Named for the J-Pop group in Satoshi Kon’s masterpiece Perfect Blue. This one has a truly frivolous sound, upbeat and fairly annoying if you’re in the wrong mindset, but with a less-than-singular vision of an animated future than マクロスMACROSS 82-99 is capable of. There’s a great deal of appropriation from 16 Bit sounding Video Game soundtracks, which I’ll admit is slightly lost on me. There’s a bit less cohesion here as there is on other マクロスMACROSS 82-99 releases, with various styles approached from track to track. The whole thing could be loosely described as Future Funk, but there are more original remixes and compositions here than we’re used to from this artist. This works to varying degrees; in losing the cohesion マクロスMACROSS 82-99 takes more risks, and to me at least the rewards are fewer as a result. For example, I find the appropriation of well-known bars and refrains from Hip Hop tracks to be rather detrimental to the work as a whole – but again, that’s just me. Overall enjoyable, just missing elements of that certain pointless high concept/low rent and recycled nature that makes マクロスMACROSS 82-99 uniquely interesting to me.
Grinding Gore slop from Mexico. Dreadfully excellent recording quality, with retching shifted vocal sat astride caustic Guitar/Bass and a-bit-too-quiet tape recorded drums, which actually sound very competent for the most part. Lo-rent and extremely hazardous. Largely ploughs along at full speed but there’s moments of drop tempo Mince parts and Punk beats to keep things fresh (stagnant?). Largely unoriginal and very entertaining. 7 Tracks in 7 Minutes, for those of short attention spans and stunted social skills.
Developer’s Self titled Cassette, released on Brise Cul Records, is both hazard and healing, a conflicted spiralling collage of minimal field recordings and bludgeoning noise frequency terrorism. Lots and lots of cuts send the listener plummeting through layers of sounds, thrown to and fro from pitch to pitch, once-decipherable bird calls and landscape sounds lost in hideous delay, only to float to the surface once cataclysmic events settle in falling dust. Developer does this kind of cut-up assault in ways the masters would fear. Cool.
Living Wall is an incredibly accurate title for this project from the States. Dense fleshy walls of hyper driven binary blast beats, ‘Guitar’ and ‘Bass’ sounds with little point of reference to anything resembling music, mangling Noises as teeth in the jaws of an enormous flesh construct from a 16th dimensional reality. Gurgly, horrible, inhuman, almost fizzy sounding. Not subtle, not particularly reverent to genre, just an enormous wall of destructive, over-dense noise. Maybe this fits somewhere between Cybergrind and Gorenoise. Maybe this only fits in the nightmare plane from whence it spawned. Catastrophic, confusing and just a little bit silly. Excellent.
Danish Death Metal ghouls Undergang’s 2015 full length ‘Døden Læger Alle Sår’ is a delight of crusty, gory Death. Necrotic, largely mid-paced, massively greasy Death Metal done to perfection. Shambolic, gooey and corpulent with Autopsy style melodies, fast n loose rhythms and super low necromancer vocal. Undergang nails their own gruesome sludgy, doomy Death Metal with aplomb, keeping songs loose, sloppy and Punk. Savage! I was late to the Undergang party, don’t sleep on this record, or anything else on their bandcamp page for that matter.
Deathy Noisegrind featuring members of Captain 3 Leg and Dismembered Fetus, brought to you by good ol’ Mortville Noise. Crushing Death Metal slow riffs open up into grinding parts reminiscent of good Agathocles or Blood, Savage barbarian Vocals, grinding bass and slabs of fatty Guitar, working out movements from slow-slow death creep, mid paced head stompers, with flashes of all out BORT BORT Noisecore that serve to accent otherwise well structured Death/Grind songs. I find many of these riffs are real earworms, catchy and usually unexpected, and the compositions are shockingly coherent and excellent for a record with a Tardcore tag. This is a totally hidden gem; I see very little praise anywhere online for this one and it’s a damn shame. It’s among my favourite Mortville releases of the last few years. Essential repeat listening.
Filthy, raw Black Metal/Punk tape. Disgusting and frankly rude production basically amounts to hissy, noisy ectoplasm all over rough, punk Black Metal. Hollowed out Guitars, hardly any low end in the Bass sound, reverb on everything. Stomping, echoing, poorly recorded Drums and distant Black Metal shrieking. Not exactly Bone Awl or Ildjarn rip-off, as with many bands in this style , but certainly within that realm. Manages to maintain a very caustic, modern ‘Raw Black Metal’ sound but with a sleazy Bathory streak still present throughout. Raw, nasty and utterly horrible.