Mares Laig "Sweat Out The Saturnine Filth" C15 (Private Archive)
This was advertised as something like "wire compositions" so I was assuming something more along the lines of Alvin Lucier or what-have-you. Now, this may be exactly that in terms of source sound, but it's also processed with a synthesizer, workstation, software, effects, or something – there is some pretty pleasurable tape/electronic fuzz/crackle alongside soft synthesizer drones and more intrusive noise. This could be filed under "tape music" or more like what's most often referred to as "industrial" in the more modern, general sense – not really everyone's take on industrial, but I like this, whatever it is. Non-aggressive tape music to come down from a PE binge, I guess. I wish this tape was more like a C20 or a longer. Will most likely seek more stuff from this project and label et al. I can see how this would appeal to fans of the label already or people into the overall Strange Rules or Monorail Trespassing output.
Blessed Sacrifist "Somber Passing" C30 (Solar Temple)
I purchased a tape from a project I had never heard, released on a label I had never heard of, recommended by a guy I may have been in touch with twice; excellent results. This is somewhere along the lines of some Control sections, some Ramleh, newer Kleistwahr material – highly clean and sharp, digital drone/power electronics. Definitely a somber, elegiac tone; relatable as I've known a lot of people who've passed over the past year or so. What stands out for me are the wailing vocals, again comparable to Gary Mundy, but I am not at all sure whether or not words are actually being said; just some sort of vocalized lament. Good shit that I would not often be in the mood for but value nonetheless. I'll likely check out more from this project, possibly the label as well. Recommended for all Americans wanting to know obscure, current power electronics.
Painted Woman "7.27.14" C10 (Unseen Force)
Another short PE jerkoff – I don't mean that in an insulting sense, but that's what short PE tapes tend to be. I'd imagine I can get a better grasp of what this project is all about if I buy the box set, which I do intend to do at some point. Well, this project seems to be one of many belonging to a guy whose others I may or may not have heard. I like this stuff, although the A-side track is essentially a sample I have already heard on a Whitehouse/Peter Sotos track underneath feedback and a spring reverb that basically sounds like Mauthausen Orchestra or Sutcliffe Jugend. Not bad, but much better in larger doses, I'm really at least hoping. It's one thing to use electric-frying synth tones and high-end flutter, but to use a sample most of us have already heard and remember quite well is another thing. B-side starts off in a bit of a more interesting manner with a more synth-type high-end tone and an echoed sample – this time from some clinician from a documentary or something. Old, dusty tape-sounding feedback comes in again, same comparisons hold. More forward-momentum violence this time, with some nice synth+reverb sweeps/bounces that give way to another sample that's hard to place context to. All in all, I really hope this project is not entirely sample-based and has some vocals on some tracks, it would probably not hold my attention this way for the entire discography. Whatever the case, I hope for a little more variation when tracking down more material. Can't really say I recommend this to much of anyone except the odd fanatic/completist. Great name for the project, though.
Crown Of Cerberus "Les Roses Sanglantes" C30 (Nefarious Activities)
M. Chami's tape music project on the subject of the Black Dahlia murder investigation and its' central figure, Elizabeth Short. Excellent choice of theme by a perennially-promising side-project that's never disappointed me. Dare I say I even prefer this project to Koufar? This is only the second Nefarious Activities release I've ever owned and on this occasion I'm stunned that they charge only $5 for this excellent sound with totally perfect packaging/inserts. The melancholy and sublime nature of the synths, pianos, and other instruments alongside the darkness of the magnetic tape distortion is like David Lynch's 1990s/early 20000s era films; really hypnotic and beautiful yet disturbing, tragic, and unsettling. The pieces presented herein are also very short, perhaps intentionally reflecting the actress' brief, troubled life. There is also a nice early track involving piano and tape echo, the combination of which I'm a sucker for and employ myself regularly. It's hard to give a description that does justice to these tracks, as I don't believe any are meant to stand out from the others, and most of my word choice would be vague and generic. I simply would suggest that you can expect what you've come to appreciate from the project, but a bit darker, rougher, and more tragic. How this can be anything besides total satisfaction is a ridiculous assertion, especially when the delayed horn sounds come in not unlike Total's "Hard + Low." The opening B-side track transitions from gorgeous emotive synth New Age-y sounds to helicopter old-school PE/industrial pulses distorted via tape saturation which immediately held my attention, making the story take a turn for the worse. Following that, a cinematic moment of extreme sadness hits and absolutely cements in concrete the conceptual nature of this recording; if Mack intended for me to visualize many moments in her life and death throughout these pieces, it was a complete success. Here, we see things get not only tragic but weird and complicated – perhaps here we take on the perspective of Betty Bersinger, the woman who'd discovered her corpse complete with Glasgow smile, or investigating sergeant Joseph St. John. Totally perfect conceptual release recommended for the true crime fans or tape music fans alike – here Mack has completely honed his craft and executed his intentions without fail. Pick this up any way you can.
Int3rspecies Er0t1ca "A Decade of Besti4l1ty" C20? (Moral Defeat)
Also had been interested in what was going on with this label for a while but hadn't picked anything up until now – figured the best approach was to try and up-and-cumming project. Since Bodil Jorgensen is a household name for the typical sex noise/PE fan, this was a natural choice. From the first second, oscillating feedback in an incredibly delicate, brittle style not dissimilar to the 1980s greats and one-compilation-track-wonders. I like this stuff, and do not care for innovation in these cases. The reliance on reverb and shouting over modulation and screaming invite more of a Forza Albino or X.E. comparison than a lot of the blown-out US stuff. Although I'd like to understand the lyrics through their delivery a bit more, I can at least appreciate that they're not the S.J./M.O. worship that only half of those who attempt actually succeed at (I'm not excluded from that remark). Furthermore, there's some great dark synth "melodies" that sort of drop in halfway through "Pig Lover" that add personality in a way I'm also a sucker for. Already fairly certain I'll pick up whatever this project releases, I definitely see even more potential in a style of PE I already really tend to love. I'd compare the second piece "Stigmatized" to one of the tracks off a one-off PE project called Olymphia from Posh Isolation regulars I can't remember the names of. This, however, is perverse and menacing, whereas Olymphia is tragic and mournful. One element this duo is perhaps missing is heavy metal percussion – with their use of reverb and echo, I'm sure there is a good way they could integrate it into their spacious, dark sound/style. Well, you might as well lick my balls, too, if you're going to suck my cock, because there is fucking metal percussion on side B track 1, "A Wasted Life." Coupled with what sounds like guitar feedback, this has a pretty awesome "brittle" effect reminding me of certain Snuff or Sick Seed tracks, maybe even Treriksroset or Mania. What I like about this style is that it can simultaneously sound like it's about to fall apart, and able to crush you through sound. If you're into power electronics, reading this, and have not yet picked this tape up, you should do so immediately. I have not found one flaw thus far and don't expect any on the remaining track. The final piece has modulated vocals which sound like The Sodality high on methamphetamines and the backing track as if it is being eaten up by the tape player – if you need more reasons to get this shit that's second only to Forza Albino and Kommando RJF in terms of deranged quality, you won't like it. Otherwise, this is what so many would call "essential." 10/10.
Whiteswan "Insatiable Lust" C15? (Wrath)
Another project with an oddly beautiful name, befitting the bloody electronic sound noise violence. Had been hoping to pick up some material from this label for a while and was pleasantly surprised to learn this project belongs apparently to a forum member. The roughness and total lack of advanced equipment/techniques make this seem as promising as potentially frustrating, with many of the gutter-level European projects – this is a good thing, mostly. Side A, eponymous title, starts off with rattling, angular, fast-paced synth electronics; old Consumer Electronics, S.J., etc. Imposing but not the bottomed-out bass-heavy sound of today. Think Forza Albino, maybe. Unclean could be a valid comparison, I would not at all be surprised if this guy was Finnish like the latter comparison. I like this stuff because if it weren't for the vocal sections, it'd be hard to call this power electronics or harsh noise purely – just ugly hateful sexual sound. Most are probably thinking this project wouldn't be far from home on Filth & Violence, and I think there may indeed be a Whiteswan tape on Filth & Violence I might track down. I have a total love/hate relationship with the way the vocals interrupt the mix of noise, and would probably best enjoy this project when coming home piss drunk off well whiskey and feeling like I deserve to die. I'm glad I picked up the one on Narcolepsia as well! My only complaint is that this track feels improvised in the negative connotation of that word – not rehearsed except maybe once. Like I said, PE drunk hate. If put on a compilation alongside Chloroform Rapist, KSNK, ABNTR, Snuff, Contortus, some SSRI, and other Finnish gutter filth, this project wouldn't stand out at all, but would feel as if it were missing were it not included alongside the others. This really is only for people who already know what to expect and need more of what they prefer. Luckily I like this kind of putrid greasy stuff without being a fanboy consumer obsessive. Well, back to the sounds themselves: side B sort of picks up where A left off, and continues with the squalling noise sweeps and forward-driving oscillations. I cannot say this is something at all innovative but I admire the utterly low intent and unimpressive sound. This is truly anhedonic, cold, and alcoholic sounding. The vocals have no excitement to them and are not placed deliberately. No fun whatsoever. Sounds and feels like a mix of my most angry and most self-hating moments in life. Good shit. I really have nothing more to say except this is for people who sometimes need to be drained and exhausted by their power electronics. Recommended only to fans of the above-mentioned projects and absolutely nobody else.
Iron Fist Of The Sun "Family Survival Strategy" C?? (Unrest Productions)
I tend to sleep on releases by this label and project, always regretting it pretty thoroughly; you know when you feel stupid for not buying a release when you had the cash, because you wanted to eat out or drink that night? Well, Lee Howard's neoclassical abstract power electronics are plenty reason to avoid such temptations. More than ever, his project seems to hold a serious and foreboding quality telling of future events which we all know are to come yet many of us seem to be in denial of. Consider the title of the tape; this is not music for those who are easily assure that everything is going to be alright, and probably not for those who even desire to be assured of such an illusion, anyway. This is not pleasing to those who feel that power electronics is nothing more than sleazy sexual noise with vocals; this is power electronics as a subgenre of industrial music with all its' variegated intentions. From the manipulated synthesizer cinematic tones of the introduction track, to the pounding solitary echoed thump awash with crystal-clear drones of the second, IFOTS always stands out as having different intentions for himself and the listener than any other current or yesteryear project. The sounds contained herein make me somewhat suspicious that Lee is perhaps the guy behind the Broken Britain Cassettes mini-label that seems to have popped up out of nowhere; I hear some vague but not generic similarities to samples I have heard on the Bandcamp page. Either way, I plan to check that label out and the comparison is intended as a compliment. Anyway, the second track seems to morph into one more traditionally power electronics with its' mutilated vocals, background oscillations, and high-pitched tone throughout. This is the IFOTS one hears on albums like Tears Royal and I Will Never Have The Right. I'd compare this track favorably to Whitehouse in the early '90's, like the Never Forget Death MCD, but less darkly comical and more simply foreboding. Side A comes to a close with one of those tri-tonal typical industrial melodies although in a way which again is more characteristic of IFOTS than the genre as a whole; some incredibly nice-sounding feedback comes in alongside absolutely drenched sugar daddy vocals, maybe making this my favorite piece thus far on the tape. Although I will revisit this tape a lot, it's as much a reminder to pick up other releases I'm missing than one that stands totally on its' own; in honesty, it doesn't. This is not my favorite material from this project and probably pales in comparison to some of Lee's longer efforts. However, side B opens to a track kicking off with a Slogun vibe, not just because of it's crusty static noise but the underlying hip-hop/industrial melody – this has the "urban" feel of more recent Slogun efforts, to excellent effect in combination with more flanged vocals. If you prefer Consumer Electronics over this, I suppose it's safe to say you're looking at things from a different angle; I'd rather see where Lee is taking things than where Philip Best has been. Following this, another one of his always-strong instrumental pieces crops up with some killer "traditional" high-end flutter and ghostly background echo loops. I don't know, this is a more hi-fi take on the 80s PE sound? Apologies to all the young guys like me that are still catching up on old stuff and therefore tend to worship it rather than see it as a reference point, but as good as some old Ramleh is, this is the kind of thing I'd rather hear when I hear that stuff. Sorry Gary, Lee's largely got you beat. According to many recent label descriptions, there seems to be a lot of young US projects releasing stuff that's sort of a combination of musique concrete and power electronics; all I know is that although I have my own idea and attempts of that, Lee Howard's style herein could be described as such. As the last described "1980s" piece fades into bassier rumbles, stop/start noise patches, a less pronounced high-end tone, and some eerie reverb-effected vocals, I could not help but make the comparison; there is just something electroacoustic about some of these sounds. Also, I could be wrong, but this appears to be the only IFOTS track where a magnetic tape loop or magnetic tape manipulation is being used; either way, it's kick-ass to say the least. Anyway, instead of reading me kissing ass, go out and buy this tape from Unrest or Analog Worship if you're a Yankee like me.
Another 10/10 flawless piece that isn't necessarily achieving instant greatness in terms of individuality even in the context of IFOTS' own discography, but fulfills all the most crucial requirements superbly nonetheless. Fans of Slogun, Ramleh, Emaciator, and N12 take note.
Kjostad "Like Glass" C30 (Unseen Force)
Stefan Aune's more or less non-noise, industrial-whatever project, Kjostad. Mainly based on field recordings, I'm never disappointed by this relatively new project that seems to be coming out with releases at a rate which I can't keep up with (read = if you have releases by Kjostad to sell, PM me immediately). This tape continues the usual organic, nighttime feel. This is my first occasion to listen to Kjostad during daylight hours and I suppose the sounds strike me as more intrusive in this setting – otherwise they qualify 100% for what constitutes "ambient" to my ears. Besides that, I don't know if there is a more comforting and relaxing project I have heard recently, which is welcomed alongside so much music that's meant to have the opposite effect. This track appears to have underlying echoed loops, which has a great vibe in addition to the calming marshy sounds. Hunting and fishing growing up in Vermont, this project hits a lot of primal bases for me. When the clanking metal sounds kick in, I'm merely sold on the deal – this essentially sounds like a tape recorder inside a Vietnam-issue ammo tin on the edge of a creek. On the B side, stuttering broken tape/electronics give way to some creaking sounds and then atmospheric synthesizer drone. Things get more "musical" although some out there would still probably describe this as musique concrete as opposed to ambient. There are some more distant sounds which might be heavy wind treated via magnetic tape and degraded that give way to occasional clunks, creaking, and rusty scraping overhead in the mix. Feedback sounds pan between left and right adding a nice break to the calm. The insert says "amplifying the edge of the woods at dusk," in this case it's not hyperbole, although for some reason I assume the bird calls on side A to be closer to dawn. I once read Mikko use the term "ruralist noise," if that's what you're looking for, this is it. If you enjoy being outside at all, this project will probably appeal to you. If you like texting from your smartphone in line at the grocery store, probably not.
Caligula 031 "Amria" C?? (Wrath)
Hate me for honesty if that suits you, but I didn't necessarily fall in love with what little Caligula 031 samples I'd heard via YouTube prior to getting this first physical release I've tracked down. In this case, "Amria," however changes my opinion radically, starting with excellent buzzing underneath the mandatory juicy police sample exploding into static electronics with a nice wet laser tone overlay. The vocal assault is not nearly as buried as what I've already heard, and the enunciation in combination with the barely-present accent is very professional-sounding and commands a lot more than other releases I've listened to and reviewed today, maybe let alone listened to recently. The track fades quickly into coarse static and back to the relevant sample; the investigation continues. Next the track is overtaken by the sample; Caligula031 is generally a concept-oriented project, and perhaps stands out with the strongest releases being those which are entirely concept-based. Even though the electronics seem to overcome the sample a bit too much, the roughness rather than harshness compliments the reverberation perfectly and I hate to beat a dead horse, but the angular sound again brings to mind Forza Albino and other "bulky" sounds. One thing I enjoy is when projects that didn't manage to leave a bruise at first become one I'd definitely like to hear much more of in a track or two, and the A-side has had this effect. I like how there is more of an, I don't know, force to the sound rather than straight-out violence; extremely effective approach that is hard-hitting rather than ripping and savage. Rather than "hate-filled," this sounds tough and uncompromising. That fucking dumb bitch is definitely not sending that little girl to school. Static and a buzzsaw reverb tone opens the B-side leading to some pretty excellent tonal synthesizer noise workouts. Caligula031 is one of those projects whose gear I perhaps envy in some ways; I imagine Marco can get exactly what's in his head out of each machine. Here, his vocal performance sounds like another character/perspective in the story with the more distant reverb effect and higher equalization. I fucking love that Caligula031 manages to share some similarities with Slogun but retains a restrained sound that is absolutely unique. And I see here Marco is in some ways looking out for the cleanliness of the Irish streets, very good.
