Vomir – Untitled (C30, Forever Escaping Boredom)


You know if you like Vomir or not – most of his harsh noise walls don’t change too drastically from release to release. Here he’s working with all untitled stuff – the tape, the tracks, and even the relatively standard cover art. There’s nothing here to distinguish from anything else, and that’s exactly Vomir’s MO.

The first untitled track (both run at around 15 minutes) is a shuddering wall of swift-moving static. The static is jumpy and jittery; the bass behind it is rumbling, and they come together to form a track that feels like it is all over the place at the same time. Very swirly tones come together, with everything juddering around it. It’s all very heavy and locked in place, and there’s really no movement throughout this track despite the feeling that things are coming and going throughout the middle of the wall.

The second track is ultimately very similar to the first track, so much so that I actually questioned whether it was different at all. They do have different run times, I’ll give them that much. What I think that Vomir has done here with this Untitled cassette is craft a long-running wall split into two tracks; the second is not so much a different wall but a continuation of the first with perhaps a couple of minute differences to the setup, the tone, or whatever else he felt like toying with.

That might feel like Vomir giving up the same track twice. But it also sits well with his stance on harsh noise wall. Whether you can pick out a difference or not is not the issue – it is supposed to be indistinguishable, simply blocking out the world. And when listening in tape format, the transition from side to side – the simple flip of the tape – kind of cancels out the listener’s memory of the nuances of the first. It’s when one listens back to back (or, like me, at the same time) that one finds an almost unnerving similarity.

At first, I was a little frustrated, both with my listening skills and with Vomir for throwing us two ridiculously similar tracks. And at the same time, I’m pleased with him for adhering to the qualities he began with his work. The second untitled track does seem to have some minor minute differences – less bass and more open static, for example – but to detect them requires intense listening, tuning out everything else. It’s what Vomir wants you to do, and at that point the question of repetition is thrown out the window.


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