Terror Cell Unit – Sinners In The Hands Of An Angry God MC Oxen 2019 더킹카지노|우리카지노|슬롯사이트
With six new releases issued in 2019 alone, the determined forward march of Terror Cell Unit continues. This short 20-minute cassette features four tracks, noted to have been recorded in March, 2019, and based on the chosen cover imagery it appears the thematic focus may be Christian fanaticism and evangelical firebrand preaching. Although this cannot be confirmed as the lyrics are not included and much of the vocals are processed beyond recognition. 더킹카지노|우리카지노|슬롯사이트
A Watchful Eye solidly kicks off proceedings featuring monumentally thick throbbing bass, heavily treated vocals and relatively clean mid-toned sound. The following A Different Path lives up to its title, given it veers towards a pounding death industrial structures based on a massive drubbing beat grimly smeared synth layers and the heavily processed rabid vocals sitting semi-buried at the centre of the mix. Side B brings a further two tracks where a religious focused sampled introduces His Wrath Setting Fire In The Sky, being a track of layered looped elements, where the noise wheezes, crumbles and squelches in equally measure. Calling Your Bluff finishes on a particular high note with tonal drones and loosely looped rhythms, and when the vocals appear, apart from a slight delay treatment, are fully intelligible. 더킹카지노|우리카지노|슬롯사이트
Embodying a now immediately recognisable sound of Terror Cell Unit which showcases a modular synth derived and sharply incisive tone, this is another high calibre industrial strength power electronics release. 더킹카지노|우리카지노|슬롯사이트
Galme – Obducentens Hopplösa Sökande MC Styggelse 2019 더킹카지노|우리카지노|슬롯사이트
Galme are a new and entirely obscure Swedish project. Clearly they are obsessed with the earliest expressions of what would become known as a death ambient/death industrial, but also features enough sinister obscurity to also be tagged with the ‘post-mortem’ descriptor. Likewise, the phase on the cover ‘spektral elektriks’ is a suitable descriptor of the atmospheric qualities of this tape 더킹카지노|우리카지노|슬롯사이트
With what is effectively a singular long form track, Obducentens Hopplösa Sökande traverses through a myriad of interlinking movements. Slow pulsating emanations provides a forward drive, while sections of muted conveyor belt rhythms, stilted ritual beats, cryptic melodies, and dank tonal washes generate a sickly ethereal mood. Predominantly an instrumental affair, on occasion disembodied radio voice chatter flits in and out of sonic frame, much like EVP recordings cutting through the ether onto the magnetic tape. Production wise there is nothing remotely modern with the tone of the recording. Rather this embodies the atmosphere of the earliest 1980’s phase of industrial music which spawned the likes of Korpses Katatonik and what would follow. But thankfully this does not sound in any way purposefully retro or otherwise pastiche of what has come previously. 더킹카지노|우리카지노|슬롯사이트
For the physical presentation, the austere colouring and visuals of the j-card, inserts and table label suits the sonics perfectly. Much like all of the material issues on Styggelse, this is purposefully obscure, is limited in edition and difficult to obtain due to lack of wide distribution. Likewise with no digital versions available, it only elevates the impact of the music when a post-industrial underground obscurity like this can be obtained. Yes – this is recommended. 더킹카지노|우리카지노|슬롯사이트
Blood Rhythms – Civil War LP No Part Of It 2019
The Blood Rhythms project is primarily helmed by Arvo Zylo who also employs the collective inputs of a raft of other musicians. This collaborative process has led to a broadly power electronics defined expression, but which also flirts with varied experimental elements and musically tinged post-industrial sounds.
The first thing of note about Civil War is the packaging, with the beautifully designed, high gloss gate-fold cover and large 11” sized 16-page art booklet, also printed on weighty high gloss stock and containing a selection of darkly abstracted images. For the sonic side of proceedings (En) Closure (Heart’s On Fire) kicks off the album, and based on the layered atonal horn blasts it is immediately clear that Civil War is far from a ‘business as usual’ power electronics album. Embodying an abstracted dark experimental jazz-noir mood in the first section, by track’s end the jumbled vocals and scratching textures have gradually built into a heady noise piece. Onism (Sick Skin) follows and is very much an exercise in endurance given its high-pitched needling textures which are sustained throughout. With its raw unhinged vocals and overblown noise approach, as a comparison it reminds of some of the nastiest and rawest material to come from the Filth & Violence label in recent times. Locked Away provides some welcomed respite being far moodier with slow crumbling drones and muted melodies. Yet the elevating distortion, driving mechanical whine and slow drawled vocals places the track squarely within post-industrial spheres. Paris Window is the most atmospheric track on offer with sampled film-noir melody and windswept melodious drones, yet a fleeting vein of muted noise is also noted. The Face is perhaps the most song-oriented track of the album, where its digital squelching loop is reminiscent of late era Whitehouse, while the slow drawled/yelled vocals completely sets it apart. Mid track it launches into an atonal jazz saxophone freak-out (where the shrill layering verges on Penderecki style strings), before diverging off into a trial percussive rhythm and noise section. The album is rounded out with Alchemy & Grief (Part I & II). Part I features blown out noise, radio chatter, creaking junk metal and ritual styled gongs. On the other hand Part II is a concluding highlight featuring a sluggish pounding bass pulse, slow panning saxophone melody and roughly bellowed vocals, while detailed noise and general backing clatter fleshes out the throbbing post-industrial sound.
Far from being a power electronics ‘genre’ piece, this is a wildly varied and creative release, where Civil War manages to continually surprise despite its relatively short overall run time. If it is not already apparent, Civil War is a perfect album for those craving sonic diversity well beyond the expected norms of a more typical ‘power electronics’ offering.
Graustich – See You When You Get There MC Cloister Recordings 2019
After 2018’s excellent Morality Ends album (reviewed here), Graustich return with a single instrumental track, issued on a home dubbed, single-sided cassette.
Clocking in at over 15 minutes, the approach follows the sound of the earlier album, which is an exercise in sustained industrial-noise, and in essence could have been lifted from the same recording session. Over its duration the multilayered deep shuddering distortion and bass addled textures give the impression of idling of factory machinery, with the overall sonics treated to have a raw and roughly blown out sound. Grim, crushing and laborious in tone and atmosphere, the noise-industrial atmospheres grind forwards incessantly, where total submission is the only effective choice (although in the later sections the oscillating tones increase in urgency, thus providing some variation).
A simple j-card design rounds out the presentation, while the project name has been carved into the tape with a blade, which when combined with the oppressive sonics all amounts to a solid underground obscurity.
Entre Vifs – Offranfe et Partage CD Aussaat 2019
Despite having releases extending back 30 years, I am less than familiar with Entre Vifs’ output, but I am aware they are an exponent of a ’bruitism’ approach to music – aka ‘the art of noise’. The material on this new album is derived from live recording sessions using a variety of homemade electronics and noise equipment (as pictured in the booklet), and recorded as a duo March and April, 2018.
Four tracks span 74 minutes of ‘bruitism’ focused sonics, with the longest piece being 23 minutes, and the shortest being nine. Despite what I assume is the improvisational nature of the recordings, the tracks have compositional flow where there is a real sense of ‘cause and effect’ between the presented sounds, which is indicative of interplay between the two members during the recording sessions. Sonically speaking the sound features raw blown out metallic textures, blended with moments of stilted rhythmic pummeling. Further variety comes in the form of creaking atonal junk clatter, slashes of random electronics sonics and wonky bowed springs. Recording wise the tone is textured and detailed and while ‘noise’ derived, it is not harsh noise by any stretch and fits more within a rough industrial noise frame of reference. Consequently this means there is space for the layered sounds to breath within the mix, while sounds rapidly panning between speakers functionally increases the disorientating effect of the mid-paced industrial noise maelstrom. Beyond my more pragmatic descriptions, the title of the third track is also quite an apt descriptor of the album overall, titled A Benevolent Storm Front.
Being sonically textured, highly detailed, chaotic and warped, yet somehow strangely soothing at the same time, Offranfe et Partage is an intriguing and enjoyable listen, even if I am I am not sure to how often I may revisit this. But in being both noisy and clearly artistic in approach, the agenda to functionally realise ‘bruitism’ has been achieved.
Contrastate – An Exercise In Defascination 7”ep Black Rose Recordings, 2019
With their immediately recognisable darkly surreal soundscapes, which are further characterised by poetically metaphoric vocal narratives, Contrastate have always been an anomaly within the post-industrial underground. It has then been some time since 2012’s last full length A Breeding Ground For Flies, noting that 2016’s No Eden Without Annihilation was not an album proper, but rather a collection of live recordings. An Exercise In Defascination arrives as a precursor to the upcoming full length album, where the liner notes highlight that the two featured tracks: ‘are alternate mixes from our ongoing studio recordings for the next Contrastate album. The album concept is inspired by the Italian giallo films of 1970s’.
The instrumental title track arrives on the first side, and within the first minute manages to span cinematic synths, rolling percussion and pitch-shifted sonics. From there the surreal serpentine soundscape is derived from shimmering textures, abstracted guitars and a myriad of other sonic elements, while a shrill drone and rising strings through the later part of the tracks functions to create tensile and urgent tone. Spasmo takes up the flip side with more shimmering drones and abstracted guitars, but the mood is more stayed overall in a drugged miasma sort of way. Snippets of vocals are present but are sonically warped and fragmentary in presentation, rather than their usual focus of a central narrative based tool. Regardless, the resultant feel is a darkly surreal one.
With this 7”ep effectively being a short taster to the new album, but on their own form a welcomed slice of Contrastate experimental post-industrial eccentricity. It will then be equally interesting to see how these compositions will fit within the greater whole of the upcoming full length. As for this release it is limited to 250 copies.
Heretic Grail – Instruments of War 2xMC Slave Chandelier 2019
Heretic Grail – On The Heels Of Insignificance LP Breathing Problems Productions 2019
Instruments of War constitutes my introduction to Heretic Grail, yet it seems that as of April, 2019 the project may have already ceased activity. If that is the case the project was active for less than a year since mid-2018, but still managed to issue twelve releases in that time.
The six tracks featured on Instruments of War are spread across the two tapes, totalling around 37 minutes. With a strongly militant edge to the sound, the industrial/power electronics approach is based on loosely constructed and generally mid-paced compositions. As for the broad approach on display, the tracks feature windswept battlefield ambience based on blended layers of caustic electronics consisting of: idling static; trembling distortion; erupting fissures of noise; smatterings of dialogue samples; and rounded out with strained, echo-smeared vocals (which are ranted but unintelligible). To talk specifics, Tortured Lullaby stands out positively with its melodious synth drone and shuddering bass. Regrets Of Termination And Conquest also follows a similar sonic template, but is defined by a dialogue sample where a soldier recounts his first kill in combat (which is revealed to be civilian and in the telling is tinged with repent). Beyond the sonic side of things, specific mention also needs to be made of the packaging, where the two pro-printed tapes are housed in a black elongated paper envelope along with a myriad of collage-based inserts. But being limited to only 60 copies, this is already likely to be difficult to track down.
Although also issued in 2019 On The Heels Of Insignificance is not a current recording from the project, rather is a vinyl reissue of a 2018 tape issued on Fusty Cunt. Although it does inhabit the same general sound sphere as Instruments of War, this LP is also less refined and slightly more direct in sonic expression. In a general sense an elevated level of tension is evident, where the tracks are built around grimly grinding machine like loops and augmented with vocals and/or dialogue samples. Swine.Cleaner sitting at the centre of the album is particularly impacting, based on its searing distortion and grinding noise-based approach which elevates to wind-tunnel intensity.
For the chosen style and approach Heretic Grail have delivered releases which perhaps not necessarily rising to a ‘mandatory’ status, both releases remain strongly enjoyable for what they are in their chosen style. In then comparing the two Instruments of War is the more varied and refined release of the two, and perhaps also warrants a re-edition – hopefully on vinyl.