Hobo Sonn/Decimus [coll] – [Kelippah]

2012 split from two obscure one-man industrial/ambient projects, each of whom contribute side-long tracks. Hoo boy, here we go.

UK’s Hobo Sonn (A) starts with a bit of timpani, water sounds, and the ominous strains of what I assume is synthesizer, then goes into claustrophobic babbly-voice-land with incoherent layered dialogue samples beneath hearing-test drones, upon the latter of which bit-crushing is employed to full antagonistic effect. Very irritating pitches achieved, also migraine. Then dark-ambient pangs and footsteps in snow as cars drive by. I believe the term is ‘field recordings’ n’est-ce pas? Now a few minutes of static. Oh a sequencer! Love those. After a brief silence you get some birds (several species) and more of whatever synth’s extreme low end. Then your eyeballs fall out of your head and bounce around a little, and also more birds show up, stoned out of their little bird minds. One of them’s brought a synthesizer too and the other one is pecking madly away at a delay pedal. Great job everyone. Gristle, Cazazza, NWW and Zilverhill nod from the stands in fond approval.

NYC’s Decimus (B) is Pat Murano from No Neck Blues Band and starts with do not adjust your turntable, then a drone is gradually vented into the room. It’s a good drone. He builds on it a lot and works in some simulated-heartbeat percussion. Distortion gradually eats the electronics. The ghost of a metronome that died in a state of sin ticks away and giant spiders make a ruckus in a junkyard. Then it’s back to the drone and after a while we start to get a very eerie ‘Forbidden Planet,’ Dracula Spacecraft vibe, which builds unbearably as the government-issue tranquilizers wear off with disappointing rapidity. Then suddenly you fucking die of old age and it’s over! Coil lift scented handkerchiefs in polite acknowledgement. NWW and Zilverhill seem to have liked this one too. Larsen stroke their chins. Carlos Giffoni takes off all of his clothes and curls up into a ball. Decimus wins!

Tl;dr: Both sides are effectively creepy if not particularly innovative electronic soundscapes.