One can envision the moniker Well-Hung Jesus in two different ways, and both would probably be offensive to the masses. But most noise offends in some way, rather it be in title, theme, image, or sound (and many times all factors play a small role), and this 3″ from the artist will most likely find a way to do just that, from the title to the compositions to the ridiculous image of Jesus flying on Falcor from The Neverending Story as the artwork.
The 20 minute untitled piece on this album opens with various sound samples taken from religious recordings, mainly a crystal-clear exorcism of a demon complete with demonic moans and growls. Then, the samples drop out as a crunchy wall of static infiltrates and takes over, and it’s apparent that the fullness of the wall will harness much of the intensity in the piece. Unlike some walls, Well-Hung Jesus keeps this loose and distant, not assaulting the listener but keeping the wall at a confined volume and tone. Sustained tones jolt and ring out over the static, changing pitch while maintaining the static noise in the background. A slight dark ambience can be detected, although what’s on tap for the piece is crispy static and consistent, lengthy electronic peals. I like the artist’s choice of keeping the wall toned down, a facet of the recording that makes it quite distinct from other harsh wall artists; it’s less in-your-face and deeply relaxing, even when higher-pitched tones and loops are incorporated.
There’s an even amount of variation to the track as well, which keeps it fresh and peppy, at least for harsh noise walls. Rhythmic patterns emerge here and there, and layers of static and rumbles play upon the base wall of static created when the track started. The last half of the track holds the most dynamism of the piece, as though Well-Hung Jesus had had enough of the restraint shown in the beginning and took a shot breaking the lull. Granted, it makes for a slightly uneven piece, but the movement towards a harsher sound is somewhat refreshing after a relaxing ten minutes of static manipulation. Just before the track ends, the static drops out for a lilting, melancholy bit of piano and drums accompanied by occasional sound samples pertaining to the religious opening, and it’s a bit of a strange outro for a piece which has, for the most part, remained grounded in static worship. And the riff is a bit of a snore-fest. But overall, a surprising release from an unknown artist, and one that will hopefully spur on a number of new, textured slabs of meat.