VOMIR AND LEGION OF ANDROMEDA – ‘HARSH METAL WALL’

Collaborative CD release from post Metal barbarians Legion of Andromeda and the high lord wallmaster Vomir, a co-release between At War With False Noise, Decimation Sociale and Turgid Animal Italian Division. Total obstinate truculence made audial in incorrigable torpor. Each unit presents a track each of their own material, which is exclusive to the CD release, and contributes to 4 collaborative tracks, each just a hair over 18 minutes in length, which are available to stream and download. Noise Metal singularity, the brutalist monocrush doom-mongering of LOA’s unremitting cyclone 1 dimensional Industrial Death barrage beat anvil strike pattern and repeat roaring vocal invocation, alloyed in heresy with Vomir’s non-entity static wall noise perma-surge, exacting and entirely non-negotiable. Repetitious punishment, warping volume endurance, zealous flagellation meted out by faceless, indifferent inquisitors. Each project’s individual contributions sit comfortably within their respective discographies in a qualitative sense, with LOA’s ‘Hatebeat’ providing a particularly cruel, brusque, lengthy dismantling experience, but the collaborative tracks here truly strike a hammerblow to the collective artistic ego and objective prejudice, non-art annihilation stretched across timeless minimalist millennia, metronomicon Noise Metal from beyond myopia. A cudgel of perfect repetitious obstinance.

Decimation Sociale Releases

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NDOX ELECTRIQUE – ‘TËDD AK MAME COUMBA LAMBA AK MAME COUMBA MBANG’

François Cambuzat and Gianna Greco are specialists in building bridges between worlds. Having cut their teeth fronting art noise provocateurs Putan Club, the duo journeyed to the Djerid desert in south-western Tunisia and forged an unlikely alliance with performers of the indigenous Banga ritual, an adorcism which invites, rather than seeks to reverse, spiritual possession. The two albums which resulted, both released under the monicker Ifriqqya Electrique, were fervid fusions of glowering industrial post-punk, transcendental chant-singing and frenetic hand percussion that stand amongst the most startlingly original cross-cultural collaborations ever brought to fruition. Upping the ante yet further, Cambuzat and Greco’s latest project relocates their theatre of off-grid operations to the isolated Cap-Vert peninsula in western Senegal. A joint enterprise with members of the resident Lebu community, Ndox Electrique capitalises on an uncanny symbiosis between brawny avant-rock and the polyrhythmic cacophony of the mystical n’doëp ceremony to create an electrfying hybrid, the ultimate in sonic polarity inversions. Crucially, it’s the paths Ndox Electrique DON’T tread that make ‘Tëdd Ak Mame’ such a formidable proposition. There are no concessions here to the pappy dietary requirements of the mainstream, nor does fusion equate to dilution. This is dissident, soul-stirring music that thrives on a commonality of intent, banger following cathartic banger in an uncompromising onslaught. Marshalled by lead vocalist Rokhaya “Madame” Diéne and featuring a trio of indefatigable percussionists, the band’s Lebu contingent generate onrushing waves of ritualistic rhythm and rhyme to which Cambuzat and Greco apply a treacherous undertow: scything, doom metal-heavy guitar riffs and an interlocking matrix of saw-toothed bass and electronics. Social media is cluttered with proclamations from the cloth-eared that there’s nothing new under the sun. For those of us who take a contrary position, Ndox Electrique have just delivered a motherfucker of a citation. Essential.

Les Disques Bongo Jo

RUHAIL QAISAR – ‘FATIMA’

Ruhail Qaisar expands and transmutes his work as previous Harsh Noise entity SISTER into a rumbling, fearsome, semiotic Dark Ambient noise engine on ‘Fatima’, applying an alchemical aesthetic with supremely impressive results. The album yawns open with ephemeral, disturbing spoken word poetry (a drugged voice from Thee End Commune…?) atop lingering Bass pulses like gently threatening Power Electronics in menacing audial feedback. Tension mounts through layering synthesis and a vast array of inert earthy sampling, spatially muddled to obfuscate, bucolic and bubonic, adorned with futuristic science fiction drones and sparse geysers of sulfuric Harsh Noise burst, restrained ambient textures grow and envelop in calming exhalation, mellifluous expanses of abandoned melody… an expression of restless human landscapes draped in fear and violence, at once confrontational and powerful, yet soft and yielding, like a predatory animal purring in an urban darkness, fire reflected in it’s azure feline eyes. Mesmeric and frightening Ambient beyond convenient classification.

Danse Noire

VARIOUS ARTISTS – ‘SPECTRUM’

A prime mover in the resurgence of cassette culture, Newcastle-based imprint Cruel Nature boasts a catalogue of near unrivalled sonic eclecticism and its commitment to championing outsider music is nowhere better exemplified than on ‘Spectrum’, a gem-studded 23-track anthology compiled to mark the label’s 10th anniversary. Featuring artists drawn from an enviably deep talent pool and sequenced like the tasting menu of a cutting-edge restaurant, the album bodyswerves through a plethora of contrasting styles without once losing focus, highlights arriving thick and fast throughout its marathon 110-minute runtime. In the banger camp, VHS¥DEATH’S ‘Sacrifice’ is a hard-charging, Berghain-ready headrush, whilst the vertiginous ‘Nu-shunting’ by GK favourites Whirling Hall Of Knives, splits industrial techno’s atom sending quarks and gluons of percussive fallout skittering across the dancefloor. Otherworldliness abounds here too. The Durutti Column-gone-slowcore filigree of Charlie Butler’s sepia-tinted ‘Eagle’s Splendour’ is a transport of introspective delight but Dublin-based experimentalist Katie Gerardine O’Neill steals the strangeness show and then some with ‘Along The Shoreline’, a mind-warping odyssey into deconstructed chamber jazz that dazes and confuses in equally large measure. Elsewhere though, far darker forces are at work. ‘I Have Cherished Our Season Of Friendship’ from Esmé Lousie Newman’s Petrine Cross project is doom-laden ambient black metal at its most balefully cinematic and if blunt force trauma lights your candle, Lovely Wife’s bass-heavy sludge blowout ‘Letting Go’ delivers its payload with all the subtlety of a backstreet kneecapping. Packed sardine-tight with brilliance, and with all profits going to youth autism charity The Toby Henderson Trust, ‘Spectrum’ offers an unmissable glimpse into Cruel Nature’s singular soundworld. Here’s to the next 10 years.

Cruel Nature Records

PABLO GĪW & MARIEL ROBERTS – ‘KRYO’

The use of jazz instrumentation for non-jazz purposes is scarcely a novel concept but ‘Kryo’, the astonishing debut collaborative album from trumpet virtuoso Pablo Gīw and experimental cellist Mariel Roberts, looks so far beyond existing horizons it’s almost completely devoid of reference points. Trips seldom come much stranger than this. Key to the record’s unearthly, decryption-resistant vibe is the battery of extended techniques and electronic processing employed by both musicians, each alchemically generated sound dubbed, dissolved and recrystallised until the relationship between it and its parent instrument is near impossible to deduce. 15-minute opener ‘Icicle / Carámbano’ is an exercise in meticulously curated instability that pairs flocculent vapour trails of over and underblown trumpet with a loop of deadened pizzicato that rumbles like the engine of an idling bulldozer. Gradually, the Sturm und Drang deliquesces into a watery expanse of drone, its muffled percussive undercurrent reminiscent of Hieroglyphic Being’s experiments in (a)rhythmic cubism, albeit slowed to a torturous crawl. ‘Japanese Creation Myth’ is uncannier still, a fragmentary collage of thuds and groans that comes within a hair’s breadth of ambient techno before collapsing in on itself, and although closing epic ‘When The Spell Actually Worked’ trades bump-in-the-night scare tactics for fusion reactor ambience, it remains strikingly baleful, dissonant tendrils of cello and trumpet intertwining ever tighter until their tones eventually coalesce and become indistinguishable. ‘Kryo’ is more than just un-jazz; it’s a gateway to unseen worlds. Stunning.

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මහසෝනා – ‘(මහසෝනා​)​* – යන්ත්‍ර​.​මන්ත්‍ර​.​ගුරුකම්!’

‘මහසෝනා’ (Mahasonā) from this anonymous project from Sri Lanka. Nearly 15 minutes on cassette, Noise Metal dismal ritual hate and occult death to invoke the summoning of Sinhalese folkloric demon. Deathly yakseya evokation of soul-killing Noise and Black Drone of no-riff Doom, minimalist martial drums shimmer in unnatural heat haze, bass frequencies shudder and throb through lo-fi obscured audio, darkly psychedelic and ritualist, pulsing nahash vocal of the insane. Werewolf beast visage looms through the vibrating sonics, you can hear the candles flickering and smell the shitty amplifiers burning like some vile censer. Conjures a similarly mental atmosphere to Abruptum, Nirriti and Black Mass of Absu, being extremely forbidden and haram, harmful and dangerous in it’s esoteric intents and operating outside any specific scene paradigm. The work is an offering to Maha Sona, who will crush your shoulders with four hands, four eyes blazing through your cursed soul, filling your body with choleric pestilence. Be warned!

විරූපි Propaganda

FENTANYL TAPWATER DISCOGRAPHY

Dismal bulldozing Bass & Drum Sludgecore from the fertile ground of Rochester NY, featuring Matt from of Water Torture, Deceiver, blessed relief for mother and more, and Tim from Hallucination Realized, Holy Money and other projects. Exploded amp bass chord Sludge with miserable, morose melody and droning dissonance, brute heavy hardcore drums drift from death march dirge to loping mid paced stomp, D Beats and Fastcore forays without straight-up blasts, hurtling ahead with fearsome idiot power and crushed crashing cymbals, harsh blown up spite vocal, knuckle dragging groove, obtuse, shambling and ignorant Sludge for punks. Being a collection of split recordings, the audio is variable, at best the loud and punishing production ramps up the noxious Bass fuzz thud and presents the drums as a clattering, weighty affront. At their most rumbling, trudging and concussed they resemble Ride For Revenge via Flipper and Grief, a toxic and hellacious Sludge/Hardcore construct of sound to pollute and poison. Fucken gnarly.

Bizzaro Warrior

CLEARED – ‘OF ENDLESS LIGHT’

It may seem counterintuitive, but the closer music approximates to silence, the more forceful its likely impact. It’s a fact plainly not lost on Chicago-based duo Cleared whose breathtaking new album is the turbid, thrice-distilled essence of quietude, an inchoate foam of dimensionless un-sound that enters via the pores rather than the auditory canal. At a considerable stretch, one COULD argue ‘Of Endless Light’ falls within the parameters of dub techno, but only by implication, its signature rhythm-centric sparsity smeared and splayed to the very brink of breakdown. Proceedings commence with the ultra-refracted blur of ‘First Sleep’ which crests the horizon like a gust of smog across moonlit moorland. Fragments of wounded melody bleed through the blanketing static until decomposition inevitably sets in and the track slowly expires to a mo(u)rning chorus of axes being sharpened on a distant grindstone. By contrast, ‘Pulse’, ‘Dawn’ and ‘Waking Field’ are gorgeously eroded simulacra of Chain Reaction-esque avant-minimalism, dance music passed through a fine-mesh sieve to remove almost every joule of kinetic energy. Kick drums – or rather the muted metronomic clicks that pass for them – are so subsumed by grainy swathes of ambience, they barely register as rhythm. The album’s piéce de rèsistance though is the stunning ‘Blue Drift’, a darkening pall of drone and reverberant carillon bells that rivals Sarah Davachi’s ‘Hall Of Mirrors’ for stentorian solemnity. Step inside; the silence is DEAFENING.

Touch.

ÄRID – ‘XII – FROM ANTHROPOPHAGIC WASTE BREEDS A WRITHING MUTAGENESIS’

Ärid is a one-man Black Metal project from the States, seemingly bent of reducing the current romanticism and Goth leanings of the Raw Black ‘scene’ to greasy cinders and returning the sound to something minimal, ugly, bleak and animal. Melted, necrotic Black Metal grounded in gnostic cadaver worship with extremely intense drumming and dead, thanatologist ambient atmosphere – grinding, rattling and gurgling in lunatic hyperblasting anti-human Black Metal putridity, scathing boiling extra-fill abstruse blasts forming the basis of hypnotising Raw Black Metal of rancorous, scabrous chords in minimal diving drone patterns, bending, warped noise guitar parts scaffolded to horrifically violent atavistic drumming, detailed with clattering fills, with some slower moments to let the pestilence breathe between rictus tom rolls, resplendent with subhuman croaking grotesque goblin vocal. Many of these songs register in a similar fashion to the best Grindcore, careening at inhuman speed through a dirge of chords in demented, frothing abandon before abruptly concluding. This album shimmers with black flames of irradiated necrotic energy and anti-human spite, truly fulfilling a descriptive remit as simple as ‘Raw Black Metal’ with supereon, fevered energy and filthy, phlegmy, necromantic abandon. A scowling masterpiece.

Eerie Silence Productions

RINUWAT – ‘DUA NAGA’

The glorious noise emanating from the Indonesian diaspora grows louder and more intoxicating with each passing day. A case in point, the eye-opening debut album from Melbourne-based ritualists Rinuwat, whose attritional fusion of grit, guitars and gamelan is crushing cousins with the far-flung furore of iconoclasts like BIG|BRAVE and Senyawa. Released late last year and given a vinyl reissue by that lightning rod for aural esoterica WV Sorcerer Productions, ‘Dua Naga’ is less an art-for-art’s-sake casting to the wind of drone metal’s touchstones than a fundamental reordering of its power structure. Heaviness just appointed a new cabinet. Drop the needle on opening track ‘Sewu’ and the nature of this chameleonic beast quickly becomes apparent. Less than one minute in, a colossal Krakatoan doom riff suddenly vaporises into choking ambient smog fitfully illuminated by the ominous clinking of metallophones and vocalist Karina Utomo’s hateful blackened rasp. It’s a dramatic yet seamless transposition that provides a template for the album as a whole, although ‘Dua Naga’’s breezeblock to the forehead powerplays are largely confined to its pitiless opening stretch. Venture deeper and as the darkness congeals around an eerie susurrus of gongs and flutes, Utomo’s extraordinary voice undergoes a paradigm shift, ascending from the abyssal to the astral plane like a seraph with its wings on fire. ‘Nagaloka’ brings the curtain down with one last burst from the apocalypse gun, but it’s impossible to resist an immediate rewind. A far cry from the humdrum holding patterns of so much contemporary metal, ‘Dua Naga’ employs the tools of tradition to build skyways to the future. Prepare to be ravaged.

WV Sorcerer Productions 巫唱片

SHACKLETON – ‘THE MAJESTIC YES’

Peerless is an epithet lazily ascribed to legions of artists who are patently nothing of the kind, but in the case of arch dreamweaver Sam Shackleton, it’s the only appropriate term. From the arabesque dubstep extrapolations of his Skull Disco years to masterpieces of polyrhythmic psychedelia like ‘Music For The Quiet Hour’ and ‘Departing Like Rivers’, his trailblazing exploits in the sphere of contemporary electronic music have resulted in a discography that, in terms of sheer eye-popping originality, is all but unparalleled. His first release on Honest Jon’s in five years, ‘The Majestic Yes’ is Shack in microcosm; a gravity-defying exposition of rhythm as rapture that showcases his trademark rococo sound design in arguably its most otherworldly iteration since 2018’s lavishly abstracted ‘Furnace Of Guts’. Comprising three long-form tracks structured around the shamanic rattle of Senegalese percussion maestro Beaugar Seck’s sabar drums, this is expansive, sense-heightening music of the first order; swirls of opalescent synth, harmonium-filtered glossolalia and crepuscular sub-bass that permeate every quadrant of the soundfield like a cloud of opiated pollen from some alien species of orchid. It’s a scintillating, if concise, tour de force, but it doesn’t end there. To the majority of producers, remixing an artist as singular as Shackleton would be a poisoned chalice and then some, but his idol Mark Ernestus steps valiantly into the breech, splitting the difference between Basic Channel and Ndagga Rhythm Force with an arachnoid, dub-frosted (in)version of ‘The Overwhelming Yes’ that closes the EP on a deliciously sinister note. Majestic? Yes.

Honest Jon’s Records

SOFT-BODIED HUMANS x SILVER PYRE / SOFT-BODIED HUMANS x ABYSMAL GROWLS OF DESPAIR – ‘SILVER KAIJU’ / ‘KAIJU GROWLS’

Having hit the ground running in March with an explosive debut EP that pitted his guileful production grit against the hectoring Afro-grime of nailgun-voiced Ugandan MC Swordman Kitala, UK beat provocateur Soft-Bodied Humans goes out on an impossibly long limb with its sequel, a brace of logic-defying collaborations that positively revel in their own jarring incongruity. First across the machine shop threshold is arch art-popster Silver Pyre whose whimsical streams of semi-consciousness (think Mark E Smith if he’d hailed from rural Somerset rather than the mean streets of Salford) are welded to a steely sub-bass chassis, smeared liberally with synth-grease, then reversed at high speed into a lava lake of Japanese monster movie samples. It’s an exhilaratingly strange contrivance, but if it’s the apotheosis of weird you seek, look no further than ‘Kaiju Growls’. Funeral doom and jacking South African house variant Gqom are arguably the ultimate in non-overlapping magisteria – less chalk and cheese, more BoJo and integrity – yet somehow, S-BH and dirge metal behemoth Abysmal Growls of Despair manage to cajole them into cohabiting. Spring-loaded beats carom through a dense gloaming of drone curdled to near-impenetrability by AGOD’s larynx-mangling gutturals which plunge so far down the register he makes George ‘Corpsegrinder’ Fisher sound like Björk. You couldn’t make it up but that’s probably the point, and given that further instalments of this ongoing series are already in the pipeline, only time will tell whether suspension of disbelief is habit-forming or not. Ready? 

Blue Tapes

DON BRADSHAW-LEATHER – ‘DISTANCE BETWEEN US’

Don Bradshaw-Leather was an avant-classical sorcerer from the golden age of Brit-weird, but aside from this extraordinary work of entrepreneurial art which earned him an entry on the fabled Nurse With Wound list, he appears to have left little mark on history, musical or otherwise. Recorded in a purpose-built, CBS Records-funded studio then self-released after the label’s execs heard it and threw up their hands in horror, ‘Distance Between Us’ is the last word in Byzantine sonic overreach, a record which, from that alarming cover photo (Attila Csihar eat your heart out) to its sheer vertigo-inducing ambition, oozes bloody-minded lone wolf iconoclasm from every grime-encrusted pore. Comprised of four side-length epics pieced together using multitrack tape, the album unfolds like the seditious acid-fried flipside to Deep Purple and the RPO’s bombastic ‘Concerto For Group And Orchestra’, each track a deceptively haphazard assemblage of distorted Hammond organ, tribal drumming, frantic Liszt-on-crystal-meth piano arpeggios and dive-bombing string squalls that lacerate the soundfield like a flock of razor-winged nightingales. Fifty years on from its original release, it’s tempting to describe this astounding aural bijouterie as ahead of its time, but that presupposes its time will eventually come, something I doubt even Don Bradshaw-Leather in his wildest flights of fancy ever envisaged. Listen and be confounded.

Cold Spring

WHIRLING HALL OF KNIVES – ‘BLOWN VESTIGE’

The duo of Stephen Gethings (Magnetize) and Barry Murphy (The Last Sound) have been wreaking various shades of aural havoc for more than fifteen years, but ‘Blown Vestige’ is Whirling Hall Of Knives as we’ve rarely heard them before. All but absent is the redlining kick-drum carnage that made albums such as ‘Decate’ and ‘Voix’ such ear-savaging delights (think Regis after six pints of ayahuasca) but don’t go equating beatlessness with toothlessness. WHOK still have a full compliment of fangs, but this time, it’s your heart, not your throat they want to sink them into. Predictably though, for an outfit whose usual œuvre is the techno equivalent of cluster munitions, their take on ambient is about as far from cachou-scented New Age wallpaper-hanging as it’s possible to get. This is visceral, attention-demanding music that, despite its relative lack of gratuitous bloodletting, still lays siege to your consciousness with the same steely intent as their more rhythm-centric experiments. Amorphous billows of exfoliative distortion scud across the stereo field like storm clouds; chrysalids of crimson noise rupture and drip acid syrup into your ears, but it’s WHOK’s uncanny ability to conjure the organic from the inorganic that sets ‘Blown Vestige’ far apart from the pack. ‘Deconthroat’, for example, is so redolent of a slow-burning cello arabesque it wouldn’t sound out of place on a Clarice Jensen album, whilst the subaquatic swoon of closing track ‘Saw-tail’ is a sublime reimagining of A.R. Kane’s nebulous guitar shimmer blissfully untethered from the prosaism of wood and wire. Over the years, I’ve used many adjectives to describe the mighty WHOK’s irascible sonics, but ‘beautiful’ has never been one of them. There’s a first time for everything.

Cruel Nature Recordings

JUMALHÄMÄRÄ – ‘SONGLESS SHORES’

One long track from Jumalhämärä. A catastrophe of murky Black Metal pagan(?) insidiousness and thundering atypical rhythms, swirling and fluid, a cloak of Bass concealing razor treble Guitar lines and churning percussive, heretic bells and gongs, croaking gurning vocal under the influence of psychotropic emetic mead – a cauldron of darkside Floyd psychedelia and irrepressible bad feelings, working through movements slowly and attaining a beehive atmosphere of mudbath noise and folk instrumentation. A journey beginning in strange Black Metal groove and Drone, and concluding in gently rousing folkish melodies, minimal guitar(?) sounds and field recordings, wet stones and potent natural aural events… then ascension and cleansing, pristine beats and bellowing, beauteous sounds command the final plunge and purge as the purifying muds impart their minerals. Weird and excellent.

Triumphant Transgressions

ALBERT TROSS, LEADER OF THE DEMONS – ‘DON’T WORRY’

Part two of a most unwanted trilogy. Brain destroying mundanity, recycled music repurposed to perverse, cryptic intention. Horrible seasickness sounds, hacked and chewed, slow looped nightmares of zero enjoyment. The chosen samples are seemingly drab and innocuous, as with so much of the honourable Master Tross’ work; The way these slowed beats play underneath yawning vocal relay is utterly simplistic and yet totally menacing and upsetting. Loopy sound, Ambient Death. Distorted muzak, celluloid deterioration. You should probably worry.

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ALBERT TROSS, LEADER OF THE DEMONS – ‘RELAX’

‘Butchered rock music.’ Horrible loops from what were once songs, reworked into a manky toupée of annoyance and unease. It’s very headachy and paranoia inducing, not at all relaxing or nice to listen to. Many of samples looped seem to have been chosen for these upsetting qualities. Then, a couple of minutes into the second track, the paranoia sound downshifts into an echoing, dank cellar atmosphere, with repetitious chirps and clicks swirling around in a sweaty comedown,  and then the whole thing slithers away into the darkness. Nauseous and altogether fucking upsetting, without ever actually being explicitly offensive or controversial in subject matter. Relax, indeed.

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ALBERT TROSS, LEADER OF THE DEMONS – ‘PLOERT.’

Longform horrors from no-one’s favourite demon leader. Stretched out Ambient aggression, a soundscape of implied hostility and lost intentions. Waves and pulses of sound wax and wane over vaguely-industrial, half heard samples and distant, droning audio events… it’s very easy to get lost on the moors with this one. It’s nightmarish, even by the honourable Mr. Tross’ already dismal standards. Like being slowly consumed by an unidentifiable stain on the seat cushion of a couch in an abandoned retirement home.

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PURGIST – ‘GUILT/FEAR’ EP

Swirling, astrally projected Harsh Noise Ambience from Poland’s own Purist. The first of these two tracks builds from very low swells of tone, barely present sound building residually into a stocatto Pulse assault, shimmering tones hammering you in random patterns. The second track follows a similar path, drawing a sombre Drone to it’s logical, destructive conclusion, waves breaking from the Aube-like Harsh Ambience into a distant siren call of distortion. Ghostly, abstract, beautiful. Field recordings woven into the fabric of Noise add a spectral, weird element, making these pieces intimate and enveloping. Intangible Noise. A most engaging listening experience.

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BODIES ON EVEREST – ‘THE BURNING’

Lumbering fuzz-tone Noise Rock/Doom, low-psychedelia from up North. Slow, extended compositions built around simple riffs, pounding Drums and distant bog-dwelling Vocal. This stuff is weirdly esoteric and dreamy, perhaps due to the interesting combination of feathery-but-loud, distant Bass. This dreaminess washes over you blissfully, each repetition of riff slowly enveloping you in near-Ambient sound and harsh feedback. Tonally this is way closer to Melvins than say Candlemass, but I’d argue both sounds are present in one way or another. The Bass tone in particular reminds me of Lightning Bolt kind of, just slightly less overdriven and further buried in the mix. Noisy, dreamy, heavy and arty(the good kind). Highly recommended.

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