Altar of Flies – Signaler

Altar of Flies – Signaler CD Chondritic Sounds 2021

Altar of Flies is the long-running project of Swede Mattias Gustafsson, where I am personally more aware of the project by name and reputation than being familiar with the bulk of his rather imposing back catalogue. But of the handful of albums I have obtained, the general approach slots into a particular style of Swedish tape and electronics experimentation: meaning it is infused with a darker sonic hue than typical experimental fare. This new album was recorded in 2020 and spans five tracks in just over 40 minutes.

From the opening moments, a vein of darkly Nordic sounds abound, and where dour and deep rumbling textures blend with a variety of ‘concrète’ sonics which sporadically interject and duly falls away. The overarching tone then spans both bright and muffled sonics, while the creaking metallics and detailed tonal bluster provides for focused listening. Likewise, in rapidly shifting from forceful peaks of metallic tones to subtle and minimalist troughs, this functions to strongly accentuate the calmer moments. Various raw field recording elements also seem to feature, such as a steel tank being dragged over concrete to name just one, while other sonics elements then give the vague impression of arcing electricity, as well as the sound of archaic misfiring machinery in their death throes (as mechanical fluid leaks in random spurts onto the factory floor).

In a general atmospheric sense one track blends into the next, and most importantly it maintains focused interest over its run time. This is achieved by generating many fleeting mind’s eye visions, which could be creatively described as: being the depth of winter traipsing through an abandoned and derelict factory complex, where drifting snow is being blown in through the shattered windowpanes by the winter storm blustering outside. A four-panel digipack adored with bleakly abstracted imagery rounds out the physical presentation.

Heart of Palm – Tropique Concrète: Collected

Heart of Palm – Tropique Concrète: Collected CD Difficult Interactions 2021

Knowing effectively nothing about this project it has been approached at face value, where the album title then gives a clear indication it involves musique concrète  experimentation. This is duly confirmed on the opening track Her Tears Shed In Paradises Grotto, which is based on field recordings of distant rumbling tropical thunder, lapping waves, sparse bird calls, and minimalist single note synth melody provides a forlorn yet dreamlike atmosphere. Elsewhere muted rhythmic metal clangs, looped field recording elements, and micro-tonal clatter provides a more ‘post-industrial’ vibe. Yet the overall tone and atmosphere is kept purposely subtle and moody thanks to the minimalist underpinning melodies, which on occasion includes a tropical-tinged guitar. Vocals also sporadically appear as an additional tonal element, but are treated with sonic smear which prevents interpretation, and which are further placed far off in the background of the mix for added obscurity.

As further alluded to by the album title, this release functions to collect material from a number of limited-edition tapes from 2016-2018 (plus 2021 bonus track), but notably it all hangs together strongly here as a standalone album of post-industrial inflected and darker toned musique concrète works. A six-panel pastel pink digi-pack adorned with suitable imagery provides further visual references to align with the coastal concept, which is then self-described as: ‘subconscious tropical concrète atmosphere & malaise’. The end result is a divergently intriguing album that is slightly left of centre of the usual type of material covered by Noise Receptor.

Various Artists – Time Ends – A Tribute to J.G Ballard’s Tetralogy Of Transformation

Various Artists – Time Ends – A Tribute to J.G Ballard’s Tetralogy Of Transformation CD The Epicurean 2021

Like many releases on The Epicurean label, they are often notable for their strong conceptual underpinning which is specifically applicable here. As per the promo text: ‘Desiderii Marginis, Troum, Martin Bladh & Karolina Urbaniak and Anemone Tube have gathered to pay homage to the first four novels of British writer J.G. Ballard: The Wind From Nowhere, The Drowned World, The Drought and The Crystal World, which are often seen as disaster novels’. But for those unfamiliar with Ballard’s writings, the opening paragraph of the liners notes then provides adequate context: ‘Collins Dictionary defines “Ballardian” as something that is “resembling or suggestive of the conditions described in Ballard’s novels and stories, esp dystopian modernity, bleak man-made landscapes, and the psychological effects of technological, social or environmental developments”.’

With each artist contributing around 20 minutes of material, Desiderii Marginis leads off with The Wind From Nowhere, consisting of minimal orchestral drones, subtle field recordings, swirling arctic blasts, and muted choral vocals late in the track. Bleak and ominous in equal measures, this composition is an example of the sublime dark ambience which has categorised this project over the last decades of activity. The ever-creative Troum follow with two tracks: the first OUTSIDE (Archaic Landscape) has a rougher post-industrial tinged visage than the perhaps the expected ethereal ambient-drone. Here the intense sound is based around layered mechanical loops, insectile chatter and spoken vocals which are muted and semi-buried so as not to be immediately intelligible. The second track IN-SIGHT (Archaic Mind-Scape) is more typical of Troum’s highly evocative drone-scapes, being windswept and contained melodious tones and smatterings of nature-based sounds for good measure. Functioning as the most divergent track and positioned as the centerpiece of the album, The Poison Well is a track by Karolina Urbaniak & Martin Bladh. Sonically it is a minimalist experimental-industrial composition based on detailed loops, drones and musique concrete elements courtesy of Karolina. This then functions as the backing for various spoken passages which are delivered in the immediately recognisable voice of Martin which range from quietly enunciated through to an agitated theatrical delivery. Conceptually the utilised text brings in thematic elements beyond the immediate sphere of Ballard, but which align with Martin’s broader established obsessions. Anemone Tube functions to rounds out the album with three tracks which stylistically arcs back to the sound and tone of the Death Over China, given the notable use of field recordings that have been hewn into heady industrial looped soundscapes and underscored with dour synth textures. While the material also includes controlled mid-toned feedback, swirling minimalist noise, and other subtle droning passages, ultimately the end result is tensile, doom-addled dystopian atmospheres. Yet with little in the way of sonically transcendental tones (which is another usually notable aspect of the project), the featured material is still of a pinnacle level which Anemone Tube regularly achieves.

Coupled with the eighty minutes of music, the cover is accompanied by a detailed essay by Michael Göttert which expands on the album’s concept, as well as containing liner notes detailing the inspiration and approach of each artist, and including Alex Tennigkeit who contributed the striking cover artwork. This functions to further illustrate the conceptual depth on offer which makes this such a sonically and thematically engaging release. Currently, this release is available on CD, while a horrendously delayed double vinyl set is also slated for eventual release in late 2021. As a final comment, at this time of writing this review it was announced that The Epicurean is ceasing operation after a decade of activity. Given the stellar quality of the label’s productions over the years this is extremely disappointing to hear. But as a final release, this album is also a fitting swansong to everything the label has achieved in conceptually elevating what can be delivered within the post-industrial underground. Recommended.

Andrew Nolan – Museum Etiquette

Andrew Nolan – Museum Etiquette MC Absurd Exposition 2020

Being completely unfamiliar with this Canadian experimental noise artist, I have to take this new tape from this on face value – which certainly provides a good first impression. Amorphous and elastic in form, each side of the tape features an untitled 16-minute track. But rather than displaying a singular idea or sound, it is more of an amalgam of segments which are seamlessly interconnected. Element of musique concrete and urban focused field recordings are blended with dank experimental noise soundscapes making for engaging listening.

Side A opening with deeply echoed field recordings which have been composed into buzzing and vaguely looped drones mixed with metallic toned and loosely rhythmic structures. With the first section gives way to a field-recordings of an individual ranting in public, later segments cover electric drones, periodic bass tones and undercurrent of field-recordings (vocal chatter, train sounds, crossing alarm bells etc.). Sonically it arcs back and forth from intense to calm, but retaining a general melancholic edge throughout, even including a short mid track passage of maudlin orchestral strings. Side B brings a similar approach, with scrabbling metallic textures, slow plodding and deeply echoed death industrial thuds, arcing electric drones, and further partially abstracted field recording elements (aka train-yard noise). Again relying on an ebb and flow approach, it rises to elevated sonic peaks and recedes to minimalist tonal valleys, while towards the end of the track it gives a clear nod to the tape’s title, as it concludes with a segment of what sounds like a museum tour lecture.

Sonically this is rather artistic in approach but also rooted in a darkly underground tone, Museum Etiquette is a varied and very enjoyable experimental noise tape.

Ergomope – Етиологии

Ergomope – Етиологии 2xMC AMEK 2019

AMEK are a Bulgarian underground experimental label and while I have not followed all of their output, from what I have heard they are releasing a decent amount of atypical post-industrial music. In this context I have not come across the Ergomope project before, but that is also perhaps explained by the fact that Етиологии appears to be their only release to date.

Opening with short experimental and evocative piano motif which has been layered and treated in studio, it immediately catches attention in the most positive of ways, before shifting off into a length 15-minute track framed around grey hued sonic treatments of obviously urban based field records. But not to be based on raw field recordings alone, those elements are coupled with sonically melodious and shimmering drones which blend and intertwine and carries the material forward at a generally unhurried pace. Likewise, though a number of tracks the minimalist field recordings elements have been looped for vaguely rhythmic effect, while on occasion the drones and field recordings elevate in pressure and force towards an heavier post-industrial frame of reference, where the sound builds to a peak before recedes again. In other sections there appears to be what sounds like abstracted playing of a treated piano, and sections of shrill orchestral strings and percussion which have been mutated in a studio environment. Of individual note, lengthy track Whiteout functions as a sort of album centrepiece given its more prominent musicality, including layered piano playing, plucked string instruments, and elevating melodious drones late in the track.

Clearly there is lot to digest across the two cassettes, amounting to a run time of around 80 minutes. But with emotive experimental ambiental music such as this, appreciation is rewarded from an unhurried listening, allowing the shifting and morphing sonics to unfurl at their own pace. For the sake of comparison, the likes of the material released on Touch, and specifically the likes of Fennesz and BJ Nilsen comes strongly to mind, which is testament to the quality of this material, despite its relative obscurity. In then noting that the Black Sea is referenced in the promo text, and is a title of a Fennesz album, perhaps my comparative impressions are more than mere coincidence? Either way this has been both an enjoyable and rewarding listen.

Amph ‎– Control

Amph ‎– Control LP Verlautbarung ‎2018

Amph are a Swedish duo operating since 2010 (well according to Discogs), but I am only familiar with their contribution to Verlautbarung’s 2013 compilation Stein: Interpretationen Eines Geologischen Materials Und Seiner Symbolik. My observations of Amph’s track After Nature was that it ‘opts for a queasy pulse and micro tonal layered sounds which are fine granted and detailed. The track is minimalist in structure but highly animated and rather forceful by tracks end and a great example of tape experimentations with a darker undercurrent’. To then provide context to this review, this earlier impression is equally applicable to this new LP.

Features two lengthy untitled tracks (one each side of the vinyl), there are definitive ‘sections’ and ‘movements’ on display. Early in the first track it features a ritual tinged industrial throb, deep heaving breathing textures, shimmering micro-tonal textures, and disembodied garbled but unintelligible vocals. Through the middle section the track becomes more mid-tone drone oriented, but this is also underscored with looped field recordings, creaking wood and metal which coalesce into quite raucously animated territory, and calms down again through the late section, complete with muted pump organ drone. Side B follows a similar trajectory, but the underlying abstracted field recording elements are looped into subtle rhythmic form. With an open and widescreen production it contains a very organic and rural sonic atmosphere, where wind-chimes and elongated drones maintain a dark edge, and thankfully far from anything remotely ‘new age’. In moving through other sonic segments, it features forceful melodically muted drones, twilight atmosphere of crickets chirping in a field, and creaking micro-tonal textures and other forceful loops.

Although with only a few releases under their belt, Verlautbarung continue to issue extremely strong and sonically divergent releases, with Amph clearly continuing this trend. With the cover featuring an image of a lit match, as a nice physical touch the cover has itself been spot charred with a lighter flame.

 

Ochu – Unproduktiw

Ochu – Unproduktiw LP Verlautbarung ‎2018

Ochu is the solo project of Swede Love Rosenström, and while he has been recording as Ochu since the early 2000’s I am only familiar with recent output (although I then have a vague appreciation that his current material has elevated experimentation and dialled down slightly on a harsher noise and heavier industrial aesthetic).

With the current approach based on meticulous layering and blending of textural sonic detail, Ochu’s material in highly animated and sonically nuanced. Likewise, by avoiding any semblance of stuffy academic experimental music, there is clear force and intent at play where the results are engaging and above all vital. Much of the assembled sonic content appears to have been generated from field recording or contact mic based recording sessions, but those inputs have been further manipulated and abstracted to achieve textural density and complexity. The opening track Struisvogelpolitiek is a great example of this, with tonally load creaking wood and metal, where the ‘micro-tonal’ recordings have been elevated to a loud and overblown tone which bridges the organic and the mechanical. Humos De Existencia Estática is a slow burn of a composition, where a jagged yet muted loop is overtaken by an invasive and incessant drone which fractures and multiplies in intensity, while the other rough echoed loops are used for vague ‘train carriage on tracks’ rhythmic effect.

Förnuftsflimmer (Partiellt Anfall) opens Side B are draws out a minimalist ritualised pulse which is blended with a series of forceful mechanical drones, while further micro-tonal textures are elevated to the forefront of the mix. Contra-tasking functions as a short interlude of a fractured grinding loop, which is followed by the lengthy track Segments of Destination concludes the album. Commencing with a spacious mix and again with a focus on micro-sonic detailing (i.e. rocks, wood, metal), the various elements amalgamate into loosely elevating loops, as a deep, muted bass rumble elevates with storm-front intensity. Yet clear restraint is still employed, as rather than building the track an overblown climax, the storm-front passes by and gradually recedes into concluding oblivion.

In both the sound, style and graphic presentation Unproduktiw clearly side stepped any of the typical clichés which could be levelled at the post-industrial underground, and is an album of passion and dedication to a personal sonic craft. Clearly bridging the gap between musique concrete experimentation and roughly hewn post-industrial soundscapes, Unproduktiw is a clever and expertly executed release. Recommended.

Victorine Meurent ‎– Even Less Of The Harmony Of Maine

Victorine Meurent ‎– Even Less Of The Harmony Of Maine MC Found Remains 2019

Victorine Meurent are an Australia project, which I understand is the solo project of the individual behind the Vienna Press cassette label. This would appear to be the third release from the project. As for an initial observation, one of the track titles provides a nod to American abstract expressionism, which itself perhaps gives an indication of the experimental end, rather than post-industrial end of the sonic spectrum. Four tracks of a minimalist experimental ambient type spans around 26 minutes.

With reference to opening track Untitled 9, sustained, yet muted and minimalist melodies are delivered at catatonic pace and function for abstracted and meditative effect. Likewise when field recordings sporadically appear, it pushes the sound into musique concrète territory (refer to Untitled (Betty Parsons Gallery as an example). Likewise, towards the end of Here, Not There references the Australian suburbs, where the field recordings of bird calls and sparse street noise is distinctly recognisable from my own childhood experiences of growing up in the ‘burbs’. Untitled 8 rounds out the tape, and while utilizing the same droning sonic and melodic spectrum, there is an ever so slight increase in compositional urgency.

Being a slight deviation from typical fare reviewed via Noise Receptor Journal, this is artistically evocative, and showcases what can be achieved with mood and atmosphere from the most minimalist of compositional elements.

Remnants ‎– Vacant Corridor

Remnants ‎– Vacant Corridor MC Found Remains 2019

Remnants are a project I am unfamiliar with, but is a solo project of Ryan Marino who has issued over a dozen releases issued since 2010. While I am not sure how this latest release it compares to earlier output, this is a pro-printed cassette mini-album which features four tracks over 28 minutes.

Being an exercise in minimalist abstracted noise, Vacant Corridor delivers four tracks muted widescreen soundscapes with a forlorn, grey hued and nostalgic atmosphere. Vacant Corridor I displays this aesthetic and in being dour more than overtly dark in mood, the feel is of quiet contemplation. An archaic atmosphere is then implied through the title The Drawing Room, Autumn, 1918, and evoked a series of layered minimal loops deliver shimmering, creaking and crackling textures which ebb and flow throughout, while late in the track a muted melody makes an appearance, which itself seems to bend and warp out of time (akin to a stretched reel to reel tape being played). Vacant Corridor II brings more dusty (and dusky) drones, creaking doors and general haunted muted urban resonances. Into Memory (Stalker) is the final track, where I assume the title is a nod to Andrei Tarkovsky’s 1979 film Stalker. With a continuation of the grey hued and archaic tinged atmosphere, muffled echo holds equal position to distant melodic elements including abstracted synth washes, semi-buried sporadic piano chords and late track sparse guitar melody.

Delivering equal parts moody and mysterious (and coupled with an undercurrent seemingly implying existential dread), Vacant Corridor is a subtle but sonically nuanced release. Likewise by effectively replicating the atmosphere and visual aesthetic of Stalker in musical form, makes for a very worthwhile listening experience.

Sutcliffe Jugend – The Hunger

Sutcliffe Jugend – The Hunger 2xCD Death Continues 2018

Over the past twelve years Sutcliffe Jugend – the duo of Kevin Tomkins and Paul Taylor – have been rather productive and issued 20 releases in that time-frame. Specifically 2006 appears to be the particular point in time when the project was reactivated, following a five year gap from 1999’s viscerally direct The Victim As Beauty album, while also shifting towards wider sonic experimentation. Although today’s version Sutcliffe Jugend is a very different beast from the sonic brutality issued during the initial 1980’s phase, they have remained a power electronics act at heart and in overall attitude. But in forging new paths by dialing down on the all-out sonic assault and seeking out far more diverse sonic treatments and stylistic experimentation, this approach is in full display on this sprawling double CD.

On the early album track The Mute Shall Speak, the crisp digital noise squalls is perhaps partially reminiscent of later era Whitehouse, while Sehnusucht features a stuttering fast paced rhythmic programming coupled with jagged digital shards stabbing at the ears from the background. This track is also noteworthy as it demonstrates the vocals of Kevin Tomkins being in a strong trademark style, which are delivered in a drawling semi whispered rant which on occasion steps up to being half sung and half screamed. Lyrically the album is noted to be densely rendered, which have a particular psychoanalytical bent in various description of the power dynamic in personal relationships; first person internalised dialogue; and at times ‘stream of conciseness’ narration. Yet Cause comes as the first major surprise by featuring a ‘doom jazz’ sound of minimalist piano and double bass (and consequently wholly reminiscent of Bohren & Der House of Gore), yet further augmented with spoken vocals and swathes of minimalist backing distortion. But not to stop there, the sonic surprises just keep on coming, where Crushed delivers pump organ, synth drones, sparse xylophone and meditative spoken vocals, and Unashamed with its quirky programmed electronica. From there the rest of the first CD deviates through musique concrète (Dissonance); maudlin piano melody and abstracted strings (Angels Flying Into The Burning Gates of Hell); emotive sub-orchestral drones (A Room Full of Knives and Eulogy); while the closing track The Pain Will Take Everything Away is a doom drone oriented work with treated ethereal female vocals and moody bowed cello etc.

The second CD delivers a further ten tracks spanning an hour which builds upon the wide frame of experimentation of the first disc. The Lost is built around misfiring digital noise and a rabid vocal attack, but is quickly offset by the moody and contemplative Authors Note of sonically over-processed synth line. Blindfold charts more abstracted sounds and half formed melodies which at times verges on musique concrète, while the loose guitars of Dancehall Etiquette evokes the sound of noise rock (minus drums). Perhaps the only major misstep of the entire two CD set is All I have Forgotten, which sounds to be based on improvised abstracted piano and accompany cello, but sonically the tinkling piano awkwardly jars the prevailing album atmosphere. As for the title track, this arrives as a 15 minute monster of sprawling yet tensile shifting bass drones sub-orchestral elements, as the spoken vocals gradually ramp up in aggression to match the upward trajectory of the choppy and chaotic digital noise. As for the final album cut My Crumbling Walls, it is an instrumental offering it is quite cinematically toned with its building string orchestral elements, which build and recede in intensity.

Apart from the 2xCD version, there is a special bonus third digital album, recorded at the same time at The Hunger. Featuring 6 tracks across 50 minutes, this bonus album is limited to 100 by virtue of only being available via plastic business card sized plastic download card. On a whole the bonus album is more subdued overall, by broadly opting for a series of tensile sub-orchestral droning tracks, where vocals do not rise above a narrative whisper.

Given that 2016’s Offal and 2017’s Shame (reviewed here) were albums with a more singular sound and musical vision, The Hunger stands out by the sheer diversity displayed, and consequently is a far stronger album for it. Likewise, while unhinged aggression is an underpinning element of The Hunger, this is more a case of being implied through tonal tension and lyrical phrasing, rather than actual sonic execution. As an album issued so far into Sutcliffe Jugend’s extensive discography, The Hunger is an extremely well executed and sonically diverse collection of tracks, where it seems there is no shortage of musical and lyrical ideas, nor any sense of slowing down from the Sutcliffe Jugend camp. Recommended.