Smell & Quim – Pushy Gothic Gnome Versus Charity Techno Gnome / Bulls Penis Soup

Smell & Quim – Pushy Gothic Gnome Versus Charity Techno Gnome CD Chondritic Sound 2020

Smell & Quim – Bulls Penis Soup CD Total Black 2021

The longstanding English group Smell & Quim has always held a special place in the underground based on their uniquely bizarre, nasty, and twisted oddball noise. Here we have two recent CD reissues from the group. The first is a remastered version of an ultra-limited tape from 1998 (Pushy Gothic Gnome Versus Charity Techno Gnome). The second is a current-era recording (Bulls Penis Soup), originally issued on an 11” lathe EP, now reissued on CD with an additional 30 minutes of material.

Pushy Gothic Gnome Versus Charity Techno Gnome is a two-track affair, both untitled and both nearing 30 minutes in length. The first track plays out as an elongated abstract ritual-industrial-noise affair, but the high-pitched treated vocals (emulating that of a gnome?!) and the tinkling of child’s toy instruments make for a wacky effect. The murky and echoed track lurches slowly forwards, with loose rhythmic elements, random funky bass lines, radio frequency distortion, and some general chaotic clatter thrown in for disorienting impact. The second track features more intensely layered soundscape murk, including cascading and crumble tones, creaking metal, more radio frequency static, and all manner of other random sonic junk thrown in for good measure. There is definite flow and elevation of intensity as the track slowly surges forward, but from mid-track a throbbing rhythm and hollowed-out tone is introduced which comes to characterise the back half of the track. Being an example of solidly murky industrial noise of a darker vein, with little in the way of humorous relief. As a final comment on the reissue, extra ‘WTF’ points are given for the cover image showing a gnome wearing an Amish hat and Grey Wolves t-shirt.

Jumping forwards some 23 years to Bull Penis Soup, not much has changed in the Smell & Quim camp and time has not wearied their approach to blending smutty humour with free-form noise. But of immediate note is the actual recordings themselves, which are clearer and louder, amplifying the loose sonic chaos, and highlighting a shorter and more direct approach to composing distinct tracks. Loose noise outbursts and repeated vocal lines of the opening track I Couldn’t Shoot My Muck quickly gives way to the free-form title track based on free-form kit drumming and erupting sonic commotion. The brilliantly titled I’ll Kick Your Fucking Cock Off is chaotic bliss, featuring an incessant fire alarm, interjecting vocals, and the random passage of a militant snare while someone chants: “NONCE – NONCE – NONCE – NONCE”. Bizarrely great. We Will Fuck You In The Arse follows and is another excellent cut of militant-tinged rhythm and choppy noise, complemented with a lyrical monologue revolving around the premise that Smell & Quim are indeed: ‘an arse fucking band. We fuck arses’ (and includes the specific namechecking of current members each being ‘arse fuckers’ – including more recent member Kate Fear). Another piece of bizarre brilliance. Mouth To Cock Resuscitation is perhaps where the Smell & Quim train careens off the tracks for me, as the rudimentary disco beat is a (ahem) flaccid accompaniment to the fierce needling noise – or could this be an intentional snide nod to late-era Consumer Electronics?! Who knows?! There are two extra bonus tracks. Filthy Cunts functions more as a free-form workout of blown-out noise and semi-buried tribal percussive thrum. The final track is Once Upon A Time in Memphis: a mellow instrumental drum kit-driven percussive piece that gives way to a rising tide of panned pulsing noise.

It is perhaps an obvious statement that Smell & Quim are an acquired taste, appealing to those who like their noise dark yet humorously bizarre, thus these CDs clearly sate the appetite for more of their special brand of underground industrial noise weirdness. While neither release is better than the other, and each has its own character and charm, you will already know if these are to your taste.

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.

H.C.O.D. – Instruments Of Destiny

H.C.O.D. – Instruments Of Destiny CD Chondritic Sound 2021

Instruments Of Destiny was originally issued in 2016 on tape via the US label Fieldwork, and now five years later has been given the reissue treatment on CD, featuring new artwork and remastering by Grant ‘Gnawed’ Richardson.

With respect to the project’s name, it is noted to be an acronym for Hideous Colors Of Decay which suitably describes sonic intent, and at the time of the original release Instruments Of Decay appeared to be the formal debut. Featuring seven tracks spanning around 60 minutes, the general approach draws a clear parallel with a northern European post-industrial ‘post-mortem’ sound, where, H.C.O.D’s approach is sprawling in scope and is a hotbed of caustic industrialized noise which bleeds out over greater length. Caked in sonic soot, the tone is one of analog filth where the tracks work on a dual-level involving sustained cavernous widescreen bass rumble over which mid-toned squall, higher-pitched ‘whistling’ feedback, and junk metal crunch is belched. Will to Oppression provides some variance with its centrally featured echo-tinged and half-chanted vocals, as does Mutilated Victory with its garbled and undecipherable dialogue sample. Perhaps with its singular overall approach, Instruments Of Destiny is something akin to a marathon crawl through a post-industrial dystopian nightmare of wrack and ruin.

A six-panel, matt digipack with suitably oblique and bleak imagery rounds out a very welcomed reissue.

Shredded Nerve – Acts of Betrayal

Shredded Nerve – Acts of Betrayal CD Chondritic Sound 2020

Shredded Nerve is an American project of Justin Lakes who has issued a slew of releases since the early 2010s. Having not kept up with this output that now spans around 30 releases, I have to take Acts of Betrayal at face value, rather than how it may compare to or has evolved from other releases.

Although an instrumental experimental noise album at its core, Acts of Betrayal covers a wide variety of stylistic elements across its seven tracks and hour length, including jagged noise, caustic drone, scrap metal-infused industrial, and power electronics bluster. The lengthy opener Coup D’Etat is demonstrative of this, with a slow-moving yet tensile drone ambience which gradually elevates with hollow scrap metal sounds and a rising tide of crisp distortion. Flowing immediately into following track Dragged Through The Mud, the manipulated scrap metal tones are brought to the fore to create significant sonic heft, sitting in the mid to higher tonal range. Given its 15-minute length, Meridian takes ample time to unfold from the early passage of electroacoustic minimalism, but builds to a monolithic maelstrom of multilayered noise of roaring jet engine proportions. Following the hefty peaks of this track, a couple of more subdued and controlled tracks feature (Fate Deciding Life and Death and Times of Grief), which can be broadly bracketed under the descriptor ‘industrial noise meets electroacoustic experimentation’. As for the title track, it gradually increases in intensity, although a series of slowly elevating industrial-toned corkscrew loops with raw and shredding noise is added for good measure towards the track’s end. Divergent Paths features scrabbling scrap metal sonics and dour underpinning synth, plus a tone of power electronics bluster. Final track Nights Of Endless Fire spans electro-acoustic soundscapes and tensile drones, but through the last half features one final rising tide of scrap metal sonics and harsh noise chaos.

For me personally, it is the slower and more sonically spacious moments of the album that work best, but that observation says far more regarding my own listening preferences: noise heads would clearly revel in the moments that build to maelstroms of cascading sonics. But with moments swaying from those of a jagged and harsh tonality, through to segments of controlled and contemplative experimental noise atmospherics, it demonstrates both craft and attention to detail. A strong and commendable album is the result, with the CD housed in a high gloss, four-panel, colour digipack.

Robert Turman – Beyond Painting

Robert Turman – Beyond Painting CD Chondritic Sound 2020

Robert Turman is a long-standing American experimental musician who has been recording since the late 1970’s, and while I am familiar by name due to the early association with NON, I am far less familiar with his recorded output over the years. But to speak specifically of Beyond Painting, it is not a new album from Robert, rather it is the second reissue of an album from 2010, given it was previously reissued in 2013 on vinyl. As for the music itself, it was recorded back in 1990 yet remained unreleased for two decades until its first issue in 2010.

The lengthy opening track Soft Self Portrait sets the scene being a melodious dronescape with a tinge of melancholy to proceedings. The floating dronescape continues on Al Qa’ida, but the prominent mid-paced bass guitar line and counterpointed melody give a completely different feel and pace. On First Quarter it sees the return of an aching melodious undercurrent, where the slow shimmering drones seem to be guitar-based, and sonically reminds of the drone works of Troum for a comparative marker. With the musical landscape established across the first three lengthy tracks, the following four and equally lengthy completions play out as variations on themes. Effectively these slow-paced drones gradually unfurl, but over which intertwining yet minimalist musical motifs such as a piano line provide more detailed focus, while other elements such as unobtrusive vocal chants make a fleeting appearance.

Far from being a ‘doom and gloom’ underground release, this is a wonderful album of slow morphing contemplative and melancholia-tinged soundscapes. The physical pressing comes in four panel digipack, and as with all of Chondritic Sound’s releases, the chosen cardboard stock is of a thick gloss type that provides and a solid and high quality feel to the packaging.

Kjostad – Extinctionist

Kjostad – Extinctionist CD Chondritic Sounds 2020

Stefan Aune’s ‘organic versus electric’ experimental noise project has been rather busy of late, with the fantastically titled Extinctionist being the latest full-length offering. Again the blending of the organic and electric elements again reigns supreme, with the tone ranging from subdued and contemplative, through to heady yet controlled noise avalanches.

Opening track Vigil blends bird calls and fizzing / erupting overblown static, prior to a detailed sonic cascade of scrap metal clatter. Moving onwards the second track Riven opts for different sonics with a deeply echoed and hollowed out track of scattered and multi-layered micro-tonal field recorded elements, which appear to have been made in urban / industrial environments and further manipulated into loosely rhymical loops. The subdued and controlled mood continues with Fort Kjostad, again using loosely constructed loops for rhythmic impact, before pulling back to low electric drones atop which a myriad of field recordings of natural environs are placed (water, wind, birds singing, etc.). Later the rhythmic scrap metal loops reappear but are relegated to the background in a distant and controlled fashion. Scavengers features as the most straight down the line track of chaotic and controlled noise, while Iron Edge commences with muted scrabbling tones (a microphone being buffeting by wind?), and slowly builds with loose caustic loops and mid-toned widescreen drones and onwards to structured territory based around creaking metallic recordings. The final title track is perhaps the loosest and nosiest track of the entire album. Being based on a substantial number of tonal layers it is a rough and erupting track of considerable sonic heft, although it waxes and wanes in the latter half before one final death throw outburst.

In noting its experimental noise approach, Extinctionist has ample rough and sonic crunch to please the noise and industrial listeners. But equally displayed extremely well controlled and composed pacing, and willingness to pull back on all-out harshness, which will no doubt be of strong interest to the listener of a more experimental yet composed field recording bent. A spot-varnished, four-panel digipack with images from an early settler era of America rounds out a classy sonic, visual, and physical presentation.

Leather Bath ‎– Nature’s Crackling Fire / Anarch Peak – Vitarium

Leather Bath ‎– Nature’s Crackling Fire CD Leather Bath, Inc. ‎2019

Anarch Peak – Vitarium CD Chondritic Sound, 2019

The common thread between these two releases is Greh Holger (of Hive Mind and the Noisextra podcast), who collaborates with John Weise as Leather Bath, and separately with Rodger Stella (formerly of Macronympha, Mother Savage, etc.) as Anarch Peak.

In turning attention to Leather Bath first, they seem to have been active since around 2012 with a clutch of releases, yet Nature’s Crackling Fire is the first album proper from the group. As might be suggested by the album title this can be described as experimental noise and musique concrète, with an underpinning drone framework. Two lengthy tracks feature, the 23-minute In Temporary Suspension and 17-minute Hunter Horn. Although the musique concrète descriptor is used, this is by no means stuffy or academic in tone. Likewise, with reference to the ‘noise’ descriptor, the sound is ‘detailed’ rather than loud, meaning there are tons of close-up micro-tonal sonic textures throughout. There is considerable depth, with various tonal elements sitting far off in the background, offset against the upfront elements, while speaker panning is also used for surround-sound immersion. In Temporary Suspension exudes an open tonal quality, with lots of space to breathe between the sound of stone, wood, and metal which is creaked, bowed, struck, and scraped. Hunter Horn differs from the first track with a greater focus on droning elements, scrabbling textures, and treated horn elements, while field recordings provide further natural and human resonances. Later the track involves a metal-on-metal tonal workout and echoed footfalls, which are dragged to their conclusion with animated windswept drones.

Moving on to Anarch Peak, the first thing to be noted is the psychedelic sci-fi style artwork that adorns the six-panel digipack. This sci-fi angle is reinforced with some abstracted surreal text included as part of the digipack. Sonically speaking, Greh handles the synthesizers and minimalist metal-derived inputs, while Rodger mans the theremin – by listing that instrument alone, it should be clear that Anarch Peak are not dealing with a harsh / junk noise approach. Two longform tracks make up Vitarium, the 37-minute Alpha in Dissent and 33-minute Driftglass. In the opening to Alpha in Dissent the atonal synths and theremin drones slowly unfurl, while some subdued metallic clatter is noted far off in the depths of the mix. Like an ebbing and flowing tide, the track slowly builds and recedes over extended passages. Not being chaotic or loud, the track does build up a certain bulk and tonal weight through the middle and later sections, where discordant wailing textures sit at the middle to lower end rather than resembling a high-pitched squall. In the last third, some doom-addled sub-orchestral synth melodies appear and sweep the track’s mood in a completely different direction, more into sci-fi territory (perhaps akin to being slowly dragged towards the event horizon by the gravitational pull of a black hole). Driftglass differs by being tonally fragmented and fragile, with subdued wonky tones, minimalist crackling textures, and low-level static, while a melodious organ-like drone slowly appears to provide focus and forward movement. The middle to back end of the track sonically articulates intertwining corkscrew spirals, while the final movement uses metallic tones in a stilted rhythmic fashion.

Neither of the albums are overly dark, but each is characterized by being experimental or artistic in tone in their own way. The material across both albums is animated and varied, with each making for a detailed and engaging listen. The above descriptions should clearly indicate whether either or both albums will be to your liking.

Serration – The Open Mouth Of Infinite Destruction / Force of Damnation

Serration – The Open Mouth Of Infinite Destruction CD Chondritic Sounds 2020

Serration – Force of Damnation MC Total Black 2020

Serration have been on a bit of a roll in recent years with a slew of releases since 2018. If you have heard any of Serration’s prior material, both of these new titles continue the established sound of brooding and militant industrial / heavy electronics.

Turning to The Open Mouth Of Infinite Destruction first, from the outset saturated synth lines waver and dive-bomb in intertwining unison, while the heavily processed vocals are sonically smeared to convey an urgent mood, despite being wholly unintelligible. Inexhaustible Conflict follows in a similar vein but takes a gradual step up with a wailing siren texture and catatonic underpinning beat. A.P.C. embodies yet more tensile militant atmospheres, being a soundscape rather than rhythm-driven; the vocals, subdued and spoken, are heavily processed. The Storm Of Ash And Steel stands apart with what sounds to be a looped synth line replicating an orchestral tone against a backdrop of seething invasive mid-toned drones, and echo-panned production, while the final track is a live recording of A.P.C. made in Chicago in March 2018. Being slightly more hollowed in tone than its studio counterpart, given the noted absence of crowd noise it is clear this material is a recording taken directly from the mixing desk (if it was not identified as a live recording, it would not be immediately apparent). At only 22 minutes long, this is a short and to-the-point release. The packaging is rounded out with a six-panel digipack on heavy card stock with cleanly designed visuals.

Force of Damnation delivers a further five new tracks, also spanning around 22 minutes of material. W.I.T.W opens the tape; immediately obvious is how the vocals have been pushed to the fore and are all the more powerful for it, blended with urban guerrilla battlefield type recordings and seething / brooding synth textures. March Of Lies makes great use of laboriously intertwining synth layers, radio chatter, and hefty processed vocals. Further vocal variation is evident on Survive_Comply where, with reduced sonic treatment for the most part, they are intelligible; the backing is relatively subdued mid- to higher-toned synth drones and Middle Eastern crowd chatter. The tape rounds out with Grease And Blood, another mid-toned mass of seething synths, sonically charred vocals, and urban warfare / machine gun chatter. For the physical presentation a cleanly designed cover rounds out a thus far consistent visual aesthetic for the group, in a limited edition of 125.

Although perhaps splitting hairs between these two releases, the production of Force of Damnation is wider in sonic scope given the separation of its tonal elements, while the mood is ever so slightly more subdued. Yet this is an extremely minor critique: both releases are high calibre and very worthy additions to Serration’s quickly expanding discography, highlighting why the group have been receiving so many positive accolades of late.

Liebestod ‎– Escaping Freedom

Liebestod ‎– Escaping Freedom Chondritic Sound ‎CD 2019

My introduction to Liebestod came from their first full length Beta Male from 2016 (reviewed here), but I then missed the self-titled cassette from 2017, and had already missed another self-titled cassette from 2014 (featuring different material). Thankfully Escaping Freedom functions to reissue all tracks from both of these earlier cassettes. In an overarching sense it is again a case that atonal shuddering synths, pulsing static, throbbing / squelching tones, distortion charred vocals and an underbelly of field recordings are the order of the day, with variations of these elements chopped spliced and structured into distinct noise compositions. As such Escaping Freedom again demonstrates Liebestod balancing a sound on a razor’s edge between a heavy electronics and power electronics sound.

The 2014 tracks come first, where For the First Time I Look Vulgar features an early tensile standout with wonky intertwining textures and a heavy elevating tone. The Most Irritating Pose is another noteworthy track of sonic restraint yet building tension, while vocals feature in an echo tinged deadpan delivery. Darkness is Easeful rounds out the collection of 2014 tracks with a solid offering which aligns with a modern and direct American death industrial tone. Going Home arrives as the first of the 2017 tracks, and uses a very effective use of a distressed voice set against a grimly brooding synth drone and field recording backing, while a rhythmic pulse appears only briefly in the later segment. One Day In April works quite distinctly on two separate levels: the first with lower end drones providing an ominous quality, while the higher shrill tones, erupting gunfire and charred vocals function to elevate the tension. Crimes Of Love provides yet further sonic diversity, featuring sonic breadth and space. Here the synths are pushed into the background, leaving the field recording in the foreground (dripping water in an abandoned building?), couple with upfront and whispered vocals for a ‘stalking’ tension driven track. This mood bleeds through into the instrumental track Strokes, before moving onto a deliver a sonic pummeling on The Things I Learned From Men. That track is very much an noise and aggression fueled power electronics piece framed around a stilted pounding rhythm, spliced with fluttering mid-toned distortion and guttural vocal barrage.

Despite featuring tracks from two separate releases, the combined material actually hangs together well as a single album collection spanning 12 tracks and 45 minutes. Yet if any criticism is to be leveled, it is in relation to the tracks being quite on the short side, given the shortest is under two minutes and the longest is just over four minutes. But this is also a sort of compliment, as based on the sheer breadth and variety of sonic ideas on display many pieces could be extended for greater impact and without losing focus, tension or momentum. Presentation wise featured a pro-printed six panel digi-pack with artistically designed imagery which hints rather that hits you over the head with grim imagery.

Shredded Nerve ‎– In The Shadow Of What Never Was

Shredded Nerve ‎– In The Shadow Of What Never Was LP Chondritic Sound 2016

Shredded Nerve are a relatively new US industrial/ noise unit with a handful of cassettes and 7”ep’s to their name since 2013.  This is their first full length vinyl album, although I am then not sure if any of the cassette releases are themselves to be considered as proper full length releases.  So, although this can be broadly described as ‘industrial/ noise’, this rather rudimentary classification could also potentially be misleading, given it does not fully capture the diversity displayed on this complex and experimentally tinged recording.

Album opener ‘Closer To The End (in The Shadow Of What Never Was)’ kicks things off with a single LP sided track (18.5 minutes), which charts upward building motion over its lengthy span.  Despite being a single track there are distinct sections or ‘movements’ found within, where the initial crude scratchy loops and the minimalist ‘metal on metal’ experimental field recordings give way to a ritualized soundscape dirge (i.e. echoed percussion, watery textures and garbled vocalisations).  For the final third the mood shifts into industrial drone territory, including throbbing bass and mid toned fluttering textures which becomes progressively more chaotic through to tracks ends.

On the flip side of the vinyl it delivers 4 shorter tracks between 3 and 7 minutes each. The first half of ‘Stone, Lead and Gasoline’s is sonically excellent, being dour and contemplative in sound, mixing shimmering drones, minimalist synth melody and scattered textural field recordings (echoed knocking sounds, aquatic tones etc.).  Yet without warning the latter half of the track ‘flips a switch’ and lurches into piercing and stabbing noise which are structured as ‘industrial strength’ loops.  On the following track ‘Threat Becomes Clear’ it is very much a studio work out of source junk metal recordings, which have been roughly hewn into tonally jagged and fiercely intertwining loops. Conversely ‘Time Inside’ is piece of quiet restraint, where it is structured around vague ‘metallic scraping’ loops, there is distance and depth between sonic elements (…thereby allowing microtonal textures to come to the fore).  Overall is a track which clearly balances its underground industrial focus and more experimental leaning, and very much reminds on the sound a feel and industrial tape experimentation coming from the Swedish scene (i.e. Arkhe, Ochu, Niellerade Fallibilisthorstar etc).  ‘Without the Hindrance of Man’ concludes the album with a further understated experimental track. Being sparse and cavernous, it is highly atmospheric with grit and grime, based on crepuscular scraping textures, distant knocking resonances and what may be disembodied vocal groans.

Although at times quite experimental in approach, the sound ‘In The Shadow Of What Never Was’ is staunchly underground with its dirty and caustic feel.  Although I don’t know how this compares to earlier Shredded Nerve output, here the sound is very much focused on tone and atmosphere, rather than straight aggression or sonic extremity, where the results are varied, focus and above all else amounts to an appealing listening experience.