Encephalic Death – Relentless

Encephalic Death – Relentless MC Cipher Productions 2022

Cipher Productions have dug up another new project, this time from Bangalore, India. Relentless is apparently the debut tape from the project.

Fitting within a rudimentary death industrial style, five compact tracks feature on the cassette. Some of the material charts a sound based around blown-out throbbing oscillations or stark atonal rhythms. Other tracks opt to pull back on the throttle to revel in a spacious hollow sound, based around raw scrap metal, minimalist synth pulses, and general creeping menace. Smatterings of shrieking voices and other dialogue samples are also added to create an unhinged edge.

While Encephalic Death do not reinvent a death industrial sound in any substantive way, this is nevertheless a no-frills homage to the style, and delivers its sound with confidence and directness, albeit with a rather short runtime overall. A stickered foil bag and inset round out the packaging.

H.C.O.D. – Instruments Of Destiny

H.C.O.D. – Instruments Of Destiny CD Chondritic Sound 2021

Instruments Of Destiny was originally issued in 2016 on tape via the US label Fieldwork, and now five years later has been given the reissue treatment on CD, featuring new artwork and remastering by Grant ‘Gnawed’ Richardson.

With respect to the project’s name, it is noted to be an acronym for Hideous Colors Of Decay which suitably describes sonic intent, and at the time of the original release Instruments Of Decay appeared to be the formal debut. Featuring seven tracks spanning around 60 minutes, the general approach draws a clear parallel with a northern European post-industrial ‘post-mortem’ sound, where, H.C.O.D’s approach is sprawling in scope and is a hotbed of caustic industrialized noise which bleeds out over greater length. Caked in sonic soot, the tone is one of analog filth where the tracks work on a dual-level involving sustained cavernous widescreen bass rumble over which mid-toned squall, higher-pitched ‘whistling’ feedback, and junk metal crunch is belched. Will to Oppression provides some variance with its centrally featured echo-tinged and half-chanted vocals, as does Mutilated Victory with its garbled and undecipherable dialogue sample. Perhaps with its singular overall approach, Instruments Of Destiny is something akin to a marathon crawl through a post-industrial dystopian nightmare of wrack and ruin.

A six-panel, matt digipack with suitably oblique and bleak imagery rounds out a very welcomed reissue.

Metadevice – Turba

Metadevice – Turba CD New Approach Records 2021

Following the disbandment in the mid-2010’s of the highly respected Portuguese industrial group Sektor304, former member André Coelho has since busied himself with other projects, with Beyond Enclosure and Metadevice being the most visible by virtue of being released on Malignant Records. Metadevice is the newest project, with Turba being the third album since 2020.

In a general sense, Metadevice are concerned with a sound rooted in a rhythmically pummelling and broadly ‘industrial’ style, but has also incorporating wider aspects of dark ambient, death industrial and power electronics. Additionally, on selected tracks more unusual elements are introduced such as twilight-noir atmospheres, as well as battered and overblown electronica. Sonically speaking the fizzing static and harshly brooding soundscapes are further inflected with a percussive rhythmic drive, which perhaps obviously give a nod to Sektor304. Also, despite my assumption that Turba is mostly constructed with programmed equipment and studio trickery, there is still a thread of a band format rather than a straight studio project, given the use of occasional low-slung guitars, metallic percussive tones, and the general vocal approach. To further mention the vocals, they differ from earlier albums here being courtesy of collaborator Rui Almeida, and are notable as they are delivered in both Portuguese and English, and range from spoken word narrative to a more urgent half-sung style. Over Turba’s ten tracks span an hour’s playtime substantial sonic territory and harsh atmospheric spaces are covered, and while each track functions as a stand-alone composition, equally they strongly solidify as a collective album whole. To perhaps to speak of one misstep, the frenetic soloed guitar on Vectores Miragens sounds rather out of place with the balance of the album. But equally, on a more positive note, it is interesting to realise that on more than a few occasions Turba begs a comparison to the ‘power industrial electronics’ approach of Stratvm Terror, which is a stylistic approach infrequently emulated.

Packaging-wise, the CD is housed in an 8-panel digi-sleeve making a strong feature of the striking artwork, noted to also be from the hands of André Coelho. With the painting featuring an amorphous assemblage of faces, it thematically reflects the album’s concept, being: “about collective alienation, raving individualism and a deep dive into the hyperreality of our modern times”. In all aspects of sonics and visuals, Turba is very much worthy of attention.

The Corvidae Cabal – Seeing Time

The Corvidae Cabal – Seeing Time CD Crionic Mind 2021

With a little investigation, it is revealed that The Corvidae Cabal is a side project to Gruntsplatter, where the project was created by sole member Scott Candey to seek different ways to approaching composition and theme. In noting this deviating thematic approach, The Corvidae Cabal functions to focuses on esoteric and paranormal subjects. Seeing Time is the first formal album from the project following a series of miscellaneous digital-only recordings from 2018.

Noting this is my first introduction to The Corvidae Cabal, on a superficial level is not too far removed from the works of Gruntsplatter. However, to then focus on differences, there is a reduced level of crushing claustrophobic bleakness and slightly more open and widescreen tonality than Gruntsplatter, as well as greater use of rhythmic elements to frame compositions. Thus a typical approach employed here involves swirling and grinding synth textures which are underscored by slow rhythmic patterns. To further describe the rhythmic elements, some of a stilted mechanical type, others of a slow ritual bent, and yet more of a commanding martial/death industrial percussive drive. The compositions themselves then develop in an unhurried fashion, being very much of a dark ambient approach with a dash of death ambient/industrial added for good measure. As with the recent Gruntsplatter album (reviewed here), this is best appreciated as a complete album. Likewise, Thomas Garrison has again done a wonderful job with the mastering.

Clearly not reinventing the stylistic traits of its chosen style, Seeing Time remains a strong and creative take on a dark ambient/death industrial sound. A four-panel obliquely designed digipack rounds out a slick and cleanly designed physical presentation.

Gruntsplatter & Wilt – The Trough of Armageddon

Gruntsplatter & Wilt – The Trough of Armageddon 2xCD Phange Tapes / Cipher Productions 2021

This split release is from two long-standing American projects and is conceptually interesting given each CD features a single artist who has used sonic source material from the other as the starting basis, and further sculpted and augmented it into their own material.

Gruntsplatter leads off with the first disc titled Indoctrination and functionally twists Wilt’s source material into Gruntsplatter’s own frame of reference, which means it is a textbook example of their crushing claustrophobic bleakness. Foreboding waves of corrosive sounds abound, with nary a fleck of light managing to piece the tonal gloom. Functionally, the tracks are minimalist but also operate as hefty atmospheric soundscapes, where multiple tonal layers combine into a grinding sonic mass. In generally articulating a barren post-apocalyptic landscape and ashen cloud atmosphere, the tonally windswept elements have a natural timbre, combined with others elements with a clear mechanical churn.

Moving onto the second disc, Wilt’s album is titled Repercussion and differs from Gruntsplatter’s side given it immediately displays a subtle spaciousness to the sonics. Melancholic and contemplative is the general flavour of proceedings, with an open and floating sparseness, coupled with the occasional tasteful use of minimal synth melodies. Although through the middle and back half of the album the sound of several tracks do contain a more forceful tonal bluster, and sees the use of abstracted mechanical rhythmic loops which gives a nod to the more typical sonic elements of Gruntspatter.

The end result of this collaborative release is one that displays the best elements of each project, and while there are subtle differences between each half, they are equally very complimentary as a combined release of high-grade, noise-industrial inflected dark ambience. The double gatefold dig-pack on thick card stock rounds out the cleanly designed and packaged presentation.

Det Kätterska Förbund – Lidaverken Del I: Att i Vådeld Förgås

Det Kätterska Förbund – Lidaverken Del I: Att i Vådeld Förgås LP Cold Spring Records 2021

Det Kätterska Förbund is a new collaborative project between Nordvargr and Trepaneringsritualen and given the recent sound and direction of both projects has been stylistically aligned, this collaboration makes perfect sense. Likewise, with the moniker translating to ‘The Heretical Association’, it is a suitable descriptor of the sounds and themes contained herein.

Across the seven album tracks, a mid-paced and heavily percussive-driven ritual death industrial tone prevails, which in some ways any of the tracks could have easily been featured on either of the main projects’ albums. Yet there have also been some slight yet noticeable tweaks here and there to production and instrumentation in order to distinguish Det Kätterska Förbund. For example, the opening track He Will Fall features monk-like chants against a backdrop of swirling textures, orchestral tinges synths, martial percussion, and subtle ritual chimes. Equally Endless Gologatha differentiates itself with a more prominent programmed rhythmic beat, while Sacred Ground uses some sort of archaic string instrument to meter out a rudimentary organic rhythm. The low-spoken invocations (rather than the typical gruff vocal delivery) feature as another divergent element on Vid Hälleberg, which are then set to deep drones and a martial percussive pulse.

Ultimately this collaborative recording has a prevailing tone of potency and streamlined menace, and as such feels to be more than the simple sum of its collaborative halves. So, if you have followed and appreciated the recent output of either Nordvargr and Trepaneringsritualen, Lidaverken Del I: Att i Vådeld Förgås is an album you should acquire without hesitation. But if I was to raise one criticism, it is with regard to the album’s brevity, as at only 35 minutes it leaves me wanting much more. As for the physical pressing, this has been issued on both vinyl and digipack CD. Obviously, the vinyl pressing is the pick for me for the full-scale presentation of the stunning artwork.

Himukalt – Between My Teeth LP & Septic

Himukalt – Between My Teeth LP Helen Scarsdale Agency ‎2021

Himukalt – Septic LP Malignant Records 2020

Straight off the mark, it is highlighted that Between My Teeth is not a new album from  Ester Kärkkäinen’s project Himukalt, rather is a welcomed vinyl reissue of a 2018 tape. Packaging is also immediately noteworthy given it comes with a full-sized 16-page booklet of Ester’s collage artwork, while the sonics have been duly given a remastered treatment. On the other hand Septic is one of Himukalt’s newer albums, and the second issued on Malignant Records.

Across the six cuts on Between My Teeth rudimentary yet fractured drum machine patterns eke out minimalist structures while spitting and fizzing fissures of distortion burst forth in chaotic and unexpected patterns. Vocals are then delivered in a laconic whispered to spoken style, but subject to further heavy echo and distortion smear treatment. I No Longer Belong is a particularly good track, based on a start/stop programmed rhythmic loop and cascading waves of bulldozing distortion, while the spoken vocals are relegated to the back of the mix. Mine, which opens Side B features a stilted and simplistic industrial techno thump, which is coupled with layered noise of jet engine proportions. In Every Stage Of This Oppression then offers a counter approach, with sustain tensile drones and spoken vocal passages which are obliterated with increasing jagged noise eruptions.

Septic does not significantly differ in approach, featuring a further five deep cuts of tonal angst. Although immediately notable is the sharpness and bulk of the recordings, as well as the power of the mastering (courtesy of Kris Lapke), where the whispered and low-spoken vocals have an immediate ‘upfront’ presence. Again the rudimentary drum machine patterns provide a basic structure to which static explosions and scrawled noise are framed. Yet with its layered mid-paced rhythmic loops, dive-bombing textures and sweeping noise The Drive Towards Oblivion charts a more straight down the power electronics sound than typical of the project, but the vocals bring an immediately recognisable tone. The title track opens Side B with a deep drone, low static loop, and spoken vocals, then using the tried-and-true method of slowly elevating intensity, which includes a stilted metallic oil barrel beat. The Gun In Her Mouth is the final track and feels to be the hit song of the album, based on its fast-paced programmed beat which when coupled with other looped elements gives it an anthemic type sway. A further sustained melodious synth line pushes the mood ever forwards, coupled with building static before peaking and collapsing at its conclusion.

To my mind, there is a thematic parallel to be drawn between the single-minded approach of Atrax Morgue and that of Himukalt. From Ester’s earliest cassette releases Himukalt arrived fully formed with a distinctly mature style and sound. Now that in excess of ten releases have been issued since 2016, there is a noted singularity of approach displayed across all of her releases, which is an element of consistency that also reminds of much of Atrax Morgue’s discography, despite the two projects sounding decidedly different. Given the sheer volume of material released in the underground these days, it is a difficult proposition to foster an individually recognisable approach and also to maintain an atmosphere of vitality over multiple releases. Yet both of these vinyl editions are equally strong testaments to Himukalt’s ability to do both with seeming ease.

Gruntsplatter – Dowsing In The Cancer Lands

Gruntsplatter – Dowsing In The Cancer Lands CD Crionic Mind 2021

The last full-length Gruntsplatter album was issued way back in 2005, and apart from some compilation collections dating from 2015 and 2020 respectively, 2021 has seen some renewed activity from Scott Candey’s main project, as well as his label Crionic Mind. Noting that I came across Grunsplatter from their early days of activity in the late 1990’s, Scott always excelled and blending sounds from disparate underground genres such as dark ambient, noise and death industrial, yet combining these elements in his own unique way. As is then illustrated on Dowsing In The Cancer Lands this broader approach has not altered and still remains the core of his sound.

From the opening moments of the album, molasses think waves of industrial-grade dark ambience abound, further combined with noise-infused drones, providing an excellent indication of what is to play out over the following 12 tracks/ 70 minutes. A suffocating claustrophobia remains a constant mood which is threaded throughout, while sonic detailing and a meticulous approach to the laying of the multitude of its sounds elements also characterises proceedings. As such buzzing drones, mechanical churn and radioactive bluster form a bedrock of sorts. Added to this are higher-pitched tonal shards which slash through thick inky black soot clouds, while in other segments extremely minimal rhythms and muted doom addled melodious elements appear and recede. Scarlet Quarry manages to then stand apart however thanks to the lone melancholic violin which floats above a roiling tonal mass. The album mastering by Thomas Garrison is also noteworthy has also given the sound significant presence and bulk without being overblown or losing depth and separation of sound layers.

As is clearly on display here Scott is clearly not seeking to reinvent Grunsplatter’s sound. Rather this new album builds upon what has come before and plays out as an expertly crafted and surprising vital sounding recording. This is then the sort of release which is best appreciated as an album in its entirety, rather than singling out specific tracks. A cleanly designed and suitably darkly grey-hued 6-panel digipack rounds out the physical presentation.

Cloister Recordings cassette batch 2021

Subklinik – Neuroskizm MC Cloister Recordings 2021

The long-standing death industrial/ death ambient project Subklinik returns with a new four track tape, where the featured material heavily slanted toward a death ambient sound. A constant element found across the tape are the low brooding synth layers which ebb forwards in various atonal patterns. Sonic variation is then provided with windswept textures, muted ritualised beats, lamenting chants, wailing horns and semi-burred dialog samples etc. However, the shortest track Pulverise stands out substantially for the rest with its employment of a rudimentary drum machine beat, which when coupled with angular stabs of sound reminds of the early pivotal phase of SPK. The remaining three tracks then have greater consistency, being expertly crafted and sonically restrained in capturing a tone of creeping dread. An all-round strong tape.

Lust Fist – Forflatning MC Cloister Recordings 2021

Forflatning is the follow up to the debut tape Kropper Uten Mellomrom (reviewed here), which showcases a further five tracks of no-frills but absolutely on point European styled power electronics. The title opening track is a brooding instrumental and features a sample commenting on the current ills of society by referencing “moral starvation”. The following track then edges things up a notch with multi-layered caustic loops and wavering modulations, with the shredded megaphone vocals being semi-buried in the mix. The Birth Of A New Man Regenerated Through Labour opts for a gloomy cinematic edge, and feature the flange processed and over-saturated vocals which were such a standout element of the debut. To then make reference to my review of the debut, it highlighted that tape: ‘deftly balances aggression with a sense of lurking menace’, which is equally applicable here. Yet perhaps there is an elevated attention to sonic detailing as well as tonal variation between each of the tracks on display. Without doubt Lust Fist again strongly impress on their new release.

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DAYOFWRATH – And The World Will Perish In Flames MC Cloister Recordings 2021

As I understand it DAYOFWRATH is a new solo project which has risen from the ashes of the defunct Barcelona based ritual ambient/ death industrial project DE·TA·US·TO·AS. Therefore, based on general similarities in sound, this new project can be viewed as a follow on from the earlier project (final DE·TA·US·TO·AS release reviewed here). Four tracks feature on the tape, where the lead off track Voidhanger very much wears its Trepaneringsritualen influence on its sleeve. Heavily pounding ritual percussion drives the track forwards, coupled with gruff invocation-based vocals, while a black metal tremolo riffed guitar line is relegated to the background. A similar tone and instrument construct is featured on Imperfection And Oblivion, but the overt forward drive is paired back slightly to brooding pace. The programmed and almost industrial-techno beat of The Warior’s Pilgrimage functions to give DAYOFWRATH’s sound a more individual slant, and which continues on the final track Death To The World. Here the black metal riffed guitars are brought to the fore and coupled with further pounding rhythmic programming to create an anthemic track with undercurrent of a ritualised rhythmic sway. As an overall comment the driving ritual death industrial mood remains the central focus, and regardless of the obvious influence, the use of the tremolo riffed guitars and programming functions sets DAYOFWRATH apart. For a formal debut this is a very impressive tape.

Svenska Likbrännings Föreningen ‎– Likvaka

Svenska Likbrännings Föreningen ‎– Likvaka MC Cloister Recordings 2021

Being a new Swedish project the chosen moniker translates to ‘Swedish Cremation Association’, which provides a fairly apt indication of the muted death industrial and dark ambient sonics found herein, delivered in a very recognisable Nordic vein from the late 1980’s and early 1990’s (i.e. Lille Roger, early Brighter Death Now, Archon Satani, early Mz.412 etc).

Shimmering textures and ashen toned synth lines provide elongated muted semi-melodious elements around which random thuds, sporadic clangs, mangled vocal eruptions and guttural chants abound. On selected tracks the catacomb ambiences sees the clanging tones and thudding elements coalesce into forward rolling rhythmic structures. As for the general tone of the production, it is muffled yet equally thick and sonically overblown, which is a typical aspect of this sort of material, and therefore adding to the general dank charm on display. Variations on the above sonic parameters ultimately play out over the span of the eight tracks, and where the translated track titles suitable match the sonics, such as: Meat On The Pathologist’s Table; Death Redeems; and Ethanol / Glycerin fixation. A specifically notably track is Embalming Hunger, as it stands apart based on its rolling martial toned beat and grimly grinding synths which gives a clear nod to Mz.412.

While the original digital version of this release was issued on Nordvargr’s label 205 Recordings in late 2020, Cloister Recordings have given this a limited pressing on tape in an edition of 100 copies. In its physical edition the J-card has been purposefully aged and distressed and housed in an old scratch up 1980’s cassette case to suitably match the featured music. So, while certainly not turning the chosen style on its head, this is still an excellent and very enjoyable tape without sounding cynically retro or structurally formulaic. A project to watch with keen interest.