Grim – Primary Pulse

Grim – Primary Pulse MC Trapdoor Tapes 2018

The long standing and cult Japanese project Grim returns with a new five track recording (from 2017), issued via Trapdoor Tapes. Contextually speaking Grim has always had a left of centre approach to their power electronics/industrial noise material, with the often-weird juxtaposing elements thrown in for good measure, which is certainly continued and exemplified on Primary Pulse.

Hermit opens the tape with loose windswept noise modulations blended with manipulated voices, before Volcano Flower kicks in, framed around a series of burrowing pulsing tones which coagulate into a driving rhythmic structure coupled with distorted agonised vocals, which is a clear standout track and very much in a distinctive Grim style. The third track for Side A is Assassin’s Room, which is categorised by a wonky and off-kilter looped rhythm, while the vocals are of a garbled spoken type, prior to a classical music organ motif and stoic industrial pulse features in the final moments. Side B features another standout piece of Grim weirdness, with Melting Man featuring a strong throbbing element, central sub-orchestral melody and wailing chants of sole project member Jan Konagaya, with the atmosphere becoming progressively more unhinged as it progresses. G.T.R. concludes the tape with a blend of elements including an Asiatic toned loop, rolling industrial drums, sweeping abstracted guitar, squalling noise etc., yet never succumbs to sounding like an industrial band.

Although not overly long, Primary Pulse is an absolutely great underground industrial tape and again exemplifies a sound wholly unique to GRIM. Trademark blown out photocopied artwork courtesy of Trapdoor Tapes rounds out the perfectly suited lofi presentation.

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Announcement: Spectrum Compendium book cover released!! 

I am extremely proud to reveal the finalised cover of the Spectrum Compendium book!

After a couple of design options, in the end it was decide to go with a cover design both keeps and builds upon the feel and aesthetic of the original Spectrum Magazines, which to my mind has come out as a very strong and striking visual.

The book layout is still being worked on by the publisher, but evidently I will have a copy to proof and approve this month (October, 2018).

More details on publication date will be announced later when known but getting very close now!!!

Various Artists – Darkness Descends: a post-industrial compilation

Various Artists – Darkness Descends: a post-industrial compilation CDr Live Bait Recording Foundation 2018

This release was originally issued to coincide with the festival of the same name which was held in Cleveland on 16th June, 2018, but as the festival has now been and gone, the role of this compilation has now shifted to that of a commemorative release. Featuring exclusive tracks from the ten artists who performed at the festival, they effectively form a selection of some of the best American death industrial related projects.

Being already well familiar with the output of nine of the ten artists, despite the fact that they all operate within similar genre confines, it is positive to note that each of the tracks stand apart from each other and that the individual stylistic nuances of the featured various projects shine through. The only project I not heard before is the female duo Cunting Daughters, whose piece of obtuse muffled factory ambience hints at a distant lurking horror and a positive introduction to the project. Elsewhere Murderous Vision opens the compilation with a varied death industrial offering, including rolling tribal beat and ranted religious themed sample, while the shrill strings and garbled background noise of Abjection Ritual’s delivers a strong suspense feel, before descending into looped mechanical churn and fried static. The introductory floating drones of Shock Frontier’s piece takes it time in elevating to full blast furnace intensity, while Vitriol Gauge delivery a relatively straight forward but classic toned death industrial track of mid paced looped distortion, subdued static and agonized vocals which are smeared across the sonic spectrum. Compactor’s piece stands apart given the slightly cleaner sonic edge and heady atonal pounding structure, while Gnawed’s track is far more controlled and considered than typically would be expected, here with muted sub-orchestral drones, slow mechanical agitations and trademark treated vocals. Steel Hook Prostheses follows with their distinct brand of clinical tinged death industrial, but of note is the greater than normal reliance on underpinning synths. The Vomit Arsonist also delivers with a devastatingly bleak track of minimalist rhythmic structure and cavernous rumble, while Theologian concludes the album with heavily animated rhythmic driven thrum and moody wavering synths which is strong backing for the stylized half sung/ screamed vocals.

Although technically a CDr release, this is a pro-duplicated disc housed and mini-gatefold cover and if any of the featured acts of or interest, this compilation will be of absolute interest, ans absolutely a suitable document and memento of the Darkness Descends festival.

Zos Kia – 23

Zos Kia – 23 CD Infinite Fog 2017

For background context Zos Kia was the primary 1980’s musical vehicle of John Gosling and holds a special place within the early development phase of industrial music. This is predominantly due to their only official album Transparent, issued on cassette in 1984 via the cult label Nekrophile Rekords, and while that album was labeled as a split/collaboration with Coil, the group membership at the time were effectively interchangeable between the two. As for musical content Transparent, included a live recording of Zos Kia on Side A, being a performance made at the Berlin Atonal festival from 1983, while Side B contained a series of tracks credited to Coil/Zos Kia. In an overarching sense Transparent features early proto ritual-industrial, where tonal noise shards slash across rumbling guitar feedback and underscored with clanging metallic ritualized percussion, sampled dialogue and wailing/ screeched evocation-based vocals. But apart from this lone release, Zos Kia also issued two EP’s in the mid 1980’s, where 23 functions to collect together those EP’s and archive them with a large volume of Zos Kia recordings made over the years, with the addition of a couple of extracts from the Transparent album itself.

Having not delved into Zos Kia recordings outside of Transparent, I was immediately surprised by how different the material in 23 is in sound and execution, where the opening track Black Action has a guitar-based band groove and swagger, with spoken vocals and is unlike anything I would have ever expected from the group. The following track Be Like Me equally surprises when the solo piano format breaks out into an almost electro-funk number of constant kick drum, driving bass and central piano riff and swirling guitar line. It is only when 10 Miles High arrives that the attitude and sonic dissonance of earlier material makes an appearance, and the sinister soundscape throb of Rape calls to mind a hazy drugged sound that Coil would hone in later years, while An Absolute manages to meld the earlier sound of the project but within a ridged guitar/ programmed drum format. As for the second electro-funk excusion on Muggy The Staff, to my ear at least is an entirely redundant attempt at a commercial sound, and has me again scratching my head that this is actually the same band as featured on Transparent. As for the last quarter of CD1, this includes a number of remixes of earlier featured tracks, but which really do not warrant further comment.

CD2 opens with Ake, a squalling feedback and gabled voice-based track, and quickly follows with a doomy synth version of An Absolute, which deviates enough from the original to be individually interesting. The flowing tryptic of the lengthy unreleased tracks from 1982, including Era Vulgaris A1, Era Vulgaris A3 and Harry Wouldn’t Like It, sound to be live recordings or rehearsals and sonically reflects the chaotic ritualized dissonance of the Transparent recordings. In then moving well into the run order of the second disc, it features a short 1984 live recording of Be Like Me, as well as three tracks from the Transparent album (two tracks Baptism of Fire and Poisons from the 1983 Berlin Atonal show, as well as the lengthy tensile guitar feedback soundscape Sewn Open). The archive set is then rounded out with two unreleased tracks, including Sways Backwards from 2006 and Sleazy Said from 2000 and with their respective throbbing/ stilted programming and pulsing choral soundscape gives a clear nod to the surreal atmospheres of late area Coil. In fact, Sleazy Said is noted to be a musical collaboration between John Gosling and the late Peter ‘Sleazy’ Christopherson and for me are perhaps the best and most interesting compositions of the entire two CD set.

Noting that I have never been a Zos Kia obsessive, which then means that while 23 is an interesting collection, from this perspective it is personally a non-essential release, particularly due to various tracks falling well outside of what I would ever bracket under an industrial/ post-industrial banner. Yet for others who Zos Kia is a pivotal artist of influence, this extensive double CD set will be of absolutely intrigue to the early industrial (and beyond) experimentations of John Gosling. A digi-book sleeve and detailed liners notes in an eight-page booklet rounds out a slick presentation.

Presidiomodelo ‎– Внутренняя Империя

Presidiomodelo Внутренняя Империя MC NKT 2018

Since 2016 the UK based NKT label has been the outlet for a small clutch of cassette releases from the aligned project Nokuit, where I personally became aware of both label and project via a 2017 release (reviewed here). Now the label has branched out to issue a new project Presidiomodelo which is a Siberian ritual ambient trio where the title of the tape Внутренняя Империя is then noted to translate to “Inner Empire”.

Being ancient and archaic in expression and execution, the single composition spans around 31 minutes of music in total, which is split across the two sides of the tape. Covering a wide variety of interlinked sonic moods and themes, the patter of rain provides a naturalistic setting from the outset, before droning mid-toned synths sweep into sonic frame, undercut with low key metallic scraping textures and other field recording elements, before settling down into a muted looped industrial rumble. Soon enough things evolve again with deep percussive thuds, ritual signing bowls, metallic chimes and atonal wailing of woodwind instruments, while heavily echoed treated vocals evoke a choir like effect and offset with more naturalistic elements grounds the mood in an earthbound perspective. While the mid-section it is categorized by animated and forceful cyclic drones, just a quickly the tone shifts off into varied segments of: fast paced ritual percussion; minimalist ritual chimes; sparse woodwind instrumentation; widescreen droning synths; churning bass toned thrum; while the pattering rain returns at the very end to close the loop.

On more than a few occasions I was reminded of the obscure French project Chöd and given the ritual ambient context of this release it is perhaps inevitable that a comparison to the Aural Hypnox Collective could also be made. Yet these comparisons should be read as a mark of quality, as this in no way feels to be copyist or derivative, given its own distinct compositional approach, and with at times a more muted industrial churn. Fold out multi-panel J-card with suitable archaic and ritualistic imagery rounds out the physical presentation, with a digital download also provided for good measure.

Coil Presents Black Light District ‎– A Thousand Lights In A Darkened Room

Coil Presents Black Light District A Thousand Lights In A Darkened Room CD Infinite Fog 2018

Originally issued on CD and vinyl in 1996, a few unofficial versions have been issued over the years, with this new version containing original tracks and an additional two bonus tracks for good measure. But personally speaking while I more than familiar with Coil, at the same time I am far from an obsessive Coil fan, which means that I have dipped in and out of their catalogue over the years, but have not heard this particular release before now. However, of note I am aware that this album marked an important transitional period for the group, where their working methods moved towards involving new external collaborators, with this album including inputs of Drew McDowall and Danny Hyde (with a collection of others). It also seems there is an ongoing spat about the validity of this version, particularly in light of the untimely deaths of John Balance and Peter ‘Sleazy’ Christopherson and the apparent lack of clarity around who officially owns and can administer the ongoing music rights (note: this release has been sanctioned by Danny Hyde).

But to speak specifically of the music, as an album A Thousand Lights In A Darkened Room can be described as being within an experimental ambient style, where one constant Coil thematic hallmark is present, being that particular wonky, surrealist and disorientating edge which shadows the majority of sonic proceedings. It is perhaps these slightly more playfully weird sonic elements which do not always gel with me, and explains why I am not a Coil obsessive, but equally, it is this quite unique sonic hallmark that Coil retained over their varied output that appeals to many.

The short Unprepared Piano opens the album, which to my ear is an awkwardly jarring track and something akin to abstract jazz piano or a cat tapdancing on a piano. This is followed by the wonky and rhythmically throbbing track Red Skeletons, but it too is overtly distracted by the inclusion telephone conversation snippets. Yet the album really hits its stride on track three, which is the lengthy ten-minute Die Wölfe Kommen Zurück, which is a particular standout with its warm enveloping and intertwining drones and cyclic factory-esque rhythmic loops. Refusal Of Leave To Land is also noteworthy for its time shifting aquatic churn, which builds across its musical span and includes a short emotive vocal croon late track. After a further run of slithering and partly rhythmic experimental soundscape styled tracks, this changes with late album track Blue Rats which stands out based on its direct minimalist programmed song focused structure and whispered/ sung vocal line. Likewise, one of the bonus tracks is Lost Rivers of London (incorrectly listed on the cover as London’s Lost Rivers), is a moody song-based format with low croon and spoken vocals of John which foreshadowed the tone Coil would later explore on Musick To Play In The Dark 1 & 2 and Astral Disaster, and here is darkly moody and contains a creepy unnerving melancholia in a way only Coil can evoke.

Despite my own reservations of the more playful and purposefully weird aspects of this album (and Coil’s sound overall), equally those elements will specifically attract Coil devotes, so no doubt you will already know if this is a Coil reissue for you. A four-panel digi-pack with original artwork and 4 panel insert with new liner notes rounds out the presentation.

Found Remains tape batch 2018

…newly found remains…

Found Remains are a relatively new American label, launched in 2016 and having issued six cassettes in that time. Armed with a tag line of “An electronic label adhering to the shadows of thought and sound” it clearly alludes to stylistic diversity within their catalogue, where following below are reviews of two of the recent June 2018 batch.


Kjostad – Environment Electronics MC Found Remains 2018

It should be apparent to long term readers of Noise Receptor Journal that harsh noise does not really feature in my listening preferences, and while the publication title includes the word ‘noise’ that functions more as a play on words (but the full explanation of that wordplay is not warranted here). Yet in this context I am aware that Kjostad is a project of Stefan Aune, who is also of the harsh noise project Breaking The Will, which for reasons outlined above I know by name only. However with Kjostad, it would seem that Stefan is intent on blurring the line between environmental derived sounds (aka field recordings) and man-made elements. In effect the title of Environment Electronics is a perfect synopsis of intent and approach. Track titles such as Granite Canyon Falls, Birdsong 1# and Amplified Forest gives a clear indication of originating sound sources detectable within the sonic tapestry, which are further manipulated through studio sonic treatments.

Granite Canyon Falls functions as a short opening cut, while the lengthy following piece Lake Day is an exercise in elongated and abstracted drone minimalism (is that perhaps the low hum of a boat engine?), while light washes of static merge and counterpoint singing birds, before a minimalist ‘crunch and rumble’ workout draws central focus. Boreal (Cutting into the Roots of the Timber) has a deft organic tone to the muddied sonic minimalism which gradually builds intensity with a series of scrabbling looped textures. Birdsong 1# functions blends the obvious bird calls with light metallic ‘clicking’ loops and minimalist static, while final track Amplified Forest spans close to 10 minutes, and is the most animated composition. Featuring bass rumble and mid spectrum static through which bird songs on occasional can be detected, there is a controlled choppiness to proceedings which at times verges towards the unhinged, but also stopping well short of a full noise attack.

From concept to execution this is extremely well-done tape, which carefully balances the organic and man-made tonal elements, and although clearly field recording derived Environment Electronics is far from an academic exercise, given the end result sits well towards an industrial noise approach.


C.L. Lobbestael Particle Dissolution MC Found Remains 2018

This is the first release I have heard from Cody (aka C.L. Lobbestael), where based on this EP the produced music is of an evocative and understated cinematic ambient type, which is effectively subtle synth exploration of melody and mood.

Like the cold and clinical nighttime image of a city skyscrapers which adorns the cover, a distant and forlorn melancholia permeates the tape, where abstracted orchestral toned and minor keyed melodies evoke late hours melancholia which comes from urban desolation. With a strongly filmic sonic aura of swelling grey tones bleeding off into the blackness of the murky horizon, the atmosphere across the 4 tracks and 28 minutes is consistently bleak, yet warmly enveloping. Likewise, the central melodic motifs provide a degree of consistency, but noting these equally shift and mutate across the four tracks.

Being subtle, moody and contemplative, personally I have found this tape an extremely enjoyable one, particularly as it functions to counter-point the bulk of harder, harsher and aggressive material covered by Noise Receptor Journal. In a word – recommended.