Music Reviews



Blue Sabbath Black Cheer: no escape

 Posted by John Gore   Industrial Noise / Power Noise / Harsh Noise
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May 17 2010
Artist: Blue Sabbath Black Cheer (@)
Title: no escape
Format: 7"
Label: Static Caravan (@)
Rated: *****
Two tracks of satanic-themed noise for the hell-bound in all of us. Not badly done but does any of this really scare anybody anymore? After the tenth Merzbow I got bored. But I guess there's always new recruits entering the ranks of the dark one and they need something to listen to while awaiting his appearing. Surprisingly issued on white vinyl. I would have expected black considering the themes.

Dysthymia: Only One Memory Remains

 Posted by John Gore   Industrial Noise / Power Noise / Harsh Noise
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May 17 2010
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Artist: Dysthymia (@)
Title: Only One Memory Remains
Format: 7"
Label: Diophantine Discs (@)
Rated: *****
Dysthymia is the project of Diophantine label owner Kyle Wright. In case you care, the dictionary defines dysthymia as: a tendency to despondency, which should give you an idea of what this sounds like. Roiling noise and droning tones that pull you in and spin you around till you don't know which way is up. Not a bad experience if you have some time to kill and don't care how you kill it. Good stuff! BTW, this is marked as being playable at 45 RPM, but it also works at 33 RPM.

Locrian: Burning the Carnival / Exhuming the Carnival

 Posted by eskaton   Industrial Noise / Power Noise / Harsh Noise
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May 07 2010
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Artist: Locrian (@)
Title: Burning the Carnival / Exhuming the Carnival
Format: Tape
Rated: *****
This is the third thing I have reviewed by Locrian and so far I have found them to be a mixed bag. That said, this has been a much more enjoyable release, taking the best elements of “Drenched Lands,” such as their ability to create a heavy atmosphere, while taking what I saw as the weaknesses of “Plague Journal,” which is it’s stripped down repetitive minimalism and turns it into a strength.

“Exhuming the Carnival” brings in heavy bass drones with guitar that, while remaining fairly simple throughout, develops an increasing sense of urgency. At first I thought that it would quickly become boring, but it remained strangely compelling. Very nicely done. “Burying the Carnival” takes a more ominous approiach as occasional yelling blends with guitar over a noisy, dissonant droning background. This track shifts throughout, which keeps it interesting. At one point, it is almost as if there is an Yngwie Malmsteen solo in the middle that doesn’t really seem as out of place as I thought it would. The guitar gets increasingly dissonant as the oppressive drones close in on you. Overall, this is the best I have heard from Locrian. Out of all of the releases, this is the one I would start with.

Corephallism: s/t

 Posted by eskaton   Industrial Noise / Power Noise / Harsh Noise
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May 06 2010
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Artist: Corephallism (@)
Title: s/t
Format: 3" MiniCD
Label: Lascivious Aesthetics / Apop Records (@)
Most people in the Noise/Power Electronics scene have likely heard of Twodeadsluts Onegoodfuck. Now Shane Broderick, one member of that trio, is here with a solo project called Corephallism. And lest you think that this is a better name for a project, consider that a quick google search reveals that Corephallism is a “Rare term for anal sex with a young girl.” Here’s how the label describes the disc: “On this debut recording Mr. Broderick offers a brief glimpse into his struggle with personal demons of hereditary mental illness, sexual addiction and depression which serve as subject matter. Analog synth meditation, pulsing ambience, and bleak soundscapes lead to relentless monophonic buzz saw worship.” This is a three inch disc, so it is by definition short, but this was over almost too quickly, weighing in at a grand total of 7:31 for the two tracks. Both tracks are noisy, but it is not overly harsh. In fact, Speaking in Tongues, the first track, starts out almost like dark ambient before becoming diving into slowly pulsing noise waves. “These Scars Will Last a Lifetime” also begins with an ambient feel before kicking into noise. Although there is some underlying texture to it, the shifts are a bit too subtle for my taste. The track ends abruptly with what seems like silence, but really it is the sound of a female sobbing, recorded at a very low volume. Overall, not too bad for an intro to the project.
May 06 2010
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Artist: VV.AA.
Title: What Pleasing the Lord Looks Like Marriage: Extreme Noise…and Terror from Japan and Israel
Format: CD
Label: Heart & Crossbones (@)
Rated: *****
I like noise music, although I am always a bit amused when seeing “terror” thrown into the description. However, this seemed promising, especially considering the vibrant noise scene in both Israel and Japan. I was a bit surprised when I put the disc on to find Ryokuchi kicking it off with some slow sludge. This wasn’t the noise I was looking for. Not bad, but I was expecting something else. Cadaver Eyes follows this with some nice intense bass drone. Heavy on the low end with just a bit of buzz in it. However, this is marred by some drum and cymbal bits and yelling that seem a bit out of place. This would have been better as an instrumental. Zenocide brings in the obligatory Cookie Monster vocals and slow metal guitar. At this point I was starting to wonder where the noise was on this disc. LietterSchpichDiet gets us closer to the promised noise with a wall of sound and someone beating the crap out of cymbals. Grinding noise and tortured vocals with a lot of processing. Now we’re getting somewhere. MONEYI$GOD brings us ritualistic rhythmic drumming and wall of warbling electronic noise punctuated with short bursts of vocals - sort of hypnotic. About halfway through they completely let loose with the noise. This is what I came to hear! Poochlatz supplies some power electronics with heavily distorted shouting, a good background of droning electronics, and a lot of variety. For me this is one of the standout tracks on the disc. Remesh offers up an incredibly noisy track that builds slowly before unloading with both barrels - pulsing and punishing. This was amazingly good, and not simply from a comparative standpoint. Nerveless lays down the longest track on the compilation at 19:13, with a grinding electric guitar track. However, adding a lot of distortion does not really make it noise. It becomes noisier as it goes on, with what sounds like wind on microphones, but Nerveless had the misfortune of following Remesh, which was a tough act to follow. Moreover, this track went on for about 10 minutes longer than it needed to. Overall, this is a mixed bag. If you are looking for noise, there are a few tracks worth checking out here, but I would say that it would probably be better to just find a full length release from Remesh, Poochlatz and MONEYI$GOD. The disc weighs in at 67 minutes.


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