Justin Marc Lloyd is the man behind False Flag, a decidedly different and more violent moniker for the noise artist behind acts like Pregnant Spore and Dementia and Hope Trails. The notes for Bombshelter Nightmare add to the theme that the track titles and artwork give away: this cassette is an anti-war statement, aggressive as a means to drive out aggression from those angry at their governments, police, etc. If “Rage for Peace” doesn’t echo that sentiment, then I don’t know what does.
Aided by multiple artists from different projects, False Flag throws down power electronics in droves, with the emphasis on “power.” The first side itself is a mix of spectra, from the rhythmic enchantments of the first track “Introducing Control” to the heavy, brutal repetition of “Muslim Police,” which features Boar on vocal duties to utmost effect. “Rage for Order” takes a lighter tone, opting for fuzzy helicopter buzzes and another rhythm that focuses more on repeating tones than harsh sounds. Eventually the title track, “Bombshelter Nightmare,” spreads seeds of discontent with static shudders and synth drones that sit ominously within the mix as the static threatens to overtake any semblance of musicality.
Side B starts with the rumbling “Two Brothers,” a heavy hitter that begins with PA vocals and some static rumblings only to open up with a massive wall of crackle and bass, one of the better moments on Bombshelter Nightmare for sure. There’s a staccato rhythm going on within, with just a semblance of a sustained synth note in there. “Rage for Peace” fits in Divine Shell, Boar, and Jonathan Cash in a quieter, confined drone – buzzing, a subtle motorcycle croak, and a shuddering before again allowing wall static to seep in with klaxon sirens and Boar’s vocals adrift. “Korean War” takes the usual False Flag power electronics of static, feedback, and a synth beat and adds a raucous bit of crackle that comes out sounding something like a scream to end the tape.
Overall, Bombshelter Nightmare is a heaping dose of power electronics, coming from an artist who generally doesn’t dabble in this sort of heavy noise. The synths and harshness come together without becoming off-putting, and the way False Flag is able to incorporate other noise artists works both to raise awareness of those projects if need be, and to add noticeable changes to the sonic output. Boar’s work is, notably, an elevating portion of the tape. It’s certainly something that needs to be experienced, however, if you can get it elsewhere, because Terror is sold out.