KFJC 89.7FM

Bone Awl – “Almost Dead Man” – [Klaxon Records]

Lord Gravestench   3/13/2019   12-inch, A Library

Active since 2002, KFJC live mic vets Bone Awl are definitely one of the best Black Metal groups to come out of California. The duo of He Who Crushes Teeth (briefly in Morbosidad) and He Who Gnashes Teeth (see my review of his solo project Amofas from our add last year) derive their names from possible English translations of Tanngrisnir and Tanngnjostr, the appellations of the goats who drive the chariot of my lord and master Odin. These guys create killer raw BM in the tradition of Ildjarn, adding a distinctive touch of broken-sounding D-Beat punk to the proceedings, not unlike Hellhammer.

This 2018 45RPM 12” is a reissue of a 2007 single-sided demo cassette. Klaxon Records, which released both versions, is run by one of the two Bone Awl dudes. Ultra-primitive, dirty, necro shit. Short songs except for A1 which is a repetitive but oddly hypnotic instrumental. B-side amps up the aggression somewhat. Fuck yeah is all else I have to say.

Trepaneringsritualen – “Septentrional” – [Hanson Records]

Lord Gravestench   3/5/2019   A Library, Cassette

Trepaneringsritualen (which presumably means something to do with drilling a hole in one’s head) is Tomas Ekelund from Sweden. Since 2008 Ekelund has prolifically practised his highly theatrical (or ritual, if you prefer) school of traditional Swedish death industrial. Despite his intense image, he spent the decade previous to founding TxRxPx in the highly emotive (but, as he would hasten to point out, equally gloom-ridden) dark ambient project Dead Letters Spell Out Dead Words. It is interesting that Ekelund’s body of work inverts the traditional industrial musician’s paradigm of going from ‘confrontational and ugly’ early on to ‘contemplative and pretty’ later in the career (see Genesis P-Orridge, Michael Gira, etc.)— this is heavy and not at all friendly stuff.

This 2010 cassette on Aaron Dilloway’s Hanson Records captures the raw early stages of the project. Heavily inspired by fellow Swedes Brighter Death Now and Nordvargr (and others on the Cold Meat Industry label), this is pulsing, sinister industrial noise with overtones of dark Norse spirituality (‘Septentrional’ means ‘Of the North’). There is a repetitive and simplistic approach to these tracks, but with an artfully organic presence that evokes a bleak environment of cursed machines rather than an impression of mere lazy looping and layering. There are three tracks on each side. A1 and B3 are creepers with unhealthy-sounding and unintelligible vocals. A2 and B2 are exemplary rhythmic noise pieces in the vein of early Genocide Organ. B1 is a more minimal dirge stalker with frightening serpent-speech somewhere between black metal and Bob from Twin Peaks. A3 is a spacier piece with a muted sample that may be Aleister Crowley. All tracks are good, so take the black pill, don your exit bag, and turn it up.

Circuit Wound – “Symbiotic Cannibalism” -[Oxen]

Lord Gravestench   3/4/2019   A Library, Cassette

Circuit Wound is the solo noise project of LA’s Jay Howard, who also records as part of the groups Bacteria Cult and Wire Werewolves, and with Bob Bellerue in a duo called Redwound. Howard has been causing headaches with Circuit Wound since at least 2001.

I think he is one of the more reliable LA harsh noisers, because his pieces tend to be very dynamic, i.e. they very much retain the impression of whatever constant effects manipulation was necessary to keep the sonic fracas flying. 

On his 2018 effort for Oxen, this peddle-torquing Torquemada gives no quarter; the Angeleno sonic torture progresses from side A to side B leaving only skidmarks and tangled ruins. There are many layers of excellently recorded chaos to explore and it definitely doesn’t sound anything like radio static or any of the other tropes employed by harsh noise detractors. I’m not going to sugar-coat this: it sounds like R2-D2 being tortured at a Disney black site. The A side starts off a little more slowly and the B side gets right to it. Ten minutes each. Enjoy.

Unaussprechlichen Kulten -“Sign The Book of Death” -[Apocalyptic Productions]

Lord Gravestench   3/4/2019   A Library, CD

Unaussprechlichen Kulten were one of the sickest bands featured on KFJC’s live broadcast of Nuclear War Now! and Iron Bonehead’s Never Surrender Festival in Berlin last year. The name of the Chilean death metal group is German for ‘Unspeakable Cults,’ and also happens to be the title of a fictional black magic text featured in the works of both Robert E. Howard and H.P. Lovecraft. U.K. refer to their music as ‘occult death metal’ and it appears to be heavily inspired by Lovecraft’s mythos.

This 2018 CD compilation from a Chilean label contains a limited selection of tracks from U.K.’s 4th album ‘Keziah Lilith Medea (Chapter X)’ (2017) (t.s 1-3), their 3rd album ‘Baphomet Pan Shub-Niggurath’ (2014) (t.s 4-6), their 2013 EP ‘Lucifer Poseiden Cthulhu’ (t.s 7-8; frustratingly, the compilation leaves off only one song from this) and their 2012 split with the American band After Death (t.s 9+10). The remaining 8 tracks are live material; for most of the live songs a studio version can be found earlier on the CD, although not t.s 14-17.

This is monstrously heavy death metal, akin to a thick black smoke clogging your accursed speakers. Fire follows smoke in touches of strong melody wrought by the dual guitar interplay of ‘Herbert West’ and ‘Joseph Curwen,’ but always with a demented, demon-summoning twist. Many songs begin by grooving around a deceptively simple phrase before revealing the fuller tentacled complexity of their nameless horrors. The grindcore-inspired drumming and Curwen’s deranged Spanish death-gurgles round out this insanely suspenseful take on death metal. U.K.’s gloom-ridden riffs and unforgiving song structure, owing something to both Immolation and Autopsy, make for a style that goes well with Nuclear War Now!’s roster of sulphur-seared diabolical DM artists (e.g. Ignivomous or Dead Congregation)— although these guys have been playing this style for 20 years, which is quite impressive. All Hail true Chilean death metal.

Disinhibition – “Demo 2012” – [Self-released]

Lord Gravestench   3/3/2019   A Library, Cassette

Crusty fucking Grindcore from San Jose, featuring drummer Chad Gailey (in between his tenures in Bruxers and Necrot, later also Vastum and Mortuous) and guitarist Colin Tarvin (Mortuous). This is balls-to-the-wall grind in the mold of early Earache releases, extremely well-recorded. The first two tracks are originals, and the next two are covers of Napalm Death and Repulsion, respectively, although the Repulsion cover (t.4, of ‘Eaten Alive’) is retitled as ‘Napalm Deceiver’; perhaps this is in reference to how Napalm Death stole the riff from Repulsion’s ‘Stench of Burning Death’ for their own ‘Deceiver’? Anyhow, the whole thing clocks in at six minutes which is just fine. Killer grind, recommended if you like having your head beaten against a brick wall.

Disco-Mortem [coll] – [Releasing Eskimo]

Lord Gravestench   3/1/2019   7-inch, A Library

The Releasing Eskimo was a Swedish noise label active out of Gothenburg from ’94-’98, specializing in low-budget releases. This triple-7” compilation from the label’s final year is an excellent sampler of the three most esteemed noise/industrial scenes: the USA, Europe, and Japan.

Disc I: The Europe Disc

Side A: Manchester, UK’s The Grey Wolves, a manifestation of the cultural terror network. This anti-establishment, left-wing duo whipped the hypocritical punks into a fine froth for more than a decade by pretending to be hardcore fascists. A foundational group in death industrial and one of the greatest industrial noise projects of all time. Their track is bleak and 2-dimensional, a maximum confrontation with the experience of death by sarin gas (for real, not like those falsified attacks in Syria). “The Future Belongs To Those Of Us Still Willing To Get Our Hands Dirty.”

Side B: Gothenburg’s own No Festival of Light. Satanist death industrial from the man who also brought you Demogorgon and P/D(B). One of the great unsung talents of Swedish industrial noise constructionism. His track is a maddening dialogue loop picking up atmospheric toilet static over time in a resonant crypt through some kind of effect. All together now, kids: *who* will control the entire world?

Disc II: The USA Disc

Side A: Macronympha. Pittsburgh, PA harsh noise innovators and annihilators. Perhaps more rhythmic than their usual fare. Many layers of pulsing bursts of migraine pain tones interspersed with glitchy stammering.

Side B: Hands To. Who is this? I suppose it’s Jeph Jerman, based these days in Tucson, AZ. Anyway this is the least interesting track on the compilation, slipping immediately out of one’s memory as soon as it ends. Low key petri dish bubbling; and yet I feel there may be a genius touch here that I am simply missing.

Disc III: The Japan Disc

Side A: Merzbow. The Tokyo harsh noise master should require no introduction. High pitched as fuck at the start, wheeking into synth/effect textures. He never disappoints with the range of sounds he is capable of producing with his e.b.t.-kitchen-sink approach.

Side B: C.C.C.C., AKA Cosmic Coincidence Control Center, from Yokohama. This was the duo of Hiroshi Hasegawa and his now ex-wife, former bondage porn star Mayuko Hino; perhaps assisted by others. The group is still active nowadays, roster different with the exception of Hasegawa. Divorce hurts noise projects. This vintage gold is solid, wall-thick cosmic power drone that will blow your grandmother right out the fucking window, you stupid idiot.

Comes packaged in a plastic bag with individual sleeves for each 7”. They look like Hitler Youth on the cover but I think they might actually just be Boy Scouts. Go figure.

Sleepwalker – “Ichi-go Ichi-e” – [Sentient Ruin Laboratories]

Lord Gravestench   1/22/2019   12-inch, A Library

This post-metal band’s actual name, pronounced something like ‘Muyuubyousha’ consists of four Japanese characters and does indeed mean ‘Sleepwalker.’ Confusingly, there also exist both an American Black Metal band and a Japanese Jazz group of that name– and THIS Sleepwalker, unconnected to the other two BUT featuring Japanese and American members, might be described as a Black Metal/Jazz combo. The guitar/bass/percussion trio collaborate remotely, having never met: one from Japan, one Russia, one America. This 2018 LP is their second release. Its title translates as ‘For This Time Only, Never Again.’ The phrase is a Japanese proverb or cultural concept based on treasuring the ephemerality of one-time meetings with strangers, or so this gaijin believes after a quick Google search (is there any other kind).

Frequently surprising without being jarring, ‘Ichi-go Ichi-e’ manages not to sound stitched together even though it literally is — members improvise their parts and combine them via remote collaboration, following the melancholy dream logic of their collective vision where it takes them. The finished product seems to draw evenly upon Depressive Black Metal, Japanese Psych Rock, Avant-Jazz, Trip-Hop, Morris Minor’s Prog 8-tracks, and traditional Eastern musics of various kinds. While comparisons to certain other BM vivisectionists may be apt up to a point (Mamaleek, Diapsiquir, Oranssi Pazuzu, Clouds Collide) they have a pretty unique sound going on, exploring a vast breadth of style on this fairly brief album. I was nodding my head to a jaunty Jazz lick one moment, then splattered by nocturnal slashers the next; and that’s how people grow up. Vocals, like important thoughts, are mostly howls and whispers. Like a heroin addict’s last shot, this shit works much better than it ought to. I guess that must mean some amount of consideration went into it. Play it for everyone you’ll never get to know.

Being – “Hydrocracker” – [Oxen]

Lord Gravestench   12/7/2018   A Library, Cassette

Active since around 2006, Being is the Harsh Noise project of Dayton, Ohio’s Luke Tandy. The artist’s biblical namesake may have been the wimpiest evangelist, but like just about everything else on LA’s Oxen label, this is texturally rich centi-pedal aural destruction, excellently recorded and produced, and a head-splitter of the first order. Hyperabstractive audio sewage mixed with rusty sawblades in an old clawfoot tub; the radio, perched precariously at the edge, tuned between stations. This material explores a wide range of pitches, to put it mildly. Mr. Tandy likes to ‘hold his high notes,’ if you take my meaning (particularly on that A side track, gee whiz). The two impressive performances on this 2018 tape will satisfy noise fiends and probably confuse everybody else. They may even exceed the comfort level of some who think, based on this review, that they will be able to deal. Side A is live recording, side B is studio, but they sound vice-versa. An admirably singleminded exercise in sonic obscenity, mining the same deep vein as neighboring Pittsburgh’s genre-defining master musicians of Macronympha. There are other artists to whom I could compare the sound, but…

BTW, hydrocracking is apparently a part of the petroleum refining process, “by which the hydrocarbon molecules of petroleum are broken into simpler molecules, as of gasoline or kerosene, by the addition of hydrogen under high pressure and in the presence of a catalyst.” So now you know.

Forn – “Rites of Despair” – [Gilead Media]

Lord Gravestench   11/27/2018   A Library, CD

The brand new CD from Boston’s Funeral Doom frontrunners, whose legendary show at the Sutro Baths in 2014 (alongside Akatharsia and Badr Vogu) won them many admirers around these parts.

There’s a LOT of shitty ‘Hipster Doom’ out there these days–I’m not going to name names– BUT Forn absolutely is the genuine article. Take it from someone who’s picky about his Sludge/Doom (as Encyclopedia Metallum so authoritatively describes them). I googled ‘Hipster Funeral Doom’ and the only thing that came up was a 4chan thread where the term was deployed against Ahab, a band I actually love, and not a bad touchstone in this case, really.

Given their city of origin I think everyone half-expects this band to start sounding like Grief at any second, but there’s truly not much Sludge to be found on this release (except maybe the incredible grooving riff on t.5, one of the best songs). The largely creeping pace, echoey psychedelic guitar work and profusion of delicate interludes impart a certain thoughtfulness to this forward-thinking champ of an album, and here the band have earned the right to be mentioned in the same sentence as American Funeral Doom saints like Asunder and Evoken.

Accomplishing so seamless a merger of tenderness and brutality is no easy task for any metal band, much less one formed a mere 6 years ago; having two guitarists is of course an integral part of their complex sound, as is their fondness for sudden shifts from soft to loud. Tasteful Death Metal touches, including quite surprising ones on t.s 6 + 11, do not detract from the sense that Forn are a Doom band first and foremost, in love with stupidly big, slow, heavy riffs. Growler Chris Pinto, who once came over for some reason to the house in Boston where I lived for a time, is a versatile extreme metal vocalist and his spirited performance is also integral to this band’s sound, much in the way that the Bay Area’s own Swamp Witch couldn’t exist without Jimmy’s distinctively guttural interjections.

Speaking of the Bay Area, look for KFJC pit veteran Jessica Way (Worm Ouroborous, Barren Harvest) delivering an emotive, Current-93-esque performance on t.10, in what seems to herald the emotional climax of the album. This track, along with t.s 1, 4 + 7, is among the aforementioned delicate interludes and may appeal to non-metalheads also.

No track listing or lyrics included with the sleeve, but it’s safe to say ‘Rites of Despair’ is not coming from a happy place. Oh yeah, and Forn is Old Norse/Icelandic (same thing lol) for ‘sacrifice.’

Renoir – “Broken Tongue” – [Endangered Species]

Lord Gravestench   11/26/2018   7-inch, A Library

On this 2014 EP, their sole release, the Industrial Noize duo are trying to act like they don’t smoke pot– but we all know that they do. Side A has decaying monks like you might find in the ossuaries of Santa Maria della Concezione dei Cappuccini in Rome, not far from the Via Veneto, where ‘La Dolce Vita’ was filmed all those years ago: monks trying to sing hymns as their throats crumble to dust. Seriously a lot of monks: hardcore Industrial fans already knew what I was talking about. OK it might just be A2 but it feels like both tracks. Side B is definitely more acoustic and less ‘ugh, I put my hand in something foul’; also, fewer (no?) monks: The Death Industrial Kraf-Twerk machine beat shows no sign of tiring its slow and dreadful progress as tortured sound sources are pushed to a climax. Mastered by Kris Lapke of Alberich and Furisubi. Plays at 33.

Sophia – “This Year Give a Share to Sophia” – [Lichterklang]

Lord Gravestench   11/26/2018   7-inch, A Library

Just in time for the holydaze, here is the 2017 Christless single from Sweden’s masters of hopeless, gothic Martial Industrial. Bring it back again for this year’s meretricious airwave revelries. Hit the killswitch and be better than human as you learn to fail with members of Cold Meat Industry superstars Arcana, who bring you two hammering battlefield ballads of holiday blues resignation and distinctly Scandinavian moroseness. This material is more song-based than some of their earlier work, and perhaps even more so than the lyrically-driven compositions on 2016’s devastating ‘Unclean’ album. Peter Bjargo, the head Sophian, is also married to Arcana/Sophia siren Cecilia Bjargo. Continuing the 50s theme, hear Him on side A and Her on side B, both in full bah-humbug mode. More of an elegant Martial Pop sound on side A that gets into Allerseelen territory. Side B is the lurching, too-drunk-at-the-Christmas-party spiteful (Lina?) Barbie doll. Both sides are genius because this band can do no wrong. Plays at 45.

Thoabath – “4. KK.42H. 4” – [Madriguera]

Lord Gravestench   11/11/2018   A Library, Cassette

Andy Christian Way is a former member of Sutekh Hexen who also plays with French Radio and Maleficia, among other projects. Thoabath would be his Death Industrial unit, active since 2015 or thereabouts. The project is all about primal rhythms and desolate, hopeless atmosphere. This 2017 cassette comes to us on Madriguera Records of Puerto Rico, where Way resided for a time prior to the hurricane. This will be comfy next to KFJC’s (or my) collection of releases from MZ.412, Theologian, and Dissecting Table. Bilious, decay-obsessed electronics with a riveting sense of tension. Side A= Beats By Dis, melting flesh, babbling demon voices. Side B= Deep, deep ambience to cleanse the palate after all the blood and sulphur of the A side; just don’t get too comfortable because the zaps are coming. This is beautiful release. The quote on the interior is from France’s obfuscatory postmodern fill-o-soffer Jean-Francois Lyotard: “All corporeal identity trembles at its finitude, and for it, distraught with humiliation as much as with suffering”–or to put it another way, “life sucks.”

Demoncy – “Enthroned Is The Night” – [Forever Plagued Records]

Lord Gravestench   10/21/2018   A Library, CD

Slithering forth from the accursed swamps of the Deep South, Demoncy was one of the earliest American acts in Orthodox Black Metal, formed in 1989 by core member Ixithra, who also played with the legendary Profanatica for a time (he was the one guy wearing shorts in their infamous “dicks out for Satan” promo photo). This is his 4th full-length album, released in 2012 after 8 years of silence, and recorded without assistance from any other musician.

Like Profanatica, Demoncy is an excellent rebuttal to the claim that Black Metal is never heavy. This is a solid set of in-many-ways-traditional “cold” BM, but presented in an outstanding mix that draws out the low ends, recalling certain Finnish projects with a similar thickness to their sound e.g. Beherit, Archgoat and Anal Blasphemy. Despite these touchstones, Demoncy plays pure BM without a Death Metal influence (OK, maybe there’s some Nunslaughter in there), bringing an atmosphere of elegance and nobility to the proceedings with riffs that are as simple as they are chilling.

Ixithra seems to be pretty serious about the spiritual dimension of this Satanic music and in this there is perhaps a kinship to early Black Funeral, another foundational USBM monster. The artist does not so much play here as practice, because at its dark heart this is ecstatic ritual music for the devoted. He’s based on the West Coast these days, so go see him with his live band if you don’t believe me.

Serpentine incantations, roaring walls of guitar and nervous skittering blasts make for a dreamy twilight atmosphere not bereft of menace. Hail the arcane aristocracy…

 

Modorra – “Putrid, The” – [Plague Island]

Lord Gravestench   10/7/2018   12-inch, A Library

Modorra (Spanish for ‘Drowsiness’) is a Death Metal project from the Islamic Republic of Sweden, boasting strong patinae of grindcore and punk. Coming from Gothenberg, they have a very particular sound looming over them in a historical sense, but this is absolutely not melodic DM: the closest they get to Entombed is in occasionally sounding like Nihilist– and is that not just the recording quality? I might as well say they sound like Hellhammer in that case (they kind of do).

Ultra-low-fi, scratchy, crackly shit pressed to 300 copies of 45rpm 12″ made from harvested gender-neutral cartilage instead of vinyl. Decked with D-beats and splattery grind blasts. The mad and jaundiced rickety rush for the end is in line with the kangpunk bands for which Sweden is also known, e.g. Mob 47. Thankfully no politics here, just decay and violence. Singer sounds like he’s about to throw up throughout. Lyrics are actually semi-intelligible. Have seen them described as Grindcore, but this is encrusted old-school DEATH worship appealing to KFJC’s extensive collection of Necrot, Abscess, and Repulsion releases. I think this was recorded drunk. I hope so.

Artificial Brain – “Infared Horizon” – [Profound Lore]

Lord Gravestench   9/8/2018   A Library, CD

Artifical Brain, Technical Death Metal from The Big Bagel. Some members are also involved in the post-Hardcore scene out there.

Now I’m reading about Tech-Death online and I guess I don’t really know shit about it. I do like early Nile quite a bit (bite me!) but this doesn’t really sound like early Nile, at all. Portal meets Krallice might be a better reference point— and as we will see, I mean this as a compliment!

If I say I’m picky about Tech-Death I mostly just mean that I don’t like Gorguts all that much. My eternal Prog-metal nemesis Colin Marston, who plays in Gorguts (and Krallice), actually co-produced (with the band) this 2017 sophomore effort, as well as recording and engineering. It isn’t really a surprise because Marston is all over the NYC metal scene. I like to give the gentleman shit in my reviews here, but his touch on ‘Infrared Horizon’ probably did have a positive impact (as it did on Mastery’s ‘Valis’ BTW).

Artificial Brain’s sound is Tech-Death drawing somewhat on old Atrocity, with a bit of Black Metal melody and a dash of Isis-like Girlfriend Metal lipgloss. And the thing is, it all works amazingly well. Perhaps the fact that the band prefer sci fi horror themes (think ‘Alien’) for their lyrics (like Nocturnus, but, y’know, not totally boring) helps to make the forward-thinking/progressive/possibly overproduced sound so appropriate. Even the title track’s appearance by arch-tool Trevor Strnad, of contemptible posers Black Dahlia Murder, passes completely unnoticed. Paulo Paguntalan of Encenethrakh, another Marston project, appears on three tracks also. Main vocalist W.S. (see also: grindcore band Buckshot Facelift) keeps things gritty with a versatile mix of pigsqueals, growls and blackened shrieks.

All the music is composed by their guitarist. Dense, layered, psychotic, claustrophobic, but also kind of glittery and robotic. What sounds like utter chaos soon reveals itself to be well-structured and in some cases almost catchy Death Metal.

I think this is a rare case of a popular Death Metal band that doesn’t suck, but I haven’t seen them live yet so maybe I’ll end up eating crow. Good sound on the CD, anyway… In all seriousness, I’ve been a supporter of Artifical Brain since their first album and I’m happy for them. And the album art doesn’t remind me of the movie ‘Wall-E’ at all.

Mason – “Concrete Mirror” – [Oxen]

Lord Gravestench   9/7/2018   A Library, Cassette

Yet another deprogramming session from LA’s Harsh Noise dealers at Oxen, the label run by Unsustainable Social Condition and Leah P. This time our contestant is Abe Mason from N. Carolina., his mouth full of dust and tape. There are two tracks on side A and 3 on side B of this 2018 scorcher, and both ten-minute sides track together (wink). Side A is skittery and explosive, like coming down from methamphetamine (I’m told). Small movements in dim corners of abandoned factories. Suddenly the broken machinery springs to life; splats, tearing. Side B grinding rattling creaking, electronics and metal and a continuation of the general ‘cut-up’ theme also explored recently by Japan’s Scum on this same label.

It all seems to be pretty intricate sound design work even by the standard Oxen enforces. Very much in stereo, and kind of like a child “with ADHD” (cough) it can’t settle on any noise texture for more than about half a second. I dunno if it’s improvised or composed or waddaya waddaya, but I declare it truly impressive noise. Apparently Mason has also released quite a bit under the name Thirteen Fingers.

Pure electronic harsh noise devastation chopped into breathless adrenalin bursts. The only recognisable human sound anywhere is a brief sample of maybe a standup comic on the final track who pops in to say “It’s all just a waste of time… doesn’t matter.” Indeed.

Coil – “ELpH Vs Coil: Worship The Glitch” – [Dais]

Lord Gravestench   8/19/2018   A Library, CD

Coil seem to be legitimately famous now– posthumously of course, and is that not always the way? Every record store with a separate ‘Gothic and Industrial’ section seems to have a bunch of their records now. The erstwhile lovers and longtime counterparts Jhonn Balance and Peter ‘Sleazy’ Christopherson were legends long before they were legendary and the exposure probably would have irritated them.

Originally released in 1995, this is a reissue from this year of what may be Coil’s most abstract recording. Taking a page from Brian Eno’s book (or a card from his deck?), the Industrial mad scientists/ritual magick practitioners employed aleatory (that is, chance-based) methods of composition, subjecting their own minimal session recordings to a variety of software-driven manipulations. Balance and Sleazy dubbed the incorporeal third member whose collaborative intentions emerged from the randomised manipulations ‘ELpH.’ I’m not clear on the exact details of the methods the band employed, but it seems likely that drugs were involved, possibly MDMA, as contrary to popular belief the diagnosed schizophrenic Balance was not a real-life fan of ‘Love’s Secret Domain’ (I’m not so sure about Sleazy).

This is not ‘glitch’ in the Techno sense. Whispy, spectral, often barely musical, sometimes quite queasy and frequently possessed of an otherworldly beauty, this looks back to the BBC Radiophonic Workshop, Tangerine Dream and “honorary member” K. Stockhausen but doesn’t really sound like them and gosh, I guess nothing that’s come out since really sounds like this either. Coming from a band who so defined the ‘song-based’ quadrant of Industrial music, this is challenging listening indeed, calming and maddening all at once.

It’s all over the place. T.2 is like getting smacked in the face with the pixelated alarm clock. T.8 might be singing. T.9 sounds like an aviary. T.12 is kind of fucked-up minimal techno, with hyper-sped-up voices. T.13 alleges to be an instrumental cover of ‘These Boots are Made for Walking.’ T.16, the most overtly musical piece, is a manipulated recording of Aleister Crowley’s wife Leah Hirsig singing part of ‘For All We Know.’ Most of the tracks are pretty short.

It makes no sense, and although vaguely in line with Coil’s other ‘drone’ works from the mid-90s, it’s quite atypical for a Coil album. If you play it for dogs or infants, they may attain samadhi.

At the end of the day, I think Coil was the best of the three groups formed out of the ashes of Throbbing Gristle. A truly singular pair of sound manipulators. RIP.

Amofas – “Blood Like Fire” – [Cinereous]

Lord Gravestench   8/16/2018   7-inch, A Library

Gloomy, necro Black Metal with an old skool pagan/NS sound (lyrical themes unknown). This is the solo project of one member of Bone Awl. Galloping Shadow, AKA He Who Gnashes Teeth, runs the Cinereous label also.

On this 2012 EP, neither side gets too fast, but there is a glowering aggression akin to Akitsa, early Graveland or perhaps Coldness from Portugal. Only this limited test pressing has the excellent cover art.

In terms of the classic 90s BM sound this is much more traditional than Bone Awl. Elite riffs both sides. The B side has a more aggressive vocal and a keyboard part. On the other hand, the A side has more pride and spite and it may be the better one.

Everything is rusty, broken, falling apart here. All that’s left is your honour. Must be time to kommit suicide in your bunker. Don’t forget to poison the kids first.

Ames Sanglantes – “Chindia Tower Impalements” – [Hospital Productions]

Lord Gravestench   8/13/2018   A Library, CD

Quebecois Pierre-Marc Tremblay is internationally recognised as half of the Black Metal project Akitsa, founded in the late ’90s. What perhaps fewer fans may know is that he has been equally renowned in Noise circles for about the same span of time under the name Ames Sanglantes, trans. Bloody Souls. A.S., long a member of the Hospital Productions inner circle alongside like minds such as Prurient and Alberich, is genuinely one of the harshest and most difficult Power Electronics/Noise projects your reviewer has ever encountered.

The project’s releases often seem to be intended as abstract representations of physical violence – in KFJC’s library already are albums called ‘Street Violence’ and ‘Le Cri du Pendu’ (‘The Hangman’s Cry’). This 2018 reissue of a 2015 cassette release is in a similar vein, as it were…

Inspired by European folk hero, whoops I mean infamous sadist and tyrant Vlad The Impaler, this is Slow Execution Electronics, or as the artist would have it, “Ancient Blood Soaked Architectural Column Noise,” a nod to Vlad’s starkly fortified Chindia Tower, which stands to this day. Each of the 3 CDs in this attractive edition houses two basically endless Harsh Noise tracks reminiscent of Vomir, Richard Ramirez, Maurizio Bianchi, and Whorebutcher among others.

What’s so fascinating about this album is how it manages to create the impression of a continuous, crushing wall of noise, when in fact it has many changes happening all the time, just not obviously. To a casual listener it may create the impression of Harsh Noise Wall, but up close, the very gradual variations in the pulsing electronic tones, buried samples and crumbling distortion create an incredible sense of slow, agonizing progress, rather akin to an iron stake gradually working its way up along the spine.

Play this if Brighter Death Now’s ‘May All Be Dead’ or Will Over Matter’s ‘Power Dances’ had just a little too much going on for you. Layers upon layers of ravaged electronics create maniacal nightscapes where you’ll encounter screams and sadistic laughter (1.1), night birds ousting day birds (1.2), thunderstorms (2.1), hissing dungeons (2.2), wolves, some of which may be human (3.1), and full-on burning, twisting synth impalement (3.2). Each track is a mystifying gem of the deepest blood red. Most will drive a certain kind of KFJC listener absolutely nuts; if you’re dumb enough to pick up the studio phone please remind them that they are not actually being impaled on an iron spike and that it’ll be OK. Also recite the following: “Hail Dracul! Hail Wallachia! Hail the Underground! Hail Darkness and Oppression!”

Each track is about 30 minutes long, but you can always play part of one.

Crash Syndrom – ‘Postmortem Solutions to Mundane Issues’ – [Obliteration Records]

Lord Gravestench   8/7/2018   A Library, CD

C.R.A.S.H. Syndrome (AKA M.A.S.A. syndrome) is a rare X-chromosome-linked recessive neurological disorder, characterized by Corpus callosum hypoplasia, Retardation, Adducted thumbs, Spastic paraplegia, and Hydrocephalus. To the lay-observer, the condition would likely seem a case merely of R., and that’s what they call a synecdoche.

Crash Syndrom, meanwhile, is a Japanese Grindcore band with two members (I hear they recently added a chick bassist, but anyhow it’s just two guys on this CD). Their drummer is Japanese and their vocalist/guitarist seems to be an immigrant of Ukrainian origin. Together they make beautiful traditional music. Bitch-mutilation and whore-embalming are the general themes encrypted in the bloody gargles. The guitars are surprisingly ‘wanky’ at times, but a little flourish can go a long way in this kind of thing. A nice balance of brutality and panache on this 2018 CD, their first album, with traces of the guts of Repulsion, Exhumed, Wormrot smeared here and there. The duo display tight synchrony, but not in a gay way. Deadpan nurse sampled inscrutably on t.14, which, at 3m27s, is about a minute longer than the second-longest song.

T.s 1 and 15 are proggy guitar instrumentals. T.17 is an a capella cover of Taylor Swift’s ‘Should’ve Said No’ sung by a young female wearing loud headphones. An older brotherly clandestine recording prank perhaps? Regardless, it may be the most blood-curdling thing on here.

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