Fosse – Le Traître Magnétique (C90, Ciel Bleu et Petits Oiseaux Records)

harsh noise wall, Noise, Review, Uncategorized

fosse le traitre magnetiqueI confess that it has taken me a while to review the things I was sent in the past, including many Ciel Bleu et Petits Oiseaux tapes. So when I popped Fosse’s Le Traître Magnétique into my player I did not realize that it was yet another project of Julien Skrobek, one that looks to have had limited use over the past few years. This C90, but a single-sided 40 minutes, was released in 2015, and it features four tracks of fairly traditional harsh noise walls from the prolific artist.

Each are cut into neat 10 minute lengths, making for easy starts and stops to these walls. The first is “Les Tarifs du Bourreau,” one that at first seemed to be an incredibly simple texture with a very condensed line of static. But listening closer, one reveals some dynamics at play in this wall: there’s a rollicking bass tone rumbling in the back, and the up-front, trebly static licks away throughout the track, rarely changing but always churning slowly.

“La Rose et l’Ordre” transitions smoothly, keeping a similar bass tone but changing the static line to something a bit more prominent and crackly. The bass background seems to morph into more of a drone without dips or pops, but the static takes full center-stage. These crackles make for mesmerizing listening. “Géométrie Mitterrandienne” drops the overwhelming static crackles for a much more subdued and less voluminous static line, allowing a similar bass backdrop more room with a mid-to-fast-rumble. This one is one of my favorites on the release, minimal but crackling. Finally, “Le Plan du Temple, Tracé Par Dieu Lui-Même” rounds out this tape with a gyrating, in-your-face static line and a menacing bass line behind it that reminds me of a muffled metal band somewhere in the distance. The static is penetrative and extremely rough, making for a nice harsh listen, and it occasionally seems to get even more crunchy at times.

Overall this is a nice experiment from Skrobek with Fosse; his usually more long-form walls have been truncated to 10-minute affairs that, across a single-sided tape, blend in with each other to form a longer wall full of variation. Definitely check this tape out if you come across it.

GOOD ||||

 

 

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Tetsuo – Eternal Respect (CD-R, Not on Label)

ambient noise wall, harsh noise, harsh noise wall, Noise, Review, Uncategorized

tetsuo eternal respect

Tetsuo is yet another project from prolific noise artist Julien Skrobek, in addition to many of his other harsh noise wall monikers. On Eternal Respect, Skrobek experiments less with overwhelming wall textures than with subtle static tones accompanied by familiar electronic outputs: a white noise generator, a sine wave generator, and a drum machine.

The three cuts that make up this 37-minute release all feature an interesting dynamic – chiefly, the way that Tetsuo locks into a specific groove, using the drum beats and sine loops as focal points in the wall with the white noise mixed quite low. This forces the listener to actively engage with the track, to listen “through” the elements to get to that nugget of static.

Still, the opener “Access” remains a difficult listen for another reason – it’s got an ever-present sine feedback tone that becomes quite piercing over its runtime. “Levels” is similar but the grating tone is pared back a bit, with a different type of drum track that sounds like a 2D side-scrolling video game. I would argue that Eternal Respect‘s only misstep is that “Access” and final track “Eternal Respect” are a bit too similar, with the same type of composition and subtle changes to the tones. But Eternal Respect is a considerably compelling release circumventing the usual harsh noise wall standard. This won’t appeal to everyone, but Tetsuo certainly invites the listener to actively engage in this minimal work.

GOOD IIII

 

 

K2 – Rainy Tritium 1 (CD, Oxen)

harsh noise, Noise, Review

rainy tritium 1Rainy Tritium 1 is the first part in a series of releases from the insanely prolific K2. I’m a little behind on his discography, but since Rainy Tritium 1‘s release in 2017 he’s gone on to release 32 new albums, some of them releases of old works; that kind of output is hard to keep up with. However, Oxen’s release of Rainy Tritium 1 does seem like an appropriate place to pick up on K2’s new output; this three track album finds the harsh noise artist migrating away from his cut-up sound to a much more droning and almost rhythmic approach to noise, incorporating whole synth melodies into his soundscapes.

Each track runs on average 20 minutes, give or take a couple. The ideas at play on Rainy Tritium 1 range from synth-based warbles and siren sounds to a recurring rhythmic motif that, while the same in composition, differs in the actual pitch and timbre each time it makes its way to the forefront of K2’s triple threat.

But those worried K2 has lost some intensity in his transition to less in-your-face chaos should rest assured that Rainy Tritium 1 is still a dizzying listen, just in a different way; instead of lambasting listeners with constant texture switches, K2 allows those ideas to linger, and this is some of his best work that I’ve heard. It’s still loud and abrasive, but with a rhythmic, ambient side that showcases K2’s dexterity.

EXCELLENT |||||

 

Maussade – Trouver La Paix (C55, NSN)

harsh noise wall, Noise, Review

maussade trouver la paixMaussade is a project of NSN’s owner putting out harsh noise and harsh noise wall projects; various releases were or are still available, the most recent being in 2016 as far as I can tell. Trouver La Paix, a C55 from 2011, sees the artist performing the latter.

A punishing wall of static sound, this just-under-30 minute track (included on both sides) features searing bass tones and staccato swirls of crunchy textures, with the inclusion of a screechy feedback/trainhorn sound that I find seems to cut through the central area of the soundscape. Lots of background bass, foreground crackles, and that aforementioned pitched tone that continually ebbs and flows. This is a great track from Maussade that sounds quite full, and the nice thing about Trouver La Paix is that the listener can simply flip the tape to continue the onslaught.

GOOD ||||

Unsustainable Social Condition – Pleasure Seeking Pacifists (C17, Phage Tapes)

harsh noise, harsh noise wall, Noise, Review, Uncategorized

pleasure seeking pacifistsUnsustainable Social Condition has been reviewed here before, so you know the drill: harsh noise bordering on power electronics project from Matt Purse, often supremely devastating. He returns with another release of two tracks for Phage Tapes on Pleasure Seeking Pacifists, offering about 17 minutes of electronics debasement.

The first side is “Many Were Terrified of Their Saviors,” a pummeling track that in many ways resembles a wall of harsh noise as electronic static and bass elements abrasively destroy the viewer’s ears. In the background is modulation that at times resembles yelling or screaming, a fluctuation that adds a lot of nuance to the otherwise stoic track. It’s a heavy and deafening experience.

On Side B we have the title track “Pleasure Seeking Pacifists,” which again borders on harsh noise wall territory with a heavy bass rumble and some intermittent alterations in a trickling static element at the forefront – this almost seems like radio chatter or like someone repeatedly messing with the dial. It’s a lot more dynamic that “Many Were Terrified of Their Saviors” about halfway through the bass rumbles become more pervasive, the static swirls more consistent.

Pleasure Seeking Pacifists is another great offering from Unsustainable Social Condition, short but abrasive enough for all harsh noise fans. And you’re in luck: it’s still available on Phage Tapes.

Pig Shrapnel – Boar’d to Death (CD-R, Busey Teeth CDr)

harsh noise wall, Noise, Review

boar'd to deathPig Shrapnel is the harsh noise wall project of Joe Stache(less), also the owner of Hair On My Food Tapes & Records and Busey Teeth CDr. He’s been making all kinds of noise for years under different names (Hoggle, Extreme Chafing), but on Boar’d to Death he returns to something of a strange obsession – pig stuff. Everything on this disc is a pig pun or reference except maybe the walls themselves, and it’s always interesting to see what new pig reference the project can come up with next.

This disc features three walls over about forty minutes, each track lasting around the same length of time plus or minus a couple minutes. First wall is titled “Boarn Angry,” which features a bombastic, fast-paced bass judder underneath a crackling mid-toned static churning. The track remains relatively the same throughout except for what seems like a minor change to the wall minutes in, and Pig Shrapnel keeps the listener locked in the groove with a nice crunchy static texture.

The dynamic remains fairly similar as the wall transitions into “I Am the Ultimate Omnivore,” which seems to keep the rigid bass shudder in the background for more nuanced static. There’s an exterior sheet of static that is unmoving, just a slight hissing that adds one extra texture. Also found in the mix is more of that oscillating crackling static, though it’s somewhat softer than the first track with more controlled movement.

Again, track three – “Severely Lacerated by Razor Sharp Tusks,” a title that explains much of the CD-R artwork – moves seamlessly into place from the second track, continuing that bass-driven backdrop while removing the less-voluminous static for sharp, crackling, staccato textures. It’s also a stoic track, only punctuated by the random alterations of the static and bass and relatively unchanged throughout besides a few tweaks to the front maelstrom of static to make it a bit thicker.

Interestingly, Boar’d to Death is so interconnected that it could be a 40-minute track in itself, with three areas of change. Pig Shrapnel keeps that bass locked in a groove to make the transitions, and it’s an element that I like about this release – there’s a clear definition why the three tracks are on this release rather than another, giving it a defining quality that listeners should appreciate. This is a solid CD-R offering from Pig Shrapnel, and harsh noise wall fans will enjoy the onslaught of pig-related sonic textures.

Black Sand Desert & Unsustainable Social Condition – Black Sand Desert & Unsustainable Social Condition (C20, OXEN)

harsh noise, Noise, Review

bsd uscBlack Sand Desert is the moniker of Greh Holger, probably more well-known for his work as Hive Mind and as the owner of the Chondritic Sound label. Matt Purse is sole member of Unsustainable Social Condition, one of his harsh noise projects – he also goes by Fenian, and he runs the OXEN label on which this tape was released. The two projects collaborate on this C20 cassette, with side A being a studio recording and side B a cut from a live performance at the Handbag Factory in August 2016.

The first track is a perfect encapsulation of both Black Sand Desert and Unsustainable Social Condition working as a team; there’s really no area to pinpoint where one artist ends and another begins, and the track offers up a heavy churning maelstrom of sounds – often enunciating the rhythmic stop-start elements of cut-up harsh noise (which Purse does so well) while also allowing for droning elements within the mix. This untitled offering finds solid ground with consistent slices of feedback and sharp edges puncturing the crumbled bass textures, and it’s an excellent experience.

Side B is a bit less dynamic due to the live recording, but what comes forth are bass-heavy elements of rumbling textures combined with squealing electronic feedback and, at times, some ambient atmospheric tones. The quality of the recording is probably what limits this track the most, since some of the more definable characteristics don’t shine through the overwhelming rumble; however, it’s still a good listen and documents the presumed raucous live performance the duo give.

Some collaborations tend to feel forced (Full of Hell x Merzbow?) but this short and sweet cassette from Black Sand Desert and Unsustainable Social Condition is a perfect blend of two talents. Any fans of either project will find this to be a rewarding experience across 20 minutes of analog.

Fabrizio Modonese Palumbo – Doropea (C30, Old Bicycle Records)

ambient, Drone, Noise, Review

Doropea is an homage to Fabrizio Modonese Palumbo’s hometown of Torino, in reference to that town’s fountains and in part the rivers that make up its geography. In true thematic fashion Doropea is split into two parts, just like the duality of the two rivers. Both span one side and about 15 minutes, and they document two different styles for this artist.

The first side is a hypnotic series of sustained feedback drone tones with occasional found sounds, like the clacking of a typewriter. The whole thing is held together by occasional piano plinking and organ work, creating an ambient soundscape that works very well to pull the listener in. It feels organic and thoughtful, almost bucolic, and it’s an enjoyable fifteen minutes.

The second part also incorporates found sounds, although this one tends focus more on droning electronic elements. A faint repetitive tone seems to be sourced from the track’s early snoring recording, and Fabrizio Modonese Palumbo allows the track to expand outward from its initial drones, even giving the track some humming every now and then. It even quiets down for a slow climax outro, a twinkling echoing synth line that ends the album.

Doropea is an interesting release and one that certainly captures the intricate essence of “home” for an outsider; the ideas here help tell the story of what Palumbo memorializes from Torino, and it’s a deeply pleasant motif.

Wilt – Nocturnal Requiem (CD-R, No Part of It)

dark ambient, Noise, Review

Wilt is the project of Dan Hall and James Keeler, also members of Astronomy and Hedorah. This noise duo focuses on the dark ambient and drone side of the genre, and Nocturnal Requiem is six tracks of somnambulant tones that cater more towards the sinister side of drone and dark ambient.

The first track is “Wandering Echo,” and much like its title suggests, this is a very meandering track full of sustained drones and repeating patterns. However, those intersecting elements also create what I would consider a boiler room cacophony – there’s the clanging of pipes to add a percussive element to the ideas, and that keeps the listener intrigued.

That’s the key to good dark ambient, too – that the tracks ensure the listener gets caught up in the soundscape rather than tuning out of it because of its repetition. Wilt captures that on Nocturnal Requiem. “Even the Most Ancient Things Lie in the Weeds of Present Time” is relatively short, but its bass clicks and churns suck the listener into the frolicking patterns.

“Moon Diver,” the album’s middle track, adds a heavy maelstrom in the background as synth notes call out from the depths. However, this one tends to go on a bit too long – it has some alterations as it reaches the double-digit length, but for the most part it remains stagnant in its call-and-response drones, although it would be the perfect fit for a horror film’s stalking moments.

“Over Waters Hidden Below” brings it back, though, with a churning drone in the background and a subtle hiss in the foreground. Synth notes break in here and there to add emphasis to the sound as listeners get pulled into the tones. “The Autobiography of Dreams” brings it back to the clanging of “Wandering Echo” while adding a swirling windstorm and oscillating synth notes; this one’s my favorite of the six because of its execution and complexity.

“The Starless Vault of Heaven” ends Nocturnal Requiem on almost an upbeat note, with more ethereal synth tones and a house electronica beat. It’s an experiment, and quite different from the brooding offerings before, but Wilt captures the feeling of coming out of the dark into a celestial sea, and it’s a great way to conclude the album.

Nocturnal Requiem is my first Wilt experience, but based on the dark ambient material offered here, I would love to check out more. This duo is able to conjure up eerie tones, but the album shows their range with a couple of dynamic tracks that sees Wilt stepping out of its comfort zone.

 

Commingled Containers – August Voyeurism (C60, Underground Pollution Records)

harsh noise, harsh noise wall, Noise, Uncategorized

Commingled Containers is the noise project of Paul Gremare and Romain Hebert, one the founder of label Autistic Campaign and the other the founder of Ikebukuro-Dada – both of which have been reviewed here in various forms. August Voyeurism is a lengthy excursion in improvisation, junk noise, and guitar squalls, an interesting mixture of ideas from the two musicians that finds the duo crafting six freeform noise tracks across the A and B side of this tape.

The juncture between the two artists is guitar noise – these tracks often feature some unveiled twangs and plucks of guitar strings before exploding into raging cacophony, as both “Welcome” and “August Voyeurism” quickly detail – a lot of feedback, scratchy electronics writhing, and occasionally the recognizable guitar drone and warble from Hebert. The duo create impressive and seemingly improvisational noise, often drifting from straight harsh noise into drone territory as the two lock into a groove between feedback and electronics.

Side B’s “U-Turn” launches into a sprawling crackle of decaying electronics, blustery static, and an overwhelming feedback tone that finds the duo working in excellent harmony – blending the electronics and guitars into a amalgamation where the result is a thoughtful, well-directed cacophony. “Aire nord de Vironvay (Côte Byzance)” similarly creates something of a harsh noise wall wherein heavy bass shudders combine with guitar histrionics.

Overall, this is a solid performance from Commingled Containers that offers up some great noise around an hour in length. The improvisational nature of these cuts makes them a delight to get lost in, to find the areas where the two artists merge and then break free of their interlocked sound.