Trapdoor Tapes final batch 2017

Browning Mummery – World of Shells MC Trapdoor Tapes 2017

Browning Mummery are a long standing and somewhat obscure Australian experimental/ industrial project whose activities dates back to 1983 (including a couple of early tapes issued on the cult Extreme and Zero Cabal labels). Being primarily the creative vehicle of Andrew Lonsdale, the lineup has also sporadically featured the late John Murphy, in addition to the contributions of many others over the years. While not having been necessarily the most active project (and there seeming to be a gap of activity between 1996 and 2008), World of Shells arrives five years after the last full length, and was recorded in 2014 as a collaboration between Andrew Lonsdale and Yvan Volochine The tape features four lengthy compositions to span around an hour of material, where the sound covers some diverse sonic scope within a broad experimental industrial style.

Predominantly the sound of the tape features deep cavernous tones framed around layered washes of muted industrial distortion. Being mid-paced and slightly muted, the tracks surges forwards with idling/ misfiring machines, squiggly sonics and a decent amount of ‘creak, crunch and clang’. By being meticulously layered, there are a multitude of sounds and textures to focus on throughout, and while loosely structured there is still clear composition as play (including some disorientating left/ right channel panning and wonky mid to high toned whistling sonic treatments). Of note, the third track Fibroscan 1 deviates from the rest given it is more meditative drone in execution, where some playful disorienting sonics build to a muted rhythmic thrum and the material coalesces into headier territory.

While not being overtly dark or morbid in tone and quite playful on occasion, World of Shells wears an ‘experimental industrial’ tag like a badge of honour in delivering a worthy release.


Halthan – Live at Obscurex Kontti MC Trapdoor Tapes 2017

As per the title of the tape, this is a live set which consists of five distinct tracks spanning around 30 minutes. Crude and back to basics power electronics is the name of the game from this Finnish project who I have not checked out before, despite them being active from around 2004.

In general terms loose rumbling looped structures act as sonic bedrock, while the vocals are spat in an agonised roar and heavily echo/ flange treated to create a result quite reminiscent of those vocals of Survival Unit. Likewise with its thick grinding industrial debris, hollow tonality and repeated semi-buried samples also reminds (positively) of The Grey Wolves approach to lofi industrial noise infused power electronics. As for the recording the sound is raw and slightly distant in feel, which I am not sure if this is down to the recording or is perhaps representative of the live venue sound (as I understand it the venue it was performed in is in fact a metal shipping container, which would no doubt impact on any live sound created and any recording made thereof). Regardless, the sound is still hefty and thick, with the mood being one of subdued anger with occasional aggressive outbursts (i.e. vocals).

Overall this live tape is no frills and lofi, but definitely to the point, and very effective for it.


Kultur Operating P:N:S – Repeat Offense MC Trapdoor Tapes 2017

Knowing virtually nothing about this project, it seems they are more commonly known as K.O.P., where the three letters are variously used to stand for different interchangeable phases (as per the protocols established by early industrial pioneer SPK). From what information there is available, K.O.P. is a Japanese project active back in 1988 when the first tape was issued, and with a further six tapes, a 7”ep and CD issued through to 1993 before the project disappeared. Now some 25 years later the project has returned with new recordings dating from 2015-2017.

Having not heard earlier material from the project, I can comment on how this sits as a ‘comeback’ recording, but from listening to this the sound is rough, chaotic and crude in a general noise/industrial style, but also leaning more towards a nosier aesthetic.  Twelve tracks spanning around 45 minutes of material features on Repeat Offence, where Some tracks are based around fiercely raw and chaotically overblown distortion which is staunchly analogue (perhaps derived from junk metal sources?). Conversely other tracks are of an apparent digitized source and rapid-fire style, with a clean and sharp sonic tone. Yet to speak of unifying elements, the mood and feel is chaotic and choppy throughout, and where there is limited overtly rigid structure, rather being freeform and amorphous and where tracks abruptly cut out before lurching into the next piece.

With myself personally not being an avid noise listener, it is those compositions which slightly dial down on the higher pitched and harsher overblown textures which (for me) work best (such as the ambient noise mixed with radio chatter which closes out the tape). But equally that description alone will give a clear idea of whether Repeat Offense is right up your ally.


Neurasthenia Psychological Reincarnation MC Trapdoor Tapes 2017

Neurasthenia ‎is a new Japanese/ Australia collaboration born out of a recording session when Luke Holland (of Armour Group, Mshing, Word Of Life Church SS, Trapdoor Tapes etc.) and Tom Miller (of Word Of Life Church SS, Psychward etc.) toured Japan in September, 2016 and met up with Hiroshi Hasegawa (of C.C.C.C., Astro, Mortal Vision, Nord). According to the notes on the cover, the two tracks on this 60-minute tape (one lengthy track per side) were recording live in a single take and delivers a solid dose of archaic industrial noise.

The title track features on the first side of the tape and steps through a number of distinct passages. Commencing with detailed dynamic noise and spitting/crumbling static, the mood gradually moves towards a passage of hollowed out industrial rumble and the inclusion quasi ritual elements provided by junk metal clatter. Later segments feature crude loops and sparse crumbling textures which resemble the distant thunder of heavy waves. Cardiac Neurosis follows on the flip side and is a more subdued and controlled offering. Initial segments are sparse and cavernous in tone and complimented with ritual chimes, before a rough base of sustained and modulated ‘catacomb’ distortion is set down and gradually tweaked and twisted.  Late sections are further augmented with radio frequency type scanning noise and garbled semi-buried vocals, before ramping up to more chaotic and forceful intent in the final segment.

Given the ‘live in a single take’ method of recording, based on the end results it appears there would have been some clear discussion and pre-planning, as this sounds to be much more than a basic improvised session and particularly given its careful balancing of chaos and restraint (and being able to strategically pull back on the harsher elements throughout the tape for added sonic impact). So, all in all Psychological Reincarnation is a convincing and enjoyable tape in a style which radiates a sound of decades past than anything remotely modern.


 

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Mz.412 Vs Folkstorm ‎– Live Ceremony

Mz.412 Vs Folkstorm Live Ceremony CD Old Europa Café 2015

With Mz.412 having infrequently graced the stage over the years, it was way back in 2000 (18th August) when two of the three members (i.e. Henrik Nordvargr Björkk and Jouni ‘Ulvtharm’ Ollila) teamed up to perform at the Collapse festival in Rostock, Germany. Being billed as Mz.412 vs Folkstorm at the time, this goes partway to explain the harder and harsher elements of this recording which incidentally was previously issued via Pagan Dance in 2004 in a limited edition of 412 copies. This has now been reissued by Old Europa Café with new artwork and the inclusion of additional bonus tracks not included on the original version.

Having previous heard the Mz.412 live album Hekatomb (recorded at Cold Spring’s 21st Anniversary show at The Garage, London, 5 March 2011 – reviewed here), that recording illustrated a more refined presentation of their existing studio works in a live setting. However on Live Ceremony, the recording is a far rougher sonic affair which would seem to reflect an approach of only partially relying pre-recorded segments of music, in order to focus on the live generation of distortion and feedback. Without the inclusion of actual track names, the seven live tracks have been referred at as Act I through Act VII. But by way of example, Act I includes a short fragment of the classic track God of Fifty Names which cuts through live scattered noise, while an additional dialogue sample more thematically aligned with Folkstorm. Vocals are also present in the live setting, but which are heavily treated and again reflect the Folkstorm angle to the live proceedings. As with Act I, a number of recognizable snippets of studio works are used over the seven live tracks, such as on Act III when Der Kampf Geht Weiter from Nordic Battle Signs is blended with the introduction of Deklaration Of Holy War from Burning the Temple of God. But these recognisable fragments of albums function as short interludes which bridge the live sections of loose distorted noise and on occasion tribal/ ritual rhythmic movements, while he final short Act VII relies on sample of a Penderecki styled choral work to conclude the set.

As for the bonus tracks, the two Folkstorm tracks are solid examples of the spitting noise and raw militant industrial meets power electronics material that the project was producing in the early 2000’s. However perhaps of greater interest are the two-short bonus Mz.412, where there is no indication as to which era these are derived from (although Nordvargr later confirmed these are from around 2006/07).  Mors Solum Initium Est is the first of the bonus offerings and is a darkly ritualistic affair with a deeply cavernous atmosphere, rattling metallic tones and distant wailing textures, and perhaps more reminiscent of early Archon Satani than typically Mz.412 – but an excellent track all the same. Congregation of the Abyss follows to round out the album and slightly differs given its focus on intensive multi-layered garbled to guttural roaring vocals and sweeping sub-orchestral undercurrent, which overall is a replication of the sound of the Domine Rex Inferum album and another decent track.

Being a generally loose, and at time chaotic live recording, this is a worthwhile document of the live performance, but perhaps not an essential release in Mz.412’s discography. But even in saying that, the inclusion of the two bonus Mz.412 tracks gives clear incentive to track this down.

Stromstad ‎– New Devoted Human

Stromstad New Devoted Human LP Malignant Records 2017

This debut release from Stromstad is revealed to be collaborative album between the Finnish duo STROM.ec and Norwegian Kristoffer Oustad – and what a debut it is. With STROM.ec being recognized for a highly refined blend of industrial and heavy electronics and with Kristoffer Oustad inhabiting an evocative industrial smeared dark ambient sound, the creative collaboration between the two was always going to be an interesting one. Yet the creativity and flair on display completely exceeds any initial expectations.

Noting that each of the eight tracks are relatively confined (between three and six minutes each), this functions to generate a sense of urgency across the album, where its shifting and morphing elements draw from abrasive mechanical programming, controlled noise, lush sub-orchestral pads and gruff processed vocals. As an example, the fizzing/ buzzing looped static of the album opener Inherent Resurrection soon gives way to rolling tribal percussion and rough yelled vocals (clearly recognisable as those of STROM.ec), and functions very much as a statement of intent of what is explored over the balance of the album. Fever Wave Dream Function quickly following with woozy drones and off-kilter metallic clatter, shimmering synths and all underscored with a throbbing programmed element which leaps into heavily rhythmic section late in the track. The central buzzing tonality and stilted mechanical textures drives Blood Consciousness and when coupled with the gruff, slightly treated vocals is perhaps the piece most comparable to a straight STROM.ec composition.  The sub-orchestral strains of Nattsvermer constitutes the first effective respite of the album, being a semi-melodious cinematic drone-scape which reminds of mid era raison detre (and particularly so where some distant choir textures are used). In a somewhat unexpected guest contribution, Grutle Kjellson from Enslaved provides vocals on Reluctant Traveler, another track of stilted mechanical rhythms and buzzing fissures of static mixed with moody orchestral textures, while Gruttle’s vocals range from spoken, guttural chants and urgent yells (a late track guitar gives a partial nod to the current prog metal direction of Enslaved). The title track is positioned towards the album’s ends is in some ways the most straight forward with rapid fire looped beat, tempered static and vocals relegated to the middle of the mix, but in the later half it veers off into moody sub-orchestral territory, while the final album track Kosto then deviates the most, with a synth derived neo-classical piece of moody swelling strings, and with a definite modern sci-fi edge to the sound.

Not being an overly long album, all the same it delivers a heavy impact across its multiple creative arcs, and which consequently makes it feel to be a much longer album than its actual run-time. While New Devoted Human could be said to be of the genres it draws from, at the same time it steps well beyond them given its inspired use and application of such influences. Effectively the album excels by the fact of how vital the finished result sounds, and in the process generates new creative ways of approaching recognizable genre sound elements. Issued on vinyl in gate-fold sleeve, CD or digital formats, it is simply a matter of taking your pick of preferred format. But as a word of advice, do not let this album pass you by.

Genocide Organ – Civilzation

Genocide Organ – Civilzation 3xLP Tesco Organisation 2017

In the ongoing re-release campaign of Genocide Organ’s back catalogue, the time has finally come for Save Our Slaves to receive due attention, with this expanded compilation format already having been many years in the making. Save Our Slaves was first released on Tesco Organisation in 1991 (as Tesco04, and now already 26 years old), and is the central element to this re-release. In context of Genocide Organ’s discography Save Our Slaves arrived as the second album for Genocide Organ and followed their debut Leichenlinie released 2 years prior in 1989. Although the impact of Leichenlinie in undeniable in first establishing the group, Save Our Slaves stands out as a landmark release that cemented Genocide Organ’s cult underground status and particularly highlighted their willingness to present potentially controversial thematic material without explanation or qualification.

Noting that the original format of Save Our Slaves contained a 12”LP & 7”EP (six tracks totaling around 35 minutes of music), rather than simply re-releasing that material Civilization constitutes a complete re-contextualization of original content. Here the set has been substantially expanded with the inclusion of the two tracks from 1998’s Klan Kountry 7”EP, and a further 5 tracks taken form various compilations from 1991 to 1997, along with a further LP that documents the audio of a live performance from 1990. Cleverly all additional content is conceptually tied together by having a similar American thematic focus, the original title has been altered to Civilisation, which itself takes its title from the live performance video Save Our Slaves: The Rise Of American Civilization, which was only included with the ultra limited special steel and cement version of Save Our Slaves (limited to a mere 18 copies).  Thus, with the inclusion of additional material spanning the years of 1990 to 1998, it functions to seamlessly ties together these scattered thematic threads under the Civilzation banner.

With reference to musical content, obviously Genocide Organ’s prototype, aggressive, and barely restrained power electronics forms a large proportion of the musical scope, which involves rumbling noise, blasting static, loosely composed oscillating forms, and antagonistic distortion drenched vocals (i.e. Kill Useless Nations, Klan Kountry & We Grow). Alternatively other tracks function to cover the industrial-noise styled approach of the group, such as is displayed on Patria Y Libertad, Search for a Place to Die & Violent Coordinating Committee. Likewise the throbbing rhythms, cinematic synths, squelching noise, and sweeping drones of selected compositions see Genocide Organ operating at their most melodic, such is the case with I Want James Meredith & Weg Der Verlorenen). Last of all, John Birch Society (a highly recognisable track within Genocide Organ’s canon), is a clear standout with its simplistic structure, crude but almost upbeat programmed drum machine, aggressive distorted vocals, and further treated with with harsh noise.

On the third live LP Live At Lever Sunlicht / Mannheim 15.12.90, this is the audio from the Save Our Slaves: The Rise Of American Civilization VHS, where the production is raw and harsh as one might expect for a live recording from 1990. Yet despite the harshness of the sound, the set list does not constitute an all-out jugular attack, but rather it opts for a series of industrial noise soundscapes, vague shuddering factory rhythms, squelching noise, and snarled vocalisations. The final chaotic triptych rounds out the live recording and, in the process, amps up the mood more towards an expected power electronics assault with Patria Y Libertad.

For the packaging and presentation, no attempt as been made to recreate the special format of the original box-set, which was a rough painted, hand assembled cardboard box with banderole striping and image and text panels, and additional inserts. Here an entirely new box-set design has been devised, which involves a newly designed outer slip box in which three single LP’s/ jackets are housed, along with a fourth LP jacket to house the 24 page A4 booklet* (which fleshes out the thematic context), along with a series of three printed inserts and a woven patch. With the presentation following Genocide Organ’s recognisable design aesthetic, and while completely different to the original Save Or Slaves presentation does absolute justice to the expanded set.

Considering its original impact in 1991, coupled with its revered status today, Save Our Slaves stands out as the landmark release that definitively executed each hallmark element of sound, visuals and strong and uncompromising thematic content with flawless accuracy. As a re-contextualized version of this Genocide Organ classic, Civilization can easily be categorisaed as another celebrated addition to their illustrious discography. Already sold out in its vinyl version (limited to 500 copies), a double CD, A5 sized cover and 24 page booklet* housed in an outer slip-case will have to suffice.


*  – in full disclosure, I was asked by the group to write a separate article about this box-set. Parts of that text were used as the promotional text for this release, and short fragments of it were also used in the booklet to provide further thematic context.

Genocide Organ – Kahane Chai / Ke/Hil – Atopical Exercises

Here are two new Tesco Organisation releases, both of which were issued as special items as part of the Tesco Organisation 30th Anniversary Festival in October, 2017.


Genocide Organ – Kahane Chai 7”EP Tesco Organisation 2017

Any new release from Genocide Organ is welcomed news, where for this new 7”EP the group’s analysis of ‘nationalism’ in all its varied perspectives has been applied to Rabbi Kahane and his radical Israeli Orthodox Jewish ‘ultranationalist’ political party Kach, which later splintered into Kahane Chai – a hard-line Israeli militant advocating for the expulsion of Arabs from Israel. Interview samples of Rabbi Kahane are used within both tracks, where it it becomes quickly apparent to why Kach as a political organisation was barred from elections on the basis of inciting of racism against Arabs. Two dates are also printed on either side of the vinyl, which reference the date of his birthday (1 August, 1932), as well as the date of his assassination (5 November, 1990).

To speak of the music, Kahane Chai on Side A features a backbone of straight forward wavering synth loops, mixed with mid-toned squelching textures, while the vocals differ form the usual style in that that are treated in a heavy wash of blurred distortion which bleeds from the top to the bottom of the mix (and consequential picking the lyrical content becomes extremely difficult to decipher). Kach on Side B is far less aggressive than the first, featuring a lone low pulsing synth line and coupled only with interview samples and slightly treated whispered vocals, and while extremely minimal by usual Genocide Organ standards, it is still a very effective mood driven track.

Via the two short tracks Genocide Organ again demonstrate their total mastery of using the simple and/ or minimal sonic elements, but wielding them in such a way to make them sound far more powerful than the sum of their mere parts. When this then is coupled with the strong conceptual underpinnings, it makes for yet another excellent release in their discography.  The festival edition of 250 copies (blue vinyl), and the regular edition (black vinyl) are already sold out (as might be expected), so happy hunting if you want to track one down at a reasonable price.


Ke/Hil – Atopical Exercises 12”EP Tesco Organisaton 2017

With many lamenting the demise of Anenzephalia in 2014 (excluding the brief reformation for the live performance at Tesco 30th Anniversary), the continuation of Ke/Hil was a partial consolation given it features the same duo of Brigant Moloch and Wilhem Herich. It has been a bit of a revelation to see exactly how far the project has evolved in sound and approach from the 2010 Ke/Hil debut Hellstation.

This new three track 12″EP Atopical Exercises has followed quickly on the heals of the third album Syndrome/Antidrome (also from 2017 and reviewed here). Repulsive Appreciation leads off and sets the scene with wailing emergency sirens and a heavy and hollowed out loop, before a wonky rhythm and maudlin synth drone kicks in hard along with the apathetic yet semon styled vocals (which aligns with the established theme of social conditioning through urban design). Very much of the now established Ke/Hil heavy electronics style, this is also a pinnacle track within their catalogue.  Little Rose follows in a laid-back style, and while simple in construction, it is a very effective example of hard hitting minimalism. With a central revving ascending/ descending drone and a scattered backing of echoed junk metal elements and a muted vocals delivery (which rather than lyrics appears to be the reciting and repeating two lines of a poem). Syn/Kope features as the final track on Side B and is more akin to a sprawling death industrial style given its slow bass kick, wavering lower end textures and cavernous sonic aesthetic. While a dialogue sample also sit within the mix, it takes a secondary position to the main vocals which sit prominently front and centre, which strongly advises us to “beware the beast-man”.

A clear observation to be made is that this new 12”EP is very much a continuation of the gradual honing of the sound of Ke/Hil, and certainly bodes very well for what is anticipated to still come from the project. Limited to 250 copies and surprising that it is still available at the time of writing.


 

Unsound Recordings – New Releases 2017

Unsound Recordings functions as a side label to Unrest Productions, where I understand its role is to allow smaller releases to be issued more quickly with simplified packaging. Although the last items on the label date from 2015, now in 2017 it brings new releases from two young projects and new signings to the roster, namely Detrimental Effect and Code Neda. A brief rundown on each follows below.


Detrimental Effect – To Brandon Bryant MC Unsound Recordings 2017

Thematically speaking, the US military/industrial complex may be nothing new for industrial and power electronics music. However, on this debut tape Detrimental Effect have taken a different and interesting angle by focusing on Brandon Bryant – a US drone pilot and later whistle-blower who highlighted the detached methods of killing in modern warfare. Musically speaking this is clean, loud and modern sounding, which also draws heavily from traditional German power electronics/ heavy industrial sound (and perhaps Ex.Order is the closest comparison to make?) . As such the tracks are based on honed structures of shuddering loops, waving sonic elements and bristling distortion which gradually ramp up in intensity. The mood is further elevated through the heavily treated vocals (flanged and echoed), and delivered with spite and tinged with indignation.

Specific samples relating to the theme further fleshes out the concept and are used as intro or outros, or otherwise are incorporated within tracks. That Others May Die is individually noteworthy based on its base of scattered distortion, queasy central oscillation and deadpan spoken vocal line (slightly treated and echoed). Equally noteworthy is the overt fierceness of the final track Total Denial with its tonally buzzing loops and antagonist vocal attack, amounting to a very effective power electronics barrage. Direct and to the point, the material on this debut is delivered with both skill and conviction, which on occasion rises to blood boiling intensity.

Six tracks in all feature on the tape, with perhaps 30 minutes of material on offer. Without doubt Detrimental Effect is project to keep an eye on, given it also fits neatly alongside many of the other projects on the parent label Unrest Productions (such as Kevlar, Kontinent, Uncodified etc.).


Code Neda – The Death of Neda MC Unsound Recordings 2017

Code Neda are another new project signed to Unsound Recordings, but this time I know nothing about this project or who is behind it. This however appears to be Code Neda’s debut tape, and limited to 80 hand numbered copies.

Musically speaking it features sweeping death industrial which on occasion is blended with elements of ritual tinged heavy electronics (something akin to mid to late 1990’s heavy electronics sound of Loki Foundation projects is a partial comparison).  To speak of notable tracks, Tigray uses stilted heavy rhythms which provides structure to a widescreen atmospheric soundscape and sampled religious chants. Another particularly noteworthy track is ABC – Protection, which is framed around deep sub-orchestral drones, militant percussion, scraping textures and muted garbled vocals. The final track The Machine Will Be Prevented from Working at All, is perhaps the most direct death industrial track based on its heavy pounding structures, bristling loops and treated samples (and perhaps vocals? Not completely sure).

On the one hand Code Neda’s sound is dank and pounding in tone, but on the other it is balanced with other ritualistic and atmospheric elements, which functions to create an individualistic approach. Thus with six varied tracks and around 20-25 minutes of material, Code Nera have issued a very strong and interesting debut release and consequently are another new project to keep a keen eye on.


 

Fall of Nature Batch 2017

Fall of Nature’s recent batch of tapes reveals four projects working within the spheres spanning dank and minimalist death ambient, to abrasive and harsh death industrial. With each project demonstrating their own twist and personalised take on these styles, following below is a brief overview of each of the four releases.


N. – Hospital Murders MC Fall of Nature 2017

With this long standing Italian project, their approach is of a sustained and minimalist death industrial type. Twelve tracks span both sides and with the recordings themselves deriving from 2003 this is a reissue of a tape from 2004 (but also issued on CDr in 2016). After a lengthy intro (based on a dialogue/ soundtrack sample), things get down to the business of issuing tracks based on moribund and loosely wavering oscillations. Despite the material being relatively simplistic, an all-important morbid atmosphere sits front and centre, regardless of whether the tracks are slowly plodding; or bass tone rhythmic; or minimal and soundscape based (Side B also contains a couple of tracks which use some prominent samples). Overall N. very much embodies an Italian underground minimalist death industrial sound (think Atrax Morgue for good measure), and this alone will give an idea of the quality to expect.


 

Subklinik – Monothestic Entrance of Seclusion MC Fall of Nature 2017

Subklinik is the solo project of Chad Davis, and on for this release it is a physical edition of a previously a digital only release from 2015. Taking its sonic reference from a grim death industrial sound, this has been distilled down into a minimalist death ambient/ dark ambient hybrid. With muted sub-orchestral elements (i.e. treated elongated vocal chants) and dank catacombal droning ambience, the sound is equally widescreen as it is enveloping. A general mood of muted stasis vs catatonic drift features across the 3 lengthy compositions. It also reminds of Lustmord’s heralded classic Heresy on more the a few moments, particularly as the sound and tone is not in any way clean or digital (more like choking grey to black toned). An excellently minimalist and deathly atmospheric tape.


 

Vitriol Guage – Gone Septic MC Fall of Nature 2017

Vitriol Guage are an American solo project of Anthony S. Kuchta III (operating since 2012), who incidentally recently joined another American project United Front as their permanent vocalist. As for his solo works, on Gone Septic the sound is a murky but extremely heavy, and is delivered in a direct and pounding death industrial style. Generally the sound is based on heavy and slow bass driven layers which are mixed with muted minor keyed synth loops, but on occasion it pushes towards harder power electronics intensity. Likewise, when vocals are used they are either a blurred mass of distortion (fierce in their tone and delivery), or otherwise presented in a drawling spoken chant. Nine tracks are spread over the two sides of the tape, and while the tracks are each relatively short and to the point, they hit hard in the time they hang around. Being very much aligned with other current American projects such as Gnawed and The Vomit Arsonist, this is a very strong tape and a great introduction to this project.


Kadaver – Hypothermiasma MC Fall of Nature 2017

With Hypothermiasma the long standing and prolific Israeli solo project Kadaver delivers a sonically fierce tape . From the outset the sound is multifaceted and shredding, and stepping beyond a strict death industrial sound, given the sound features a swirling sonic maelstrom of loose noise and intense feedback. In the most part the tape is an exercise in the abrasive over the atmospheric. On Side A two of the four tracks are effectively straight noise workouts, while the other two are based on a variety of forceful loops that intersect and intertwine (and fall in out of sync based on some being slow and others fast and chaotic). The humorously titled 23 Shades Of Decomposition (first track on Side B), bring some respite given its ritual tone, sampled chants and minimalist soundscape, but this is short lived given the later introduction of an invasive needling tone. Likewise the following track Maruta reverts to obliterating overdrive, while the final track Pink Sabbath is of a muted death industrial type. Perhaps more chaotic in tone than what I would usually choose to listen to, this is still an expertly executed tape.


As noted in the introduction, there is clear diversity in approach to be found on these four tapes, but based on my own sonic preferences, Vitriol Gauge is my pick of the bunch and followed closely by Subklinik.