Various Artists – Terässinfonia Vol. 1 / Terässinfonia Vol.2

Various Artists – Terässinfonia Vol. 1 / Terässinfonia Vol.2 CD Freak Animal Records 2020

Freak Animal Records have always been a huge supporter of new and up and coming projects in the noise-industrial-experimental underground, no matter how obscure. These two collated volumes are then noted to have a more specific function: that being to specifically focus on current activities with the Finnish underground as evidenced by the tagline of: ‘The sound of Finnish experimental noise. Terässinfonia : Steel Symphony’.

Noting the role of a good compilation is to showcase projects you may have not come across before, on that front I only recognise a handful of project names across the 24 contributions here, which includes (in order of appearance): Umpio, Kitu, Tyhjä Pää, Hazarda Bruo Sonsistemo, Atrophist, Unclean, Edge Of Decay, H.Ö.H, Jazzhand, Rotat,Junkyard Shaman, Contortus, Metsäkirkko, Ihmisen Jälkeen, Nuori Veri, Parempi Ratkaisu, Amek Maj, Toteslaut, Maskhead, Vitun Siat, YANA, Circle Of Shit, Ahola & Silander, Electric Hobo, Tyhjiø. However, as there are then far too many contributions spanning the two discs to focus on individually, some of the notable highlights of those projects whom I am not overly familiar with include:

• Kitu – Edeema: features a strong contribution of hollowed-out industrial rumble and soot-infused ‘abandoned factory’ ambience.
• Hazarda Bruo Sonsistemo – Loishäätö: contains upfront ‘detailed’ sounds sitting over a rising tide of thickly atmospheric distortion.
• Atrophist – Mutation Cycles: offers a touch of sonic respite on the first disc, with a droning composition that edges ever so closely towards dark ambience.
• H.Ö.H – Mittausteknologian Kehittyessä: aims for more experimental expression with a short track of wonky sparse cutup sounds and tape loop material.
• Jazzhand – Gavia Arctica: stands apart given its main focus on natural based field recording, while a minimal underpinning drone and vocal and relegated to being low wihin the mix.
• Junkyard Sharman – Harha: opting for an enveloping ritual ambient drone-work, the compositions subtle scrap metal elements sitting off within the background.
• Nuori Veri – Jatkumon Ahjo: ranges from minimalist ‘micro-tonal’ elements, which are blended with sampled choral vocals for emotive effect.
• Parempi Ratkaisu – Ali-ihmisten Kärsimys: actually reminds quite strongly of Grunt’s sound, given its focus here on raw noise which has been roughly hewn into intertwining scrap metal loops.
• Toteslaut – Strike the Master Sword: strongly impresses with a track of raw and overblow power electronics, complete with rough vocal proclamations.
• Yana – Tuntematon: shifts tactic to charts a minimalist soundscape of sparse tones and a variety of scrabbling sonics.
• Ahola & Silander – Koitos: is notable with its thick and warm, yet hollow tonal quality to its clinical experimental drone-work.
• Tyhjiø – Aurinko: being a raw and spitting noise-industrial track with significant sonic heft thanks to its massive production sound.

Despite not all tracks getting an individual mention above, there is a lot to like and discover across the 80 minutes of material spanning two separate CDs. But it is also worthwhile noting that a number the more established names like Umpio, Unclean, Edge of Decay, Rotat, Contortus, Maskhead, Circle of Shit function to represent the harsh noise, scrap metal industrial, and ripping power electronics sounds of the Finnish underground. The striking collages of the cover artwork provide a suitably strong visual presentation and are further pressed as four-panel digipacks. Solid compilation collections all round.

Grunt – Spiritual Eugenics

Grunt – Spiritual Eugenics 2CD Freak Animal Records 2020

Following 2009’s sprawling album Petturien Rooli, Grunt slightly reoriented their approach to issue a series of albums based on distinct and individual tracks, including World Draped In A Camouflage (2012), Myth Of Blood (2015), and Castrate the Illusionist (2018). Spiritual Eugenics continues that approach, yet the number of tracks has increased to a length which here spans two 40-minute discs. Interestingly the CD cover lists the 20 tracks in four groups of five tracks, which replicates the track order as presented over the four sides of the 2xLP edition. Given that all tracks could have potentially been squeezed onto the one CD, this speaks volumes about the chosen physical presentation and the way the listener is expected to engage with the presented material.

In taking in the substantial volume of material here, Mikko Aspa yet again demonstrates beyond all question that he is a master craftsman when it comes to the production of power electronics, noise, and industrial-related material. Across the tracks the sound palette is forever varied, and despite its outwardly aggressive and angst-fuelled atmosphere, there are moments of more experimental and sonically spacious respite. Clearly every sonic element is focused and considered, and composition is key here. While base sonics may have been derived from various separate improvisational recording sessions, it is clear they have been specifically selected and combined to gain the end result. As perhaps expected, a myriad of sonics are presented including blustering bass tones, scrap metal abuse, granular noise, morse code distortion, wavering oscillations, looped metallic rhythms, and smattering of samples. The vocals are equally varied in sound treatment and delivery, ranging from deep bellows to angst-fuelled cries.

Lubricant Of The Rebirth stands out with its central conveyor belt loop, further fleshed out with thick droning bass, choir samples, and angst-ridden vocals. The instrumental Tehotuotettu Ihminenis notable for its hollowed-out sound which nudges Grunt’s sound towards the experimental end. Another instrumental track JOB 36:33 blends almost organ-like melodious drones with spitting static and clashing metallic noise, which can be considered in the context of the relevant bible quote: ‘The thunder announces his presence; the storm announces his indignant anger’. The opening track on second disc Inside the Walls is an excellent anxiety-inducing offering, framed around screeching metallic textures, raw junk metal tones, sustained bass drones, and aggressively spat vocals. For yet more variation the slow off-kilter loop of Eight O’Clock has a quite traditional European power electronics tone, with vocals and other flanged elements pushed into the background. Flesh Engine is also notable for its squelched idling loop, general scrap metal clatter, and unhinged shrieking vocals. Immeasurable also stands out by virtue of its fast-paced pulsing undercurrent, over which more unhinged noise is smeared.

To briefly mention the equally stunning physical presentation, this features a multi-panel digipack (including separate eight-panel booklet), pressed into thick matt card stock and containing various collages and artworks, which although uncredited are also from the hands of Mikko Aspa. Spiritual Eugenics is yet another excellent and mandatory album from Grunt, which is also available in a 2LP vinyl edition.

Shredded Nerve – Acts of Betrayal

Shredded Nerve – Acts of Betrayal CD Chondritic Sound 2020

Shredded Nerve is an American project of Justin Lakes who has issued a slew of releases since the early 2010s. Having not kept up with this output that now spans around 30 releases, I have to take Acts of Betrayal at face value, rather than how it may compare to or has evolved from other releases.

Although an instrumental experimental noise album at its core, Acts of Betrayal covers a wide variety of stylistic elements across its seven tracks and hour length, including jagged noise, caustic drone, scrap metal-infused industrial, and power electronics bluster. The lengthy opener Coup D’Etat is demonstrative of this, with a slow-moving yet tensile drone ambience which gradually elevates with hollow scrap metal sounds and a rising tide of crisp distortion. Flowing immediately into following track Dragged Through The Mud, the manipulated scrap metal tones are brought to the fore to create significant sonic heft, sitting in the mid to higher tonal range. Given its 15-minute length, Meridian takes ample time to unfold from the early passage of electroacoustic minimalism, but builds to a monolithic maelstrom of multilayered noise of roaring jet engine proportions. Following the hefty peaks of this track, a couple of more subdued and controlled tracks feature (Fate Deciding Life and Death and Times of Grief), which can be broadly bracketed under the descriptor ‘industrial noise meets electroacoustic experimentation’. As for the title track, it gradually increases in intensity, although a series of slowly elevating industrial-toned corkscrew loops with raw and shredding noise is added for good measure towards the track’s end. Divergent Paths features scrabbling scrap metal sonics and dour underpinning synth, plus a tone of power electronics bluster. Final track Nights Of Endless Fire spans electro-acoustic soundscapes and tensile drones, but through the last half features one final rising tide of scrap metal sonics and harsh noise chaos.

For me personally, it is the slower and more sonically spacious moments of the album that work best, but that observation says far more regarding my own listening preferences: noise heads would clearly revel in the moments that build to maelstroms of cascading sonics. But with moments swaying from those of a jagged and harsh tonality, through to segments of controlled and contemplative experimental noise atmospherics, it demonstrates both craft and attention to detail. A strong and commendable album is the result, with the CD housed in a high gloss, four-panel, colour digipack.

Kjostad – Extinctionist

Kjostad – Extinctionist CD Chondritic Sounds 2020

Stefan Aune’s ‘organic versus electric’ experimental noise project has been rather busy of late, with the fantastically titled Extinctionist being the latest full-length offering. Again the blending of the organic and electric elements again reigns supreme, with the tone ranging from subdued and contemplative, through to heady yet controlled noise avalanches.

Opening track Vigil blends bird calls and fizzing / erupting overblown static, prior to a detailed sonic cascade of scrap metal clatter. Moving onwards the second track Riven opts for different sonics with a deeply echoed and hollowed out track of scattered and multi-layered micro-tonal field recorded elements, which appear to have been made in urban / industrial environments and further manipulated into loosely rhymical loops. The subdued and controlled mood continues with Fort Kjostad, again using loosely constructed loops for rhythmic impact, before pulling back to low electric drones atop which a myriad of field recordings of natural environs are placed (water, wind, birds singing, etc.). Later the rhythmic scrap metal loops reappear but are relegated to the background in a distant and controlled fashion. Scavengers features as the most straight down the line track of chaotic and controlled noise, while Iron Edge commences with muted scrabbling tones (a microphone being buffeting by wind?), and slowly builds with loose caustic loops and mid-toned widescreen drones and onwards to structured territory based around creaking metallic recordings. The final title track is perhaps the loosest and nosiest track of the entire album. Being based on a substantial number of tonal layers it is a rough and erupting track of considerable sonic heft, although it waxes and wanes in the latter half before one final death throw outburst.

In noting its experimental noise approach, Extinctionist has ample rough and sonic crunch to please the noise and industrial listeners. But equally displayed extremely well controlled and composed pacing, and willingness to pull back on all-out harshness, which will no doubt be of strong interest to the listener of a more experimental yet composed field recording bent. A spot-varnished, four-panel digipack with images from an early settler era of America rounds out a classy sonic, visual, and physical presentation.