"Last Night I Dreamed of Armageddon" is an interesting and minimalistic release from Terminal Sound System. While it is sometimes heavy on the glitchy/chaos end of things, this release mainly focuses on the space between the shockwaves and the silent melodies and rhythmic pings that dance throughout that space. Sounding rather morose and desperate, the music seems to be recalling happier times of a better world that has long since past. The music is for the most part constantly engaging but like with a lot of soundtrack/soundscape releases you'll need to be in the mood for it. Song titles like "before the snow comes ash" and (study of ) decay of elements" go a long way to project some imagery into the songs. All in all it's a strong release that could easily handle more than a few rotations. For those concerned with presentation, the packaging is also minimal but no where near as appealing as the music. I personally feel it doesn't do the release justice and unfortunately the casual listener might pass this CD up as it frankly LOOKS boring. In the end this doesn't affect the fantastic nature of the music contained within but it'd be nice to see more effort put into the artwork. The website follows a similar approach but it is slightly more effective despite it's relatively low content level. Recommended tracks: "when we are robots there will be peace" and "the structure of tasks".

Another new signing for the growing Harsh Noise label ProNoize out of the Dark Dimension group, this time a project by the multi-talented Patrick Stevens from Belgium. Yes, Patrick Stevens, also the man behind known projects like DAS SCHRECKENSGESPENST, HYPNOSKULL, SONAR and, and, and. He also had a first solo effort called SONA EACT out on the ProNoize label and could release three full-length CD’s under this moniker. While I mostly thought that SONA EACT was too repetitive, things do change with SLIDING ELEMENTS. Patrick’s work here, to lay multiple rhythm patterns taken out of different and very diverse music styles, has something special and it turns this project away from the often used expectation to get just another Powernoise release which is impossible to separate from comparable releases. This project is also open for co-operations and so we find here some contributions by SCREAMBOY or ELEKTROSCHEISSE, both mostly offering vocals. Patrick also integrates the influences of his own HYPNOSKULL project into the track "Clash It Up!" with the result that this track is surely one of the harshest pieces here. Other favorites I could find in "Biest", "Bombenanschläge" and the title track. This release is filled with some strange acoustic surprises here and there and it reminds me somehow a bit on the latest works of a band like H.I.V.+. For fans of Patrick’s work, as well as for fans of the label, this is a must-have release, but it can also satisfy some open-minded friends of styles like Electro, Techno or Trance.

When doing reviews, I find it useful to have a point of comparison so I listened to Expansion Pack 2.0 and then listened to Blast Furnace. Blast Furnace was good, but this is much more varied in style and a lot less predictable. It also reminded me that Blast Furnace wasn’t just straight up rhythmic noise. That’s the nice thing about Scott Sturgis – it’s difficult to pigeonhole him into one category. If you get this disc, think of it in terms of not only expanding your collection of Sturgis’s output, but also in terms of expanding what you think of Converter. I have to admit that when I got these discs I thought that I was in for rhythmic noise – until I read the press sheet that came with it. I’ll quote from that here: "this expansion contains unreleased material, live tracks and remixes by industrial icons like Sonar and ambient masters like Architect and Displacer." Ambient? Converter? Yes, and it's really good.On with the music; let’s start with disc 1. First off, this opens with what can best be described as harsh ambient - voices talking about subliminal messages and bits of noise thrown in. About 6 minutes in you are reminded that you did not put the wrong disc in the CD player as it kicks into the rhythmic noise that you had expected. A nice opening to the disc. Track 2 is Domination which, from the press release is a something that people like in clubs. Because I’m out of the club scene, I don’t know, but it does sound like it would work well. The rest of the disc alternates between these extremes – sedate, more mellow pieces and harsh rhythmic noise. About the only real low point on the disc was "Witch Hunter (Burned Remix by DJ Burn)" which was a bit too repetitive with a steady 4/4 beat running through it. Even though Witch Hunter (Hanged) is not up to the rest of the disc either, it at least changes it up a bit and is a minute and a half shorter. Disc 2 begins with "Atlantis (1990 re-edit)" a shorter, more minimal track of some spoken word that is difficult to understand and eases into track 2, "Time Through Windows" which is a more sedate, tribal sounding track. Although repetitive, there is enough happening beneath the surface to keep it interesting. This was actually one of my favorite tracks. It’s not until track 5, "Electric Wizard" that the rhythmic noise kicks back in and I have to admit that I was enjoying the soundscapes more. The press sheet tells DJs to play Monster Death for the "party people" and I have to agree – this would sound right at home on the dance floor and at 9.31 it gives the DJ plenty of time to flirt with the clubbers (isn’t that what the DJs are actually after anyway?). This disc is also a good mix of less aggressive tracks (although keep in mind that this is still Converter that we’re talking about, so it’s all relative) and the rhythmic noise we expect from Converter. Overall this is a good set - and weighing in at about 2.5 hours of music, the discs are packed about as full as possible. The only real issue I have is that I would have preferred a set that had the low key stuff on one disc and the noisy stuff on the other to more easily suit the mood I’m in. Other than that, this is really good and both discs (especially disc 2) will be spending some quality time in my CD player.

Autoclav1.1 is the project of Tony Young, a well known promoter and musician in the noise underground. You are My All and More is his first full-length album following two stand-alone EPs. The premise of You are My All and More is to map the process of dealing with the loss of a loved one. A subject brought to Young’s attention last year while coping with the loss of his cat, Frank. Listening through this album is like a window into his mind as his emotions fluxuate from sadness, confusion, nostalgia, anger, hope, and disillusionment.

Young had promised from his first EP that there would be evolution and growth. While some of the same qualities exist in his music there is a level of artistry and understanding that his humble suggestions put to shame. Tracks like "This is the Hollow Point" and "White Cover" are nothing short of amazing. The same skitterish break-beats can be found throughout the album, but Young’s experimentation with ambience and texturing has turned into an all-out mastery, flirting with melodies, twisting and turning them enough to keep your brain on edge even on the most sentimental of tracks.

I will admit, I am biased toward Tony Young’s music, but I am certain that even if I’d never heard of his name or work before I’d still be as caught in it. This is a wonderful album; Inspiring, Distrubing, and painfully honest all at once. Autoclav1.1’s You are My All and More is perfect in my mind. My heart goes out for his loss, and my gratitude goes out for this album.

Atomgrad is the full-length debut of Finland’s Almysto. Alymysto is the project of Mr. Vuorensola (vocals), Mr. Paalanen (guitars/loops), Mr. Honkonen (theramin), and Mr. Haapanen (programming). The theme behind Atomgrad is waking dreams. Everyone has them, right? Maybe so, but I’d venture to say not many people have waking dreams like this (and if you do I strongly suggest checking yourself into a behavioral clinic).

Alymysto’s Atomgrad is nothing short of a spoken word, noisily distorted hell. That’s not to say this album isn’t enjoyableIn fact, Atomgrad is one of the coolest releases I’ve heard in quite some timeBut there is no denying the sheer demented force behind the writing and recording of this album. Atomgrad is noisecore wrought of noise; a surprisingly uncommon thing to find. In an age where bands are all too happy to use a computer program to generate their sound, Alymysto is reaching into the darkest, grittiest lo-fi depths to influence their work.

Atomgrad is 10 tracks of crazed, tape-looping, demonic whispering, distorted breakbeat-boxing from the darkest corners of Alymysto’s subconscious. The vocals walk the line between a possessed Blixa Bargeld (spoken word) and Otto Von Shirach. The music takes on its own life, lulling the listener’s mind into near-complacencyjust enough for the demons to get in and wreak their havoc.