Flesh Coffin is Andreas Brandal totally destroying electronics with heavy, crumbling harsh noise, and Electricity is no different. The four tracks on this C40 are huge; their cacophony really does seem like a power plant exploding during a terrible thunderstorm. Welcome to harsh noise – Electricity never lets up, only to add additional sounds and sources to the already large sonic palette.
Both sides fit two tracks of violence onto them, with both running at moderate intervals. Side A’s tracks are just barely noticeably split with a found sound of glass shards or metal between them; Electricity is structured so that some of the tracks are broken up by movie samples or distinguishing sounds like whirring or crackling. “A1” is introduced by a horror movie sample, then fans out into a mesmerizing crackle before breaking yet again – it’s an odd format but it works well to differentiate between movements, whereas the later tracks tend to simply move through territories without breaking.
Electricity is packed with bass rumbles and static crunches, tweaks and movements that add additional layers to its tracks. While I’m generally not a huge fan of harsh noise that runs through the gamut of texture without holding at certain points, Flesh Coffin offers some really entertaining and mammoth works. It’s nice that some are punctuated by the introduction of a texture before it becomes a wall of sound, giving the listener a chance to enjoy the nuances before it’s pushed into a writhing mass of noise.
Side B offers up a similar experience, with two tracks also broken into segments by seemingly found sounds that quieten the otherwise raucous noise. Both tracks are bookended by sounds of machinery, static from a radio, or a steady patter; these moments help to direct the track and keep it from becoming a slurry of shifting textures. The opening of “B1” in particular is pretty grand, with a sound sample that leads the way for a repetitive rhythm.
Flesh Coffin’s output is always stellar, and Electricity is no different. There is a lot of harsh noise on this release, but the shifts and changes are emphasized in a way that makes them seem less random, organized by samples and a theme. It’s still available on Hair On My Food, so you should head over and get it.