Boar is the project of Alex Nowacki who offers up nine brutal tracks of harsh noise and walls on Dead Existence. The number of tracks might seem a bit excessive even for a full-length release, but Boar’s agenda for this disc is to create shorter, more manageable walls that get in and get out. Long, unchanging walls aren’t really present on Dead Existence; instead, the emphasis lies on textures and patterning to create memorable walls that quickly morph into the next track.
There are a number of good walls on the disc, but Boar doesn’t stick to one device throughout. Many of the walls are fairly rigid throughout their running time – “Her Toxic” and “72nd Death” come to mind as two fairly traditional walls with rumbling and crackling static formations – but there are also those tracks that continue to swell as they move forward.
“The Dried Socket” is a crunchy wall with a heavy, fast-paced bass line, but listening closely to the interior of the static rewards the listener with quick bursts of high-pitched feedback. There’s a similar thing happening within “Memory Lapse/Fuck/Gone.” Opener “Watching the Tragedy Unfold” features a wavering rhythm along with a rushing background crunch, giving the track the illusion that it’s nearly out of control.
Dead Existence isn’t always just HNW, though. The devastating track “Angel Skin Decaying” features a super high-pitched feedback buzz throughout, along with short bursts of synth notes. Every time I hear this track, my ears are left ringing for at least fifteen minutes. Following that is “The Fragrance That Brought You Back,” an industrial-tinged track that wouldn’t seem out of place with a few vocals from Nowacki thrown in, and in fact some of the wall static textures feel like heavily-distorted screams. This is one of the best of the bunch too with its cut-up style breaks in the wall.
But the shorter form of the walls does tend to make some of them less memorable. The lead-in to “Distant Collapse” from “The Dried Socket” is the only thing that really seems to differentiate those two tracks from the other; even though they’re not the same textures, they sound pretty similar.
But the experimentation is noted, and Boar offers up some intense walls that, because of their shorter length, are easier to return to if the listener wants to relive the experience. This is a release perfect for those who like crunchy, bass-driven tones but don’t want to put in the time to listen to lengthy walls – and not only that, it’s got a ton of great sounds to offer up as well.