to try and find out. The drum sounds are cheap synthetic outsider rhythm industrial minimalism loosely cobbled together. Usually, I would tend to enjoy this sort of approach but here it falls a bit flat. Expertly amateur conception. The recording techniques are solid. The sound itself is quality. The content, not so much.
I'm not all that into this release, but I'll hype it up anyways, cause I'm sure some young fledgling noisephile will pick this up, becoming fascinated by this genre with an 'I can do it better' attitude, and will commit to pulling off some mind-blowing recordings of their own. I'll regard this tape as seminal in that respect.
Posted by PRISONFOOD at 6:33 AM
Sunday, November 25, 2012
Worthless. It took me a long time to get into this one. Never heard of Fissures, but with and band name like that, and an album title like On Frozen Waste, I got interested. Plus Worthless Recordings rarely steers you wrong. So, I gave it at least half a dozen shots, but it just wasn't doing anything for me. Some morose bedroom guitar tankering & some minimally applied percussive rhythm or heart beat loop thing. It's like some broke ass dude in the middle of a depressive funk zones out to the patterns on his bedroom ceiling while plucking out some mundane melody for like an hour. But then this fine foggy morning, I played the side of the tape called Morning, and everything clicked. The right time and place. Now I'm hooked like an old hat. Serene doomy guitar layers over perfectly placed wisps and bomb samples from the 40's with a baby crying. Just had to get on here and tell you about it. Fans of the far reaches in chill fringe black metal need to listen up. File next to Du Hexen Hase and Horns Valder.
Posted by PRISONFOOD at 10:04 AM
Friday, November 23, 2012
COMPACTOR is the glitch-bent live-PA industrial-beat brainchild of Derek Rush. Never quite crossing over into breakcore territory, these tracks pack a quick pulse and some breakneck transitions. Heavily treated sequenced drumbeat patters don't usually qualify as noise, but COMPACTOR shows us that, with enough distortion, even crappy drum-machine patches sound fucking great. Crunchy kicks and filthy fuzz as fuck. 3 tracks per side. The recordings are totally pro. Nice levels. Crystal clear, this shit ain't been stepped on. No vocals. No turds. Hey DJ; get this heard on the killer PA at your local goth club.
You can get it from Out of Body Records and keep an eye of for their future COMPACTOR VHS release.
Posted by PRISONFOOD at 9:07 PM
Wednesday, November 21, 2012
This beautifully crafted dual 7" is the elegant companion release that dropped a few months post the PURE HARSH NOISE WORSHIP event held in Portland Oregon in the Summer of 2012. This release will serve as a point of reference, a marker in time, commemorating one of the greatest west coast noise feats of 2012 and won't likely be leaving my collection any time soon.
HHL - Astral Incursion is a hailstorm of high-gain crackle that rides a full blown deep static groove. HHL was a no-show at PHNW; most likely due to the recent relocation from pdx to Tennessee.
OKHA - Universal Restitution (Live @ Baltigate 2011) features medium-high low frequency oscillations over a searing bedrock of harsh shrill. This is a live recording and it shows. This track isn't nearly as sonically sock-offing as his live set at PHNW 2012.
OSCILLATING INNARDS - Suspended In Vanity feels like a slow burning dig through the ruins of a Fukushima wasteland. Oscillating Innards did not perform at PHNW unless you count the Black Air collab set between Sam (Rita) and Gordon that kicked off the fest.
REDNECK - Faceless is an ultimate surge of a pure harsh noise geyser that erupts with full fury. Redneck pulled out a ripper set of harsh-wall smearing-shit-on-a-dead-stare face at PHNW. Pure. Harsh. Noise. Worship.
Posted by PRISONFOOD at 7:07 AM
Saturday, November 3, 2012
This is a 2011 re-reissue of a convoluted BPO album that was created in 1999 and originally released in the year 2000 by PsychoChrist Productions. There's a bonus Broken Penis Orchestra track at the end, taken from a Comp titled "The Bone Tickling Nightmare Pig", released in 2004 by PsychoChrist.
Cut-up fragmented overload. A million bits of music, noise, samples, errant sound effects, and weird recordings blended, looped, and layered into a quilted sound collage. Rainbow stew for ADHD stricken ears. An opus of freakishly stitched-together chunks and morsels of pure audiophilliac indulgence. There's a ton of great listening to be had on here. The longer, more drawn out segments make it easier to digest the barrage of micro-snippets and disorienting deluge of multi-genre mash-ups. Burying the needle both ways. The cuts are about as seamless as you could hope for. The cerebral stimulation levels are off the charts. A lot of ground gets covered on here. There's hardly time to extrapolate the intent or meaning behind the sounds without getting lost in the swifter currents of progressive motion. This is a timeless classic. Highly recommended to fans and even non-fans of music, noise, and everything in between.
Posted by PRISONFOOD at 10:53 AM