Inflated Climax – Inflated Climax

Inflated Climax – Inflated Climax MC Trapdoor Tapes 2018

Inflated Climax are a new anonymous project on Trapdoor Tapes where their self-titled tape delivers crude and lo-fi industrial noise/death industrial sounds.

This self-titled tape contains a single lengthy untitled instrumental track, which repeats on both sides. The composition has then obviously been spliced together from a series of recording sessions as the cover indicates this was recorded between 2015-2017. Overall the mood is dank and morose which is achieved through atonal, slow throbbing rhythms which are mixed with thick bass driven distortion. In one section, the slow throbbing beat rolls catatonically onwards, akin a container train lurching forwards to the end destination of an unidentified death-camp, while other segments feature stasis inducing minimal looped rhythms, or looser tonal modulations infused with soot and ash. In some way this reminds of some of the long form experimentation of Atrax Morgue, but where that project’s free form sound was often clinical and mid to higher pitch, here the sound is a deep rumbling lo-fi death industrial approach in a restrictive and suffocating way, which certainly matches the visual cues of the cover.

Obscure, crude and understated in equal measures, packaging comes in a plastic pocket with two double sided photocopy sheets with rubber fetish imagery.

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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.

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!!!

Straight Panic – CYCLE

Straight Panic – CYCLE LP Breathing Problems Productions 2018

As a musical style power electronics music is routinely used as a platform to explore a range of transgressive subject matter or as a vehicle for personal obsessions, but on less frequent occasions for specifically politicized agendas and direct societal critiques. In this context Straight Panic is the solo project of Thomas Boettner, and by name alone should provide an immediate indication of thematic intent, but if not, the self-described ‘queer power electronics’ leaves no room for any confusion. So, although other post-industrial projects such as Death in June, Coil, Richard Ramirez/Black Leather Jesus and Hirsute Pursuit have included a gay perspective, in the case of Straight Panic Thomas has drawn upon his own observations and experiences and contextualized them into a direct criticism of religious and societal conservatism.

On the release front, Straight Panic has issued a substantial volume of material since 2014 (in excess of 30 releases and counting) which has functioned to garner increasing interest in the project. Yet from my own perspective I had not previously checked out the project before due to the ‘where do I start?’ factor. So, given that CYCLE is the first album I have become acquainted with, perhaps tellingly of its intended status and standing within the project’s discography it is the first release to be issued on vinyl. Also, on the thematic front CYCLE differs slightly as it is based on Dennis Cooper’s George Miles Cycle, which was a series of five semi-autobiographical novels spanning 1989-2000.

Noting that CYCLE features a mere four tracks spanning 32 minutes, it is a short and to the point album, where the flow of the album is book-ended by two 10-minute tracks with two six minutes tracks sitting in the middle. Teenage Wasteland kicks things off where frantic static and noise shards slashes across an underpinning maudlin organ synth drone, while the rabidly strained vocals bleed and coagulate with the harsher sonic elements. 1988 follows with a similar template of the merging the melodious and the harsh, where the looped melody is all but buried by tracks end. Third track Haunted House plays out as a more direct, harsh and choppy noise workout, but remains mid-paced in flow while an underpinning bass throb retains an industrial edge, before momentarily exploding late track with a frenetic vocal barrage. The final of four tracks Black merges with black, black merges with black is the standout piece which charts a knifes edge of bulldozing distortion and moody synths, which cyclically elevates over its extensive run-time. In the concluding moments the synths fall away leaving a monumental industrial-noise rumble, as if to represent the final death throes of the album.

Stylistically, CYCLE works best with its merging of cascading distortion with minor keyed synths, and particularly on the first and last pieces, where this dual sonic focus of distortion and dour melody could be compared to modern era Prurient. Likewise, by briefly dipping into the extensive back catalogue to get a better appreciation of context, it is clear that CYCLE is by far the most composed and refined release from Straight Panic to date. However, with the large volume of releases which have been issued in relatively quick succession, there is the potential for CYCLE to be overlooked, which would be a clear mistake given how strong and sonically honed this is. Presentation wise the black and white collage of the cover, as well as the explicit art and text within the separate 16 page ‘zine specifically reflects the Dennis Cooper’s source inspiration and fits perfectly with overall ‘angst malaise’ infused mood. A release worthy of investigation.

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.

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.


 

Himukalt – Come October

Himukalt – Come October MC Found Remains 2018

Following quickly on the heals of the recent Knife Through The Spine vinyl LP issued on Malignant Records, Come October is the sixth release since 2016 from Himukalt, which is the solo project of Nevada based Ester Kärkkäinen.

With a sound that is rough and decidedly gritty, the analogue derived tones are soot and rust infused, while the vocals feature as emotional and bile drenched (aka echo distorted/ treated). Minimal structure is employed throughout, based around crude abstracted rhythmic programming, choppy static, shuddering distortion and occasional tonal blasts, but the end result is an industrial noise ‘post-mortem’ style than anything typically of a harsh noise variety. The minimalist approach to sound and composition gives a clear nod to the likes of the psychological and death obsessed sounds Atrax Morgue, while the sonic treatment of vocals renders them for tonal impact rather than decipherable intent. Yet based on their at times pained delivery, I gather their lyrical content functions for a degree of personalized catharsis that anything resembling a role for externalized ‘entertainment’.

Opening track Ruined-Raped is an absolute stormer and functions to illustrate Ester’s command of compositional restraint, as well as the perfect execution of controlled tension in building it to a liberating release. Again and Again is another standout track, structured around a rhythmic percussive junk metal loop, upon which fluttering textures, distortion smears and treated agonized vocals are laid, where all elements are gradually elevated in intensity over its elongated length. Apology uses composed minimalism in the best way possible, where wavering tonal elements, needling drones and apathetic but heavily treated vocals gradually makes way for throbbing beat before abruptly concluding. For the late track No Longer Her Dominant, a pathological atmosphere pervades proceedings, which carefully balances the minimalism of its tonally droning sonics, where it is also the only track where the spoken vocals are (partially) decipherable.

In a relatively short space of time Ester has clearly garnered positive attention within the underground, which is solely down to the strength and intensity of her output. With six tracks feature on Come October, and running to just short of 40 minutes it makes it an effective album length tape, and is as good a place as any to either be introduced to or otherwise better acquainted with Himukalt. For the physical edition, the tape is professional printed, with clean graphic design, and comes with a download code for those so inclined.