Concrete Mascara – Relic Of Vanity / Sick Seed – Helsingin Synagogat / Graustich – Werwolf Integrity

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Concrete Mascara – Relic Of Vanity 7”ep Filth & Violence / Untergeschoss 2012

Sick Seed – Helsingin Synagogat 7”ep Filth & Violence / Untergeschoss 2013

Graustich – Werwolf Integrity 7”ep Filth & Violence / Untergeschoss 2014

Here is a handful of 7”ep’s which have been co-released via the two underground Finnish labels Filth & Violence and Untergeschross. Although each release can be broadly slotted under the power electronics/ industrial genres, they also differ drastically in sound and approach, thus demonstrating the diversity which can be achieved under such genre classifications. Diverse vehement malice if you will.

Up first is Concrete Mascara (with this being my first introduction to the project), who incidentally hail from the US.  From this release they clearly operate at the brutal and nasty end of power electronics and industrial noise. ‘Vapour Slave’ opens the 7”ep and works on almost on two separate levels, where this forms an amalgam of mid to high range squalling and punishing noise, which floats over a crushing bass rumble and anguished vocal attack. Weighty to say the least. ‘Pylons of Skin’ is found on the flip side, and here maintains a similar dual layered approach, balancing ear shredding high-pitched noise and a wall of crushing bass and chaotic oscillating textures.

Up next is Sick Seed with their ‘Helsingin Synagogat’ 7”ep, where they embody a rather different approach for what the project might be recognized for. The opening title track is pretty much a direct industrial ‘song’, being built around crude cave man styled bass playing, squelching feedback loop and screeched/ yelled vocals, with a later segment getting even more loose with a chaotically riffed electric slide guitar (?!?). Strange, strange indeed. Side B brings a more ‘standard’ Sick Seed approach on the blink and you will miss it ‘Teeth Pt.2’ (only 1.22 minutes in length), which brings junk metal rumble, random power tool generated sounds and yelled vocals (…for interest’s sake part 1 of ‘Teeth’ was of similar style/ length and issues on the split release with Shift). The final of three tracks ‘Angel Smith’ then reverts back to the weird. Here sparse and distant junk metal clatter are accompanied by loose twangy acoustic guitar and spoken vocals to create an ‘industrial folk’ version of Finnish noise (?!?). Noting that this track is dedicated to the ‘outsider’ folk/ blues musician Jandek, this is at least an explanation for the deviation of sound.

Up last are Graustich, who are yet another previously unknown project, but based on this 7”ep are a very promising act. On the first track ‘Es Geht Wieter’ it is introduced with a WWII radio sample, which bleeds into an undercurrent of oscillating textures, complimented with a pounding militant industrial beat, swooping aircraft bomber samples, and flanged partially buried vocals to create a simplistic yet entirely effective industrial/ power electronics sound. ‘The Roots of Evil’ follows with a heavier oscillating bass rumble and thundering catatonic beat, before a crushing wall of distortion seeps into the mix. On side B ‘Werwolf’ is more animated with thick mid-range burrowing pulse and squelching noise, German language samples, queasy descending atonal notes, and loose militant styled percussion. Although Graustich embody a relatively straight forward (semi-subdued) power electronics approach, all sonic elements are handled with skill with maximum effect.

In a general sense none of these 7″ep’s would qualify as ‘gateway’ releases for those uninitiated to the power electronics genre, but that is far from the point. Obviously both Filth & Violence and Untergeschoss are both intent on releasing the nastiest examples of power electronics/ industrial noise for the educated underground connoisseur, with each of these 7”ep’s being clear examples of this modus operandi.

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