Dead Body Collection has really made a name for himself over the past year or so, with a ton of new releases coming out all over the place on dozens of reputable record labels. The project is also extreme in other areas, including the sheer length and unchanging dimensions on most of his harsh noise walls. The same is true of I Slice Her Body, Over and Over, which clocks in around 70 minutes with two side-long tracks at 35 minutes apiece. Both are relatively static displays of harsh noise walls, rarely shifting dynamics besides heavy bass-ridden churns of sound. The cover art is equally brutal, with a nude woman’s torso slashed deeply to the intestines, with the rest of her decapitated and limbless. The release comes in an oversized box with inserts; however, the tape is unlabeled, making it difficult to determine which is side A and side B.
What I’m deeming side A features a heavy, plodding bass layer along with a stuttering jitter of crunchy static that plays atop it. A very consistent piece, unchanging but with just enough roiling to keep the listeners attention through its lengthy runtime.
Side B consists of the same mid-paced bassy rumbles with very light static underneath and a slight oscillating pattern buried within. The static currents lick at the bass, but it’s the pummeling from the frolicking rumbles that dominate the sound. One can somewhat separate the textures into three sounds, and so it allows the listener to focus on each pattern easily to allow for sufficient mesmerization. The static tends to twist and shove through the barrier, pushing to the forefront and petering out again.
While both tracks are a bit similar, they both have their nuances to make them stand out as mammoth tracks. Part I is somewhat standard for a wall, but Part II kicks it up a notch with shifty static. The bass stands out on I Slice Her Body, Over and Over as a means to hide the static underneath layers; of course, Dead Body Collection ensures that it slices through at times, though.