Loathings is a mysterious noise project; I can’t seem to find much information on the artist at all, other than this CD-R released on Pigdurt Productions and a track featured on Datahex Records’ Tones of the Apocalypse compilation. Likewise, the artwork for Previous Forms of Channah is similarly esoteric, a picture of what seems to my artistic-devoid eye to be a deformed face of a woman – a hypothesis derived from the glowing strands of hair in the top right corner. Regardless of what the picture is, the art has a frightening, sinister appearance to it, especially paired with the death metal-esque logo on the back.
The eponymous single track on this release begins with a loop of an electronic, rhythmic beeping that slowly gains volume until distorted, staticky samples of speech are incorporated in the mix. Feedback is established, added and subtracted as the original beeping fades into the distance but continues a lurching loop throughout. Vocal samples are toyed with, shifted, and provide a fairly nice static base to the proceedings; however, Loathings at times relies too much on the original sample, allowing voices to penetrate through that add little to the established loop.
The track then cuts out the distortions for some fuzz that sounds like rain on a roof, only to shift into demented, manipulated carnival sounds. Vocals reappear, with quotes occasionally taking precedence over other noises. The abrupt jumps between electronic noise and samples feels somewhat lacking in substance, and it’s not just constituting minimal ambience either – there’s just too little going on to hold my attention, and the looped samples seem of little importance, rather jumbled distortions that are barely deconstructed.
Lo-fi recordings of guitars play into the mix as well, buried deep down in the background, and it furthers my confusion of thematic stability – the cuts and loops seem arbitrarily pieced together, and don’t form a cohesive whole besides facets for minimal audial noise.
Previous Forms of Channah is an interesting attempt at fusing looped samples into a minimalistic noise piece of musique concrete and found sound, but it feels too full of empty space to hold attention for the 15 minute composition. I’d like to hear other Loathings, as I quite enjoy the artwork and experimentation of the CD-R, and would be interested to note if perhaps this release didn’t grab my attention as much as Loathings’ other works.