Dominion of Flesh: 5 Years of Cloister Recordings: Festival Report 2019

Full and detailed show report with photos can be located here.

Galme – Obducentens Hopplösa Sökande

Galme – Obducentens Hopplösa Sökande MC Styggelse 2019

Galme are a new and entirely obscure Swedish project. Clearly they are obsessed with the earliest expressions of what would become known as a death ambient/death industrial, but also features enough sinister obscurity to also be tagged with the ‘post-mortem’ descriptor. Likewise, the phase on the cover ‘spektral elektriks’ is a suitable descriptor of the atmospheric qualities of this tape

With what is effectively a singular long form track, Obducentens Hopplösa Sökande traverses through a myriad of interlinking movements. Slow pulsating emanations provides a forward drive, while sections of muted conveyor belt rhythms, stilted ritual beats, cryptic melodies, and dank tonal washes generate a sickly ethereal mood. Predominantly an instrumental affair, on occasion disembodied radio voice chatter flits in and out of sonic frame, much like EVP recordings cutting through the ether onto the magnetic tape. Production wise there is nothing remotely modern with the tone of the recording. Rather this embodies the atmosphere of the earliest 1980’s phase of industrial music which spawned the likes of Korpses Katatonik and what would follow. But thankfully this does not sound in any way purposefully retro or otherwise pastiche of what has come previously.

For the physical presentation, the austere colouring and visuals of the j-card, inserts and table label suits the sonics perfectly. Much like all of the material issues on Styggelse, this is purposefully obscure, is limited in edition and difficult to obtain due to lack of wide distribution. Likewise with no digital versions available, it only elevates the impact of the music when a post-industrial underground obscurity like this can be obtained. Yes – this is recommended.

Kristian Olsson – Ligranorex

Kristian Olsson – Ligranorex CD Freak Animal 2019

Kristian Olsson – of Alfarmania and Survival Unit infamy – should really need no introduction. Ligranorex is a solo recording, but not a new one. Originally issued on cassette in 2012, it has been reissued here with an additional track added for good measure.

In a general sense, Kristian’s solo recordings are not light years away from those of Alfarmania; however, a clear differentiator is that his solo recordings are far less aggressive and more ritualized in scope. The opening 22-minute title track, despite its ritualized undercurrent, is overall quite noisy and tonally blustery, begging comparison to Alfarmania works. But from second track Sippurator, the catacombic and esoteric depths at the core of this album are revealed. Here a track of dank cavernous ritualized atmospheres is fully realized, where shuddering darkness comes to life and seems to articulate the psychic membrane separating the real from the unreal and the waking state from the dream. Floating subdued male chants allude to human form, but equally these could be from a netherworld beyond the edges of waking perception. Later, cyclic bass drones provide greater movement to the composition, but the general mood is of drawing you into its fold. Haruspex announces itself with the wailing of a thighbone trumpet, dank and slow-paced ritual percussion, and sparse ceremonial chimes. These sit at the forefront of sound that articulates cavernous archaic depths  sonically receding far off into the distance. Spanning 21 minutes, the mood and pacing is slow and drawling, whereas throughout the middle and later sections the percussive pulse becomes more urgent, coupled with a prominent ascending/descending drone loop. Although lerul is noted to be a bonus track, it fits perfectly with the flow, mood, and balance of the album. Grey-hued and tonally stark soundscapes are releveled and further infused with archaic ritual atmospheres. Yet with its incessant bass throb and wavering sustained drones, it at times begins to resemble a slightly more ritualized version of Anenzephalia’s subdued heavy electronics offerings.

Packaging wise, the six-panel digi-pack is exquisitely presented with a selection of Kristian’s artwork, including the same artwork used for the cover of Issue No.3 of Noise Receptor Journal.

Proiekt Hat – XXIII

Proiekt Hat – XXIII 7” EP XN Recordings 2019

The rather illusive Proiekt Hat has returned to the Italian cult label XN Recordings and, based on the minimal presentation and title, this seems to be the third in a series on the label. When this release was announced the promo text indicated these two tracks were older recordings from the project, but the cover provides no further detail on this.

The first track Freeloader encapsulates a grey-hued sonic aesthetic with cavernous depth and thickly grinding machine oscillations and wavering bass tones. Laboured but also minimally animated it delivers a grim post-mortem atmosphere as an expectantly good track from the project. Iron Lung Cancer features on the flip side and without doubt is an extremely divergent track for the group. The first thought that went through my mind when hearing this was ‘This sounds like Proiekt Hat doing Kraftwerk’ and, as the saying goes, often first impressions are the correct one. Here archaic modular synth loops intertwine in very animated and uptempo form – albeit wonky and off kilter. Some more atonal elements sit underneath, but these very much take a back seat to the pulsing and driving forward momentum of the track. Being a sound I would have never expected from the project, it is a great track all the same.

To mention the cover, the minimal presentation mirrors the beautiful attention to detail which is characteristic of XN’s productions, while an inside image hints at strong anti-American imperialism sentiments. Although this 7” EP was far from cheap (in both cost and postage), there are no qualms about this based on the final product.

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.

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!!!

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.