The album title refers to a mushroom which grows on decomposing flesh so for his newest album, PSILOCYBE NECROPHILIA, Niko Skorpio applied the same transmutation process to music using Km of old tapes to give birth to new music. From death arise new life so the six track of this album are like born from an alchemical process. Musically most of the tracks sound experimental and ambient but with a certain amount of tension which is crawling between the sounds of the CD. The treated tape cut-ups, sound like struggling dead souls and the whole result is a sort of psychedelic death trip.

That’s a big scorer point for Hymen: every release they bring out surprises in one or another way, nothing seems to be foreseeable. This also counts for the French act NEBULO, the music-project of Thomas P. Musically this "Avutma" album offers a sci-fi sound-trip into a very own cold and foggy world. Pianos and organs got several times fx-manipulated to build a musically ground construct. Synth layers and subtle modified beats accomplishing this surreal scenario, which can described as a mixture of Ambient, IDM and Clicks’n’Cuts. The Ambient influence is surely the most recognizable ingredient, since this album doesn’t offer too much hectic and the possibility of a rhythmically movement. Some crunchy beatings here and there invade the walls of sounds to fill in at least some linearity. At times this complete sound scenario leads into a climax of surrealism and a real psycho-hypnotic impression. Not that easy to follow track by track, this "Avutma" album seems to be designed to satisfy the die-hard Ambient-Electronica freaks only. To me this album is a bit too personal-minded and it could need some more light extracted out of a more mass-compatible sound construct – but that’s only a personal impression. Not bad at all, but maybe this work requires too much spins from the listener until completely satisfaction joins in?

Maybe the Italian twin to the US-based Noise-terrorist GENOCIDE LOLITA, this project leaded by Gabriele offers a massive Noise assault to attack your nerve system. "Madre Patria" is filled with walls of static noise pretty much inspired by some Japanese Power Electronics masters, accomplished with extremely Lo-Fi sound invasions, which torture even more and tons of politically incorrect samples taken out of WWII scenarios and military scores. It really doesn’t wonder that much, that both, Gabriele and GENOCIDE LOLITA are teaming up for one or another effort, since both offer a comparable sound outfit. With a more compatible kind, "Totalitarian Noise" is a favorite with its changing sounds and the active influence of a rhythm work to accomplish with the Military voice samples. The rough and disturbing kind especially on "Limpero" leaves the listener breathless too. No matter how much noise and improvisations Gabriele awakes out of his sampling work, he seems to take care on the quality of his recordings and is too me the better alternative compared to his American pendant.

Given the fact this release came out on Afe you have Andrea Marutti squared and that would be enough to give a strong identification to this product. This cd features material from Mortar coming from late 1996, some went to compose its Oktagon lp plus some previously unreleased materials, everything has been molded and reshaped by Marutti with his Amon moniker and if you've confidence with his previous work with such a project you don't have to expect something that different. It's misty-ambient, dark-ambient music with an incredible amount of mid-low frequencies and keyboards/synths' sounds. I think the original sound source for some of the tracks were synths but don't expect those post-black metal releases with cheap ambient keyboards sounding like a third rate horror movie soundtrack. If you strain and work with your imagination I think here and there you can also guess the cut of some of the original sources is someway old-school, but as you can guess Amon has reshaped the whole recordings to give it a new tissue and here you have it, thus don't consider it as old despite it betrays that old school touch lot's of you may appreciate. Sometimes I've been quite surprised by the fact Marutti has gone quasi-melodic, like in the passage where he used an organ sound to play a sad melancholic harmony that breaks into the wall of misty clouds you can cross for the whole length of the cd. For those of you who already had the chance to taste some of his Eibon materials, here Amon tends to diversify a lot some of the passages even though the global sound of the work is quite uniform but you have more sounds suspended in the background, sometimes lost in reverb, sometimes something strive to get to the surface, the impression is there's something beyond the steam. this effort also reminded me of Amon collaboration with Nimh in the occasion of Sator, just a bit less heavy and less powerful, but something brought to my mind that monolithic feeling. At the end of the day it's a really quiet and introspective cd and I think the desolated rocks Abby Helasdottir/Gydia has put on e the cover tell us much more of this release than the majority of the words I’ve written.

A short introduction is needed, since I'm not sure many of you know Daniele Brusaschetto but the guy has been crossing different styles from quasi-pop album to Godfleshian releases to who knows what else, generally speaking his preferences went to heavy experimental releases of whichh his actual discography is full. His remix release in which Ovo got completely reinterpreted is still hot on Blossoming Noise and if that's not a good reference tell me what more should I add then. Benny Braaten is nothing but the half of Origami Galaktika, therefore if you're thinking that's an odd pair, you're probably right. So we've an old school couple that during the years has kept evolving and crossing different styles but here their being old school emerges with such a prepotency I couldn't but mention it. No second class sounds, and above all no insipid quasi-industrial, noise repetitions but we've four tracks that betray a style that's been growing thru many listenings of experimental heavy music meant in the most broad sense you can signify it. I could mention Coil, Zoviet France, Maurizio Bianchi, Nurse With Wound, and many others but there's no particular reference, judging from some of the sounds you have the impression these two musicians are coming from there. You pass from the rough distant noises of the first two tracks to to the obsessive bass frequency of the third one and then to the kraut-industrial closing chapter that makes you feel like the grey of the mid eighties is back for worse: "Everyday is like Sunday Everyday is silent and grey" here it is!.