Music Reviews



IRON MOLAR : e poi piove

 Posted by Andrea Ferraris (@)   Industrial Noise / Power Noise / Harsh Noise
Experimental / Avantgarde / Weird & Wired / Glitch / Noise / Field Recording
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Dec 15 2010
Artist: IRON MOLAR (@)
Title: e poi piove
Format: CD
Label: Solitude Beast
Rated: *****
2 + 2 still equals 4?'¦sure, above all when a recording and a band is the sum of its parts and after having hear their latest solo works I dare you to deny that Massimo aka Iron Molar are not the algebraic sum of Iron doing most of the ambient/droning sounds and Jacopo aka Evil Purpose doing the most noise, crackling things. Freak brothers gone bad are back and holy shit the whole works moves like a bad acid trip, differently from some of their previous works Iron Molar are concentrating more on shorter tracks and it helps a lot since they stop right before getting boring, but not before pushing you there close to the limit of hypnosis. Differently from the past they're more and more oriented toward a freaky psychedelic sound and in someway left dark ambient behind their back and they're definitely gaining personality. If you listen to their last releases they put emphasis to the bastard noise, weird/odd noise influence which in their case means loops are more cyclical and floating ashore but at the same time avoiding easy drones which nowadays has become a sort of standard in many genres. Rhythm and sound definition have become central in their own evolution and probably recording and mixing with Bob at Alampo's helped developing every single idea and aspect. Everything has become clearer, more clean but not aseptic yet therefore this cd has nothing to do with those digital noise works..it's clean but in a really warm way!. Even when working with drones they did it in a really smart way and the closing suites are good example of it all, they're not so predictable but at the same time several different stops and go make the listening quite interesting. Dark music for dark people? Odd music for heavy freaks?...and why not dark references?...infact the title itself is probably referred to one of the most depressive songs from 90's roman hardcore heroes Concrete. Punk's not dead...but has become trippy.

Custodian: Toil and Waste

 Posted by eskaton   Industrial Noise / Power Noise / Harsh Noise
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Dec 12 2010
cover
Artist: Custodian (@)
Title: Toil and Waste
Format: CD
Label: Syzmic Records (@)
Rated: *****
I had not heard of this artist before I received this disc in the mail. Evidently, this artist hails from Milwaukee, Wisconsin and has been putting out stuff since 2008, generally in CDR and cassette tapes ' this seems to be his first major CD release. The label describes this disc as 'Bleak, inhospitable works that flow and mutate between screeching japanese influenced noise, HNW density, and churning industrial loops.' All I know is that this is exactly the kind of noise music I like - straight up in your face wall of noise noise music. Everything is distorted beyond belief and overdriven to the point of sonic destruction. It's crunchy, it's static filled, it sounds like he is destroying everything in his path. Metal clanks and rumbling bass walls. Hell yeah! Out of the three discs Syzmic sent me, this is the one I would say is essential listening for noise aficionados ' no small feat considering he is up against long time noise artists like Inhalant. There are no pretentious titles here ' Just Toil and Waste, parts 1-9. You can get a sense of what you are in for at his website, but really - if you like noise and are looking for the next generation of noise artists, I get the sense that Custodian will be one to watch for. This disc weighs in at around 28 minutes.

Mortuor: I’m Waiting For You…

 Posted by eskaton   Industrial Noise / Power Noise / Harsh Noise
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Dec 12 2010
cover
Artist: Mortuor
Title: I’m Waiting For You…
Format: CD
Label: Syzmic Records (@)
Rated: *****
I had not heard of this project, but evidently he is also the man behind Subklinik, a project I had not thought for almost 10 years when I acquired Dawn of Desekration from Live Bait Recording Foundation. He has been fairly active since that time and this seems to be a new project, with only two releases and as many compilation tracks (one of which shows up on this album). His website proclaims: 'The stale state of experimentalism has forced this, the union of sickness and sound. A tribute to the forerunners of power-death electronics. Pure emotion. Pure sickness. Pure power. Nothing compromised.' Let's see if he lives up to this. One thing I will give him is that he is all about atmosphere. There is still the static wave and the pulsating electronics, but this is not really noisy. That said, it is also not really oppressive sounding, but there is an ominous undertone here. This makes sense, as this release is 'dedicated to the memory of Marco Corbelli and the Italian Death Industrial movement.' Marco Corbelli was better known as Atrax Morgue. With song titles like 'Dead Love,' 'Whore on the Floor,' 'Skalpel Inzertion,' we can see this influence. The vocals are more distorted spoken word rather than the typical screaming one would expect. When you can understand the lyrics they are fairly dark 'your mother gave up on you,' and 'nothing to live for,' for example. If you like atmospheric power electronics that skirts the line with dark ambient, this is your disc. This disc weighs in at around 34 minutes.

Inhalant: Save Our Souls

 Posted by eskaton   Industrial Noise / Power Noise / Harsh Noise
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Dec 12 2010
cover
Artist: Inhalant
Title: Save Our Souls
Format: CD
Label: Syzmic Records (@)
Rated: *****
If you are not familiar with this Texas-based artist, Inhalant is harsh noise. I had not heard much from this project with the exception of once being on the same compilation, but I had heard much about him so I was quite interested to hear this. This album comes packaged in a nice A4 folder. Now to the music. 'All or Nothing' is a bit too heavy on the high pitched noise spectrum for my tastes, but the use of sampled voices seems to fit well into this track. 'Death is Laughing' seems to use completely obliterated voice to punctuate the static hum that permeates the track. This is much closer to the power electronics side, except for the fact the voice is completely unintelligible. Yeah, I know the same can be said for most PE stuff, but in this case, it seems to act more as an instrument than a voice. 'No Surrender' is a more rhythmic, syncopated venture in a similar vein to the previous track, but I can't help feeling that it seems a bit thin. It's harsh, but a bit too sparse for my tastes. 'Body Trap' goes back to the old school of noise, with grinding, staticy goodness. This is much more complex than the previous tracks. Like the others, there are vocals at the end that are completely unintelligible. One thing you have to love about noise albums is the fact that you can pretty much put any title on a track. This leads to some gallows humor at times and 'Lick the Dead' is no exception. This goes back to the PE/Noise hybrid that he is throwing down. 'Save Our Souls' puts forth the strongest track, with waves of static washing over a sea of noise. Intense and heavy and nicely done. Overall, if you like the aesthetics of power electronics but wish they would just shut up and get with the noise, Inhalant is your man. This disc weighs in at around 37 minutes.
Nov 30 2010
cover
Artist: Zeitkratzer (@)
Title: WHITEHOUSE electronics
Format: CD
Label: Zeitkratzer Records
Distributor: Forced Exposure
Rated: *****
The seventh stroke of the pointed Zeitkratzer lash has been added by William Bennet, one of the most inspiring pioneer of the so-called power electronics and industrial music throughout his provocatory project Whitehouse, whose name for all hungry listeners who are not so learned about the origin of this sonic species was taken from one of most notorious pornographic English zine as well as from the surname of Mary Whitehouse, one of the fighting Christian activist, which gained some notoriety for her puritan campaigns since the 70ies and so an easy target for Bennett & C., whose music could be considered as a sort of stage and "speaking" corner for his anti-toadyism and anti-moralist agreeably harangues standing upon his intent to forge what he defined "the most extreme music ever made", which was going to be earsplitting and violent either in its form and in its content.

Even if there's no use of strictly electronic devices, I'm sure Mr Bennett had appreciated both the extrapolation from his rich repertoire and the "orchestral" version by Zeitkratzer's musicians directed by the pianist Reinhold Friedl who have been able to preserve the surgical harshness as well as the powerful emotional impact of the original compositions and their ability in melting them throughout the aid of zeitkratzers' deep knowledge of amplification and microphone techniques which is evident since the opening piece Munkisi Munkondi (many pieces by Bennet's are entitled with African names as his fascination for African and Haitian music and culture had been attested by his attempts of integrating some sounds form that imaginary, particularly percussions, in its brutal assemblages ), taken from Bird Seed (an album recorded in 2003) and referring to the ritual sculpturing of wooden representations of local gods or protecters obtained from the painful scratches of each villager on primordial trunk, whereas amidst the clashing orchestral magma some ascending sounds reminding the typical screeching of whizzing cars are intertwined with amplified wind instruments looking like the harrowing moos of cows condemned to slaughtering or the frightened squawking of ducks before turning into fois-de-gras.

The opening sinister shrill sound of Nzambi la Lufua of the colliding hight-pitches, which gradually descends, of a trumpet and a trombone could remind the anguishing scenario of an agonizing farmyard before the moment of absolute silence (Bennett prefers to speak about "short moments of reflection"), detaching this track from the following one, Scapegoat, a magistral drone-like piece where dilated instruments seems to be scorched by tremolo and vibrato effects. The tremendous and devastating corporeity of Bennett's music has been highlighted by the following track, Faiground Muscle Twitcher, a sort of noisy representation of the spasm of a muscle just before an unavoidable pain whose ritualistic side hides in some hidden chidplays easily suffocated by distorted and high-pitched string sounds, whose abruptive end sounds like those reassuring words a nurse normall says to a fearful child after injection. But the most ritualistic moment of this performance, live recorded in Marseille in 2009, is Bia Mintatu, whose vortical ascension of asymmetrical loops, sinister noises and paralysing glissandi refers to a particular tribal African invocation in the form of litany, intended to propitiate the destruction of any potential enemy. The obscure and noisy lameness of the frozening final track, The Avalanche, is the perfect way to finish this immersive sample of orchastrated noise. Brilliant!


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