Trapdoor Tapes batch 2019

Hal Hutchinson – Steelwork Fabricators MC Trapdoor Tapes 2019

Modelbau – The Whole Truth MC Trapdoor Tapes 2019

Luke Holland – Virtues Of Torture MC Trapdoor Tapes 2019

Being well aware of Hal’s activities in his other projects, I am then not as well versed with his solo output – other than understanding it is of a raw scrap metal noise type. Steelwork Fabricators features two untitled tracks, which are both excellent examples of what can be achieved with slow control noise, opposed to an overtly chaotic noise attack. Thus a laborious and roughly hewn scrap metal approach is the order of the day. Clearly not being from a singular improvised recording session, Hal has taken a multi-layered approach, where the tracks are carefully constructed layered for maximum impact. With a slow, jagged, hefty and ripping bass tone, the production is also thickly hollow, and in select moments contains a thunderous but abstracted oil barrel beat. In essence the sound is amazing and could be creatively described as an the rusting hulk of an abandoned steel cargo ship being slowly crushed and swallowed by expanding sheets of ice. With only 20 minutes run time, this is far too short and leaves me wanting much more.

Regarding Modelbau I I had not heard of the project before before, but then immediately recognised the name behind the project – Frans de Waard – formerly of Kapotte Muziek and the Staalplaat shop/ label, and currently of the Vital Weekly online publication. But to talk specifically of Modelbau, the project is concerned with densely detailed tape experimentation, where two length tracks feature on each side of the tape. The title track leads off with highly animated lo-fi noise, which is blended with treated bells or gongs and a plethora of detailed natural field recordings elements (wind, water, birds, voices etc). Extremely dense in sound, the atmosphere is one of an elevating maelstrom of sound than anything remotely ambient or relaxing. Back There features on Side B, and steps the sound up a notch with a more direct sound which verges on industrial-noise. Here scrambling and scattered distortion sit in the foreground, while abstracted metallic tones and distant echoed field recording elements site far back within the mix. With around 50 releases issued since 2012, this is an intriguing introduction to Modelbau and their forcefully detailed, yet engaging low-fi approach.

On Virtues of Torture, Luke Holland delivers a single lengthy 28 minute track of his particular brand of muted industrial noise. But from the lead off, it is immediately apparent that the the track displays more of an affinity with a loosely rhythmic death industrial sound. As such the slow ‘two note’ rhythmic pulse and windswept oscillating layers generates an excellent dank minimalism, which sits at a mid-point somewhere between Atrax Morgue and early Brighter Death Now. Being an instrumental track and with its elongated length, the track takes its time to gradually morph and shift, but generally not straying too far from the core framework, until a quite dramatic shift late in the track to a section of crumbling distortion, forceful bass tones and wailing horns of death. All in all another solid offering from the Trapdoor Tapes label head.

Striations – Keepsakes

Striations – Keepsakes LP Fusty Cunt 2019

Off the back of my introduction to this US industrial/noise/power electronics project (via the Vietnamization DCD – reviewed here), Keepsakes comes as the latest album from Striations. The first thing is note is the packing, which has all the hallmarks of classic over the top DIY approach to presentation. Here a think and weighty vinyl floor tile has been stencilled with the project name and attached to a spray pained LP cover. Further housed in a yellow dust cover, the whole packaging is sealed with an obi-strip made from police tape.

On the musical front, album opener Unseen (Body Dump), wastes no time and leaps straight in with deep, distant loops blended with mid-to higher toned noise. With an elevating trajectory it charts crudely constructed, loose shuddering noise and rabid flanged vocals, and when bleeding directly into Transgression I, the swirling and shuddering noise takes a step up in intensity. Keepsakes comes next and mines a sound of metallic bass rumble, programmed rhythmic pulse and jumbled noise, which squares off against a deep metallic production and hollowed out and howled vocal barrage. Rounding out the first side is Odontology, which is a short instrumental noise drone, where a short serial killer related news report sample plays out as the Side A outro. The same news report sample then continues on Side B, prior to Manifestation kicking in with queasy dive-bombing atonal synth lines, muted and modulated distortion, searing high-pitch noise and flanged semi-buried vocals. Modern Predator differs by making great use of rhythmic revving distortion and loosely looped scrap metal recordings, and again with the intense vocals which are flange treated beyond recognition. Fantastic stuff. The quite short piece Transgression II features greater tonal breath by dialling down on the higher pitched elements, and features a deeply echoed metallic soundscape. For the final track Definition of Abuse it is introduced with a TV talk show interview, and when the track gets going it is perhaps the album standout, with slow laboured bass pulse, fluttering mid-toned noise and treated vocals floating above. In a word, excellent.

Clearly Keepsakes is both a shorter and more fiercely direct album than Vietnamization. While there may less immediately obvious thematic fodder than Vietnamization (i.e. extensive documentary samples), the short vocals snippets and track titles provide clear indicators of thematic preoccupations.  Limited to a mere 100 copies, this is perhaps more a byproduct of the work required to construct the packaging, but musically speaking Keepsakes certainly warrants a bigger edition.

Blood Rhythms – Civil War

Blood Rhythms – Civil War LP No Part Of It 2019

The Blood Rhythms project is primarily helmed by Arvo Zylo who also employs the collective inputs of a raft of other musicians. This collaborative process has led to a broadly power electronics defined expression, but which also flirts with varied experimental elements and musically tinged post-industrial sounds.

The first thing of note about Civil War is the packaging, with the beautifully designed, high gloss gate-fold cover and large 11” sized 16-page art booklet, also printed on weighty high gloss stock and containing a selection of darkly abstracted images. For the sonic side of proceedings (En) Closure (Heart’s On Fire) kicks off the album, and based on the layered atonal horn blasts it is immediately clear that Civil War is far from a ‘business as usual’ power electronics album. Embodying an abstracted dark experimental jazz-noir mood in the first section, by track’s end the jumbled vocals and scratching textures have gradually built into a heady noise piece. Onism (Sick Skin) follows and is very much an exercise in endurance given its high-pitched needling textures which are sustained throughout. With its raw unhinged vocals and overblown noise approach, as a comparison it reminds of some of the nastiest and rawest material to come from the Filth & Violence label in recent times. Locked Away provides some welcomed respite being far moodier with slow crumbling drones and muted melodies. Yet the elevating distortion, driving mechanical whine and slow drawled vocals places the track squarely within post-industrial spheres. Paris Window is the most atmospheric track on offer with sampled film-noir melody and windswept melodious drones, yet a fleeting vein of muted noise is also noted. The Face is perhaps the most song-oriented track of the album, where its digital squelching loop is reminiscent of late era Whitehouse, while the slow drawled/yelled vocals completely sets it apart. Mid track it launches into an atonal jazz saxophone freak-out (where the shrill layering verges on Penderecki style strings), before diverging off into a trial percussive rhythm and noise section. The album is rounded out with Alchemy & Grief (Part I & II). Part I features blown out noise, radio chatter, creaking junk metal and ritual styled gongs. On the other hand Part II is a concluding highlight featuring a sluggish pounding bass pulse, slow panning saxophone melody and roughly bellowed vocals, while detailed noise and general backing clatter fleshes out the throbbing post-industrial sound.

Far from being a power electronics ‘genre’ piece, this is a wildly varied and creative release, where Civil War manages to continually surprise despite its relatively short overall run time. If it is not already apparent, Civil War is a perfect album for those craving sonic diversity well beyond the expected norms of a more typical ‘power electronics’ offering.

Graustich – See You When You Get There

Graustich – See You When You Get There MC Cloister Recordings 2019

After 2018’s excellent Morality Ends album (reviewed here), Graustich return with a single instrumental track, issued on a home dubbed, single-sided cassette.

Clocking in at over 15 minutes, the approach follows the sound of the earlier album, which is an exercise in sustained industrial-noise, and in essence could have been lifted from the same recording session. Over its duration the multilayered deep shuddering distortion and bass addled textures give the impression of idling of factory machinery, with the overall sonics treated to have a raw and roughly blown out sound. Grim, crushing and laborious in tone and atmosphere, the noise-industrial atmospheres grind forwards incessantly, where total submission is the only effective choice (although in the later sections the oscillating tones increase in urgency, thus providing some variation).

A simple j-card design rounds out the presentation, while the project name has been carved into the tape with a blade, which when combined with the oppressive sonics all amounts to a solid underground obscurity.

Entre Vifs – Offranfe et Partage

Entre Vifs – Offranfe et Partage CD Aussaat 2019

Despite having releases extending back 30 years, I am less than familiar with Entre Vifs’ output, but I am aware they are an exponent of a ’bruitism’ approach to music – aka ‘the art of noise’. The material on this new album is derived from live recording sessions using a variety of homemade electronics and noise equipment (as pictured in the booklet), and recorded as a duo March and April, 2018.

Four tracks span 74 minutes of ‘bruitism’ focused sonics, with the longest piece being 23 minutes, and the shortest being nine. Despite what I assume is the improvisational nature of the recordings, the tracks have compositional flow where there is a real sense of ‘cause and effect’ between the presented sounds, which is indicative of interplay between the two members during the recording sessions. Sonically speaking the sound features raw blown out metallic textures, blended with moments of stilted rhythmic pummeling. Further variety comes in the form of creaking atonal junk clatter, slashes of random electronics sonics and wonky bowed springs. Recording wise the tone is textured and detailed and while ‘noise’ derived, it is not harsh noise by any stretch and fits more within a rough industrial noise frame of reference. Consequently this means there is space for the layered sounds to breath within the mix, while sounds rapidly panning between speakers functionally increases the disorientating effect of the mid-paced industrial noise maelstrom. Beyond my more pragmatic descriptions, the title of the third track is also quite an apt descriptor of the album overall, titled A Benevolent Storm Front.

Being sonically textured, highly detailed, chaotic and warped, yet somehow strangely soothing at the same time, Offranfe et Partage is an intriguing and enjoyable listen, even if I am I am not sure to how often I may revisit this. But in being both noisy and clearly artistic in approach, the agenda to functionally realise ‘bruitism’ has been achieved.

Grunt – Kraniometria

Grunt – Kraniometria 3” MCD Freak Animal 2019

Over the past decade Grunt have issued a stellar run of composed power electronics releases, yet Grunt’s new offering has reverted to harsh noise territory, featuring three tracks and around 21 minutes of material. Although this mini CD is concerned with harsh noise, that tonal spectrum is no stranger given it has been a staple element in Grunt’s sound where it has been employed as a core compositional element.

But on Kraniometria harsh noise is used as a free-flowing element, and evidently the end result has been edited from hours of recordings. The opening four-minute track Eschatological Uterus features a raw and blown out/hollowed out sound which has the fierceness and energy of arching high voltage electricity, while the multitude of layers employed gives it a multi-textural sound. Flowing between clear sections, it builds to chaos and recedes to moments of relative calm, rather than employing a singular one-dimensional tone.

The second track is Sex-Paralys-Appeal and under two minutes in length, again with electricity tones arching over a deft raw and heavy junk metal rumble. The title track clocks in at 15 minutes, and while following the same tonal spectrum as the first two tracks, the flow is more fiercely freeform, cutting between distinct sections and segments, including choppy and whistling overblown feedback and a late-track section of almost orchestral intensity, maintaining a prevalent intensity throughout.

Brutally loud, but roughly echoed and hollowed in depth and tone, this is a good short and sharp release to hear Mikko letting loose with noise under the Grunt moniker.

Jaakko Vanhala – Cuts of Grace

Jaakko Vanhala – Cuts of Grace 3” MCD Freak Animal Records 2019

Evidently Jaakko had been working for many years on a full length follow up to 2012’s Here Be Lions. But instead the best fruits of that labour have been culled and issued as a five-track 21-minute mini CD, and literally not a second is wasted across its short span.

While I am not an avid noise listener, when I do so it warrants listening to the best and Jaakko is certainly widely recognized as a master of his craft. Yet Jaakko’s modus operandi is far from an improvisational ‘one take’ approach; rather the sonics are meticulously spliced together from a myriad of separate recording sessions, and this absolutely shines through in the end result. The scalpel-like precision of sonic editing generates an ever-changing and evolving chaotic sonic maelstrom which is simply a joy to listen to, particularly as the production tone is loud, crystalline, and detailed. Here the varying elements include rapid-fire screeching noise, shredding junk metal sonics, ripping distortion, sustained needling elements, and detailed micro-tonal textures that blend, overlap, and radiate off one another. Stereo panning between speakers functions to then further amplify the beautiful aural chaos, and on final track Sword of Death the use of a melodious synth undercurrent provides a vague orchestrally cinematic aura.

There is little point in completing a track by track review, although track titles do perhaps imply arcane and esoteric themes such as Iris Star and Blood Arcanum. Yet the above description functions to capture the essence of the mini CD and highlight the compositional approach of the recordings, which must be heard fully to appreciate this noise master at work. A mini cardboard-gatefold cover rounds out a slick presentation for a fantastic release.