S.E.C.A.M. Kino "Destined Ages" CS (Chondritic Sound)
This tape is industrial in the sense of electronic-era Clock D.V.A., early techno-era Psychic TV, and certain S.P.K. moments, not in the more primitive and raw side of things. I didn't notice any sort of vocal or sample until the 3rd A-side track, at which point things have evolved to become totally beat-driven and "dance-y" while having started a little more harsh and atmospheric. This isn't at all the type of thing I'd normally dig into, but I like this in the sense it'd be good soundtrack work for certain kind of action movies, and probably pretty excellent backing tracks to fuck or fool around with girls to. I think if there were some sort of predictable baritone slightly off-key vocals here I'd dislike this whereas its' instrumental nature makes it enjoyable. This is pretty upbeat and angular at some moments, bordering on what I would personally consider dance music, but a sort of weird reverb and some 4-track bleed-through make this grittier than some of what brought me to this tape. The B-side continues the beat-driven melodic side with more EDM-type sampling, and then returns to the more atmospheric side of things with the second piece – things sound become sort of cinematic and a slow, militaristic thumping beat is introduced before a cold, metallic snare with a vibrating texture starts to dominate. The artwork for the j-card is blue, silver, and grey; and that is essentially what this type of music sounds like – cold but still somewhat human industrial that's possibly a throwback as far as equipment is concerned, but I am not enough of a fan of this type of thing to determine whether this project can be considered a clone or not. I do know that this would probably appeal to a lot of the folks who appreciate the beat-driven stuff coming from Hospital Productions or Posh Isolation – the closest comparisons my limited exposure can draw is Vatican Shadow and Croatian Amor. I don't know, check this out if you like that stuff, maybe.
Nor Index "Rat Trap" CS (Dogmatics In Outline)
Heavy and large-sounding PE that has a distinct harsh noise influence – fast, forward-momentum backdrop of mid-range static with quick cuts; vocals buried in the mix and distorted beyond intelligibility. Ends after calming somewhat abruptly to more sweeping, old-school static textures that sound controlled with the voltage of a synthesizer. This immediately brings to mind Une Regard Froid. So far this second piece is an "atmospheric instrumental," building in a wall of noise before ending abruptly – think "Death Penalty." Third piece starts with putrid idling synthesizer throb – kind of like a post-mortem motorbike engine. I think there are some buried and flanged whisper vocals that are distorted beyond recognition, but this could also be more textural noise. Pieces such as this work very well in this context, staying in one gear and building subtly to the next track, but I have heard projects which rely entirely on this "mode" and as such tend not to go anywhere. I like this, however, but am a little more interested in hearing the development of this project's sort of enigmatic sound than returning to this particular tape again and again. So far it's hard to tell if the second piece has led to the third (as listed) or not, and I could see how that might not please those more demanding of consistent action in their PE - "click" of the stop button tells me that the two are indeed combined tracks – not really an approach I like, honestly. It's the first release from this project, though, so that can slide for now. B-side begins immediately with a very sexy-sounding helicopter laser throb sort of like one can hear in Bloodyminded and Slogun – with some almost metal-type vocals in a very throaty, Earache records crust-punk/grindcore kind of rasp. Comparisons to Deathpile wouldn't be out of line, here, but there's also a menacing high-end tone that if allowed to dominate the mix would bring this track closer to Whorebutcher or even certain rare moments in Prurient, "History Of A.I.D.S." era. Listening to this tape I'm thinking that those looking for wild experimentation and variation in their PE might not be too pleased with this, but there's still a unique, personal touch that shines through regardless of the fact that I know nothing about the person or people behind this project. Essentially, there seems to be a specific personal and psychological take on things being expressed here – things are all the more intriguing during the second B-side track with the modulated female voice sample alongside mid-range psychedelic electronics and more of the "grindcore" vocals. My lazy brain wants to make a Sodality connection, specifically the track "Beyond Unknown Pleasures," but I know you can do better than that, you reading this review – shit, you could maybe even compare this to more aggressive Anenzephalia tracks like "Final Pulse." I was about to complain that the second B-side piece had lapsed into the third, like the A-side, when I was proven wrong by the sharp cut to harsher, "windy" textural noise squall that comprises the third track – definitely thinking of gritty Italian stuff like Murder Corporation and Mauthausen Orchestra when hearing this sound. What might sound like straight-ahead static noise to some, but sounds more like field recordings of something noisy run through a synthesizer or distortion to me. Sadly, that piece functions only as an outro – this tape has definitely caught my attention, although I'm hoping the techniques and ideas employed herein are more specifically thought-out next time around – couldn't help but think these tracks would have worked better alongside others with more variation. I'll still most likely see whatever else this project has to offer, though.
Current Worming "Memory In Fuck" CS (Dogmatics In Outline)
A-side opens up immediately to fast-paced forward-momentum percussive acoustic resonance – very nice and heavy sound which appears to be a cinder block moved against a concrete floor, and maybe some mid-sized street signs or sheet metal which make up the "scraping" textures that can be heard over-top the mid-range and bass rumble. Damn, this is some primitive shit – I doubt any distortion is being used, this is just heavy object abuse captured via tape. Less than two minutes into this track and I already want to recommend this to anyone who likes Paranoid Time, but also Patrick Yankee himself. How could you dislike this charmingly raw, totally bare-bones shit? It definitely sounds as though it was recorded to an old type I cassette on a portable device – there's a wet, deep bass tone that seems to only come via tape use and abuse. Sexy. There also seem to be some nice, white noise static-y pitch or speed modulations, I can't really tell how these parts were achieved, which is definitely a good thing. Recalls certain moments in older Sewer Election. After more manipulation occurs, some smaller-sounding acoutstic elements seem to introduce themselves, in the form of a very nice acoustic junk loop, which creates a captivating pseudorhythm. The loop starts to degrade as the volume increases slightly and the noisier elements build – some tasty pig-squeal sounds that recall moments of Macronympha's "Baroque." The way in which the various loops intersect in this part of the track should appeal to anyone who bought a copy of the "Industrial Development (Locked Loops)" tape by Hal Hutchinson from Freak Animal. Or anyone who enjoys going to their local trash processing facilities.
Heavy sawtooth synthesizer electronics open up the B-side, a first in my experience with this project – didn't particularly notice any electronic elements in the first tape or the A-side of this one. Not complaining, mind you. Just that this piece seems to be distinctly atmospheric while others were out-and-out claustrophobic and sweaty. Field recordings of what sound like cars passing on the street compliment the synthesizer noise as it takes a backseat and another layer of crispy treated field recordings sits atop the most active one. Some metal resonance from what sounds like a gate or playground equipment can be heard very briefly before some water sounds introduce themselves, almost buried in the bass and lower mid-range tones. This is probably a lazy comparison, but Arv & Miljo immediately came to mind – "Oppna Vattendrag" especially. When the synthesizer electronics take on a stop-start looping pulse underneath the accentuated water sounds, I'm absolutely hooked. I can tell you with ease I will see what every release this project has done can offer. Current Worming may not be changing the world, but they seem to bring together the crotch-grabbing sweatiness of 90's Macronympha with the solemn and solitary musique concrete sound of certain Sewer Election and Arv & Miljo works – if you have any complaints as to why that appeals to me, fuck you, go listen to Thurston Moore. Some of the undulating background noise at this junction seems to have been run through a synthesizer, with the sort of glistening high-end sounds atop the angular, effected low-end. That section appears to be cut off quickly, though, when another more "broken" sounding section begins, albeit sounding as if it's still effected with the same synthesizer. This piece only lasts for a few seconds, before another track begins, and seems to be kicked off by outdoor field recordings of something in a large truck bed – at least, that's my guess. Hard to say exactly whether or not there is layering happening at the moment, otherwise this is the product of a well-placed recording device and some ingenious equalization and mastering. There are some brittle acoustic junk sounds which begin to loop, and expose a very light-touch high-end oscillating tone – this is a very nice detail and all the more special if generated electroacoustically rather than just layered in via synthesizer. Whatever the case, though, this project is very skilled at hiding tecnique in the name of atmosphere – each piece seems to totally hold my interest and never reduce itself to the sum of it's parts. I'm thinking by now that the high-end tone is just wind. Tape over. Seriously, if you like Arv & Miljo, Sewer Election, One Dark Eye, and the loop-oriented Macronympha tracks, get this, but you'd do just as well to get any Current Worming tape. Recommended to anyone not jaded.
ZSS "Iron Division" CS (Der Bünker)
Well, here it is. Opens with a Rockwell sample and some ominous low-end undulations from a synthesizer, alonside rather subdued metal percussion. The synthesizer work is incredibly subtle and builds with slight layers as a backing drone only – no Heavy Electronics assault yet. Vocals fairly mangled via flange and perhaps slight distortion; yeah, it brings to mind Genocide Organ and Puce Mary, like others have said. I can hear and understand what's being said, though, mostly, unlike my experience with those two projects. "I'm the cancer in your bones."
What sound like maybe delay-effected and looped low-end synthesizer bubbly textures evolving into toothier, mid-range ones open the second piece – to straight-arm-salute chanting via samples, leading to, of course, none other than 18 himself speaking. Quick fade-out following conclusion of speech and cheering/salutes.
Nastier, sexier "wet" electronics arranged in a semi-rhythmic and more complex manner sort of sizzle, burst, crackle, and expand/contract opening the third a-side track. Is that Mr. Duke conducting interviews in the sample? I've got this turned up pretty loud, but things are just muffled enough to make discernment a little tricky. As far as electronics go, this is perhaps my favorite piece so far – brings to mind Death Squad and other MK9 endeavors. Hal, er, uh, I mean Major Carew's approach to rhythmic elements in industrial music is pretty top-notch, if you ask me, despite that things seem to get really interesting just as they fade out.
Another sample opens the fourth A-side track while looped against a fairly tonal yet air-raid abrasive drone forces it's way in – later complimented by an eerie, vocal-like drone similar to the Celtic Frost intros. Distant pounding percussion reverberates in the background. Again this piece forms a simple backdrop for a very direct, straightforward vocal performance; "why won't you bring back the camps?" Although all the pieces herein are right up my alley, I can't help but note that I look forward to more variation, different tracks in combination, and maybe even longer sections with more layering in future releases – the "Live in Finland" tape sounds like a very promising evolution from a solid foundation laid on this tape. I'm also kicking myself for missing out on other releases, like I always tend to.
B-side track one opens with very nice rhythmic laser pulsing and brittle static noise – complimented of course by militaristic brass which introduces a German-language sample. Although I'm not always thrilled by linear tracks which focus mostly on samples, ZSS herein seems to have an approach where this technique is totally appropriate and might see the project lacking something without these tracks. My favorite element of the track, the bubbly laser pulse, seems to take a strong lead along with the gritty, metallic noise which gains intensity but never dominates the stereo field. Very nice use of cutoff knob, and the element of bleed-through between layers is apparent even if this is recorded digitally.
Second B-side track finds us with more sexy, buzzing, bursting electronics that provide a rhythm not unlike the latter A-side track. Another sample regarding what I assume is Christian Identity teachings from a Klan preacher is overlaid and tends to dominate. The megaphone that whomever is preaching is speaking through adds a very nice element to the track – background shouts of "white power!" etc. "Learn about your history, learn about your race." I could listen to an entire album of samples of this nature set against electronics composed like this – why don't David Rodgers and "Major Carew" collaborate on something like that? No vocals, no noise, no power electronics. Just synthesizer and thematic samples.
Anyway...third B-side track opens to buzzing, oscillating electronics and static noise...and a sample of a man reciting the history of racial slurs toward a certain ethnicity. Rather than leading to some kind of point, the sample just seems to repeat and establish the meaning of the terms used therein. You know what I mean. End of track.
Spoken loop and more queasy low-end drones begin the final piece. "There's nothing else but violence." Electronics sound like chemtrail aircraft. Subtle echoed vocals totally obscure the actual lyrics due to the continued use of whatever flange or chorus effect which has been on each track with vocals so far. Not necessarily a bad thing, but again, I'm more looking forward to hearing the Live in Finland tape than listening to this one over and over again.
Overall a damned enjoyable introduction to a project I should've followed from the beginning, but what can you do? Like I said, I think this tape is a better preview of what's to come than a direct representation of everything you get from ZSS. This is great, but definitely does not manage to hit all the points I'd wanted – I know Carew is capable of a great deal more intensity and brutality than this tape offers, but I'm sure that's intentional. This one feels like a way to decide whether you're coming along for the ride or not. Anyone who's willing to dub a copy of the Anti-Personnel Device tape for me should get in touch, I'm really interested to hear what would comprise a ZSS full-length album.
Secular Identity "E. Cleaver" CS (Fusty Cunt)
A-side opens somewhat too abruptly to low-fidelity static electronics, and shouted, delayed vocals. A nice shifting industrial loop rhythm takes over, not totally unlike Marconympha's looped sections. Overall this has a sound as if everything is run through a distortion pedal before going into the mix, which makes everything pretty cramped, flattened, and compressed. There are some high-end feedback tones that would certainly be more audible if this wasn't the case. Quickly this track seems to start to deflate from a more forward-moving pace to a saggy, muddy mess. I do like these textures and the opaque quality of the distortion and tape saturation, but I can already tell that this free-form approach to power electronics is really not the type of thing I would typically be interested in. There are many attractive elements present, such as the underlying rhythmic "beat," but the way in which these individual aspects are combined doesn't really make for a style that holds my attention. To be honest, the main reason I'm reviewing this is that the other Secular Identity release I'd wanted was unavailable – listening to this, I'm not quite as disappointed as I had been – if this is a good example of Secular Identity's sound, I don't really need to hear that other tape. The track even starts to disintegrate into that amp buzz you hear when nothing is happening – I can't even tell you how much that turns me off to hear in power electronics. The overall feeling is that "this is the part where they got tired or confused." This is the kind of thing that I'm not keen on listening to at home because a live performance that exactly followed this template would not be enjoyable – a guy "jamming" with noise equipment and some vocals live. This is that, but recorded to tape. I can't tell where the conscious decisions to introduce new sounds occur, or if everything is entirely intentional – there is none of what I would consider to be a "compositional element" here. This is a textbook example of PE as "noise with vocals over it," rather than a noisier take on industrial.
Now, I'm not saying this is total garbage, I just don't like it. In all honesty, I will still probably track down the other Secular Identity tape which I wanted to hear. There are some nice sounds here and there, and I do sort of like the overall texture, but the totally improvised feeling and haphazard placement of the vocals are such a huge detractor from the elements I appreciate. One more generous interpretation of the material is that these guys clearly take a "We Spit On Their Graves" approach – the improvisational element is clearly part of the energetic dynamic between the two guys involved; in my opinion, they just need to rehearse more and refine this approach. As far as the overall approach goes, it seems to rely on a saturated, thick distortion, a live recording setup, and an improvised "jammy" style that straddles harsh noise, PE, and industrial simultaneously. I believe such a combination exists in much more skillful incarnations, but if such a description still appeals to you in this context, I could draw a comparison between this and some of the Human Ignorance/Vulnavia projects, as most of them are done by the same two people. Those projects also have the living room or bedroom feeling, the gritty distortion, the improvised nature, and the same lack of specific and obvious direction that sort of renders this less accessible to me. Anyone who appreciates the Peiiste project and similar stuff will probably find interesting elements here, but I'm stating politely yet firmly this is not my thing. As far as duo power electronics from up-and-coming Americans goes, Wonderland Club could teach these guys a thing or two about assembling a track – this project would have a lot of promise if the distortion and jammy feel didn't strangle everything. This is exactly the type of thing wherein a little more attention to detail and coherent focus on the result of recording could have saved the tracks, however I'm having a hard time getting through the entire A-side. Sorry, guys. Things don't really get interesting until the final "vignette" on the A-side, where the reverb effects and individual elements seem to present themselves more fully – I'm guessing that was recorded at a different time than the other pieces. Not really too fond of how the barely-audible sample is interrupted by vocals halfway through a fucking sentence, only to be cut off again abruptly. While what sound like some field recordings are introduced, adding some variation, I don't see what the point of haphazard cuts between unfinished tracks is. The more I attempt to approach this on a more objective level, the less this appeals to me. This is basically a chore to listen to. I don't recommend this to anyone. I'm not going to finish writing this review "properly" because I feel I've already come to the logical conclusions – this is way too sloppy, not at all thought-out, and sonically nothing to write home about. Better luck next time when I pick up the "M. Salerno" tape in hopes that it's nothing like this.
SBTDOH "Sounds For Mass-Extinction" CS (self-released)
It took me around two years to get around to listening to this tape a second time because I'm apparently not a very considerate person and had promised the person behind the project I would review it. Well, here you go. Two years later. This is thick, analog-but-not-muddy tape-saturated wall noise. Static is the only "instrument" you get here. This is not the full-blast Vomir or Dead Body Collection approach, but the subtler building tones of certain material from The Rita or even Mauthausen Orchestra – this has that distant, background bass crumble that so many projects at this stage in "HNW" seem to totally ignore. A "cantus firmus" behind everything, if you will. I like that, and I like this, but to be honest, I am neither moved nor impressed with this sort of wall-noise stasis when a strong concept isn't involved and neither is an interesting approach to treatment of source sounds. This is probably just a guy with some pedals, tapes, and perhaps a static generator of some kind. That is not going to attract anyone except the most dedicated minimalist wall-riders – basically I think that myself and Richard Ramirez are probably the two people who gave this tape the time of day to consider it on its' own basis. Things seem to layer into a very nice balance of frequencies, but I can't say that this is the kind of void-approaching static bliss that allows one to dissociate from the "self" the way listening to other vast, infinite, and cascading works of static noise do. Ironically, things seem to just teeter on the edge between being "just a bunch of static noise," and actual Harsh Noise Wall, in that actual HNW has more purpose, intent, composition, and nuance, regardless of whether it sounds like Vomir or Vast Glory. Another HNW chore to congratulate yourself for enduring upon completion – though this is not an endurance test in the sense of the Haters or Hijokaidan. Endurance, in this context, is a synonym for patience. And I just don't have what it takes, nor do I really care to. I don't know if this project is still active and I don't know what became of the guy behind it, so I can't really recommend that those who might be intrigued go out and track this down. I see this tape as a gift that a pen-pal gave me rather than something I like to listen to. In that sense, I do enjoy this, but objectively, I can't say anything that would make anyone want to listen to this. For what it's worth, the B-side is much heavier, more energetic, and "militant." Definitely an example of unoriginal but very skillfully-executed wall-noise – doesn't have any of the blown-out, overly-compressed, or digital pink noise quality of other stuff one could compare this to. And it's setting off some pretty bad tinnitus in my ears – it's definitely harsh, that's for sure.
H.N.A.S. "Melchior (Aufmarsch der Schlampen)" LP (Dom)
These guys have always just struck me as Ultra, but without St. Degeneratus. That means weird experimental music that's vaguely rock-oriented at times, more challenging other times. And lacking the sexual and sinister aspect which Degeneratus brought to the group. That's more or less OK with me; because I don't know if I fully grasp what constitutes "Krautrock," but if H.N.A.S. is a good example, then I guess I can say I like some Krautrock. But, on the other hand, I would hope not all Krautrock is this arbitrary. Weird chant-like vocals and German female vocals/vocalizations seem to be placed, well, arbitrarily. What struck me in particular about this group and album is that it's pretty good for when I'm in a nondescript mood for something with no particular atmosphere or vibes; but is potentially pretty fucking irritating if you're in the mood for something that is not...this. I actually got annoyed and started listening to some metal CDs after I listened to this the first time, but this time around find myself enjoying the same part where I'd shut it off last time. The piece in question was a bouncy, almost dancey number with howled, cheering vocals and a lot of springy echo effects. This is the type of music that makes other genres and styles of music seem stupid in the way in which they're parodied or otherwise incorporated herein. I like that, but I have to admit that my brain and attention span aren't always up to the task. Kind of like when you watch a comedy that you know is really funny, but a lot of the situations and jokes are only frustrating to you at that moment. Although I welcome that sort of challenge in listening experience, I also just feel like a fucking nerd sitting here listening to this. I'm not entirely sure if this was worth the effort in tracking down, honestly. Maybe more cultured folks would appreciate this whereas it's wasted on my rakish ears. I feel alright admitting I don't "get" this, however. I'm fairly sure that "Schlampen" translates to "slut," though, so there's that.
Lettera 22 "Subsequent Teeth" CS (Monorail Trespassing)
This one didn't grab me half as much as other Lettera 22 releases I've heard, and not to mention the videos I've seen of their performances on YouTube. Regardless of that, this material is like a bit earthier version of Sickness – mostly electronic cut-up noise that has a nice, forward-moving fast pace, but isn't quite technical enough to constitute cut-up noise along the lines of T.E.F. or Encephalophonic. There are also some nice moments of droning feedback and overuse of reverb that I think some projects do not pull off, that included here seem right at home in the overall Lettera 22 collage-style sound. The second movement of this piece is much more what I'd expect from them, with little creepy-crawly insect details and a shifting, uneasy backdrop of spliced noise electronics which seems to be pushing itself toward the top of the mix. I am noticing a lot more detail this time around, than the first two times I'd played this tape – there are some fucking nice Christoph Heemann-sounding broken-tape kind of noises that coexist with some neat ambient/droney textures, this section segues into more of that kind of description but with a roomier, open-space reverb kind of feel. I think these guys employ a pretty even split between digital and analog equipment, and their sound operates in a good place sitting between improvised energy and composed specifics. That's the aspect which makes Lettera 22 one of the most important projects going right now – there's plenty to appreciate if you're an insistent harsh head, but if you're an academic musique concrete asshole, there's plenty that you can swoon over here, too. The attention to detail herein should provide a feast for shit-talkers; yes, the jaded can authoritatively say how much more effort is put into this than a lot of stuff around today. You can tell me that this is what I am supposed to be listening to, and in this case, you might be correct. All of the microtonal textures are so nicely placed, one barely notices certain drones coming in and out of the picture. There's also some nice little electronic elements that also just sound like more acoustic noises – I love that sort of thing. When the feedback is reintroduced, I'm immediately reminded of one of the first times I heard of this project – Steve Cammack wrote on his blog that they're "noise concrete," a mix of old-school feedback-laden power electronics and tiny, microtonal concrete sounds treated via various effects, etc. Now, that's not entirely accurate, to my ears, but I see what he's talking about. There's an austerity that has something vague in common with the early-'80's projects, but the advancement in terms of composition, use of modern technology, and influence of stuff that's happened since then is also somehow vaguely apparent. There's a haunting, beautiful background drone with a nice, gong-y metallic quality underneath all of the nondescript tiny movements that keep happening. In other words, you could listen to this repeatedly and probably find new elements to concentrate on each time. And I still have not flipped to the B-side. With that thought, the A-side ends.
B-side was apparently recorded two years prior to the preceding track. I'm almost always skeptical of this approach, probably due to my own tendency to incorporate old recordings into new material. If they hadn't specifically provided such information, though, I would only have come to the conclusion that these pieces were recorded separately through listening to their other releases circa 2011. This band does a good job of showcasing a unique sound, in short, although slightly less so on this side. There is a more haphazard element to this track, even though it seems to have all of the detail and action that they are known for. Shit, it's even got most of the basic elements which they use; microtones, feedback fast cuts and hard panning, reverb, obvious inclusion of digital samplers. In the way that they're combined, however, is what presents this as a younger and less refined take on the Lettera 22 sound – some of the cuts are not nearly as graceful as the previous side's track. There are moments where the mixing doesn't feel as immediately cohesive, and some of the smaller sounds are not as loud as they would be if this piece was recorded in 2016 – that's a compliment, these guys have obviously come a long way since then, and were already doing something interesting to begin with. With all due respect, this track does meander into some sections that I'm not as engaged with. Still, it's more or less my feeling though, that the faster and harsher parts, while still entertaining, aren't executed with as much skill and precision as more recent material – I'm assuming this was an obvious distinction to point out, being that they obviously chose to include two pieces recorded so far apart from one another. This tape is almost frustrating to listen to, in that you immediately want to hear more Lettera 22 once each track is finished, either for comparison, or just to feed the addiction. They're a project which most who are already fans of them are already following their development more closely than I am, and they totally deserve such attention. These guys are making passionate, energetic and harsh noise that doesn't fit into any of the neat characterizations that other contemporaries do, which I can definitely appreciate, being that I continually hear stuff that seems to sonically reference prerequisites that I don't care for. Another thing that these guys do so very well is to calm a piece down abruptly when the preceding sections seemed to be building to a typical harsh noise crescendo – these guys basically never do that, opting instead to deny harshheads the satisfaction of fist-in-the-air parts ala Treriksroset and such. I really respect that – they deliver the goods without hitting any of the cliches too hard. I'm sure Lettera 22 fans already have this, so this review is not directed at you, if you own this tape and have read this review. This is aimed at those who have missed out so far, to you, I say read this review and go pick up a different Lettera 22 release alongside this one for comparison. The problem is entirely in your hands if you're disappointed with the results.
I'm not allowed to fully review the Tokyo Rose self-titled CS from Wonderland Media, but I will say that it's not bad at all – murky and thick but not wall-style harsh noise in the Mauthausen Orchestra and Dead Body Love tradition. Has a nice PE vibe with sexualized track titles.
