Form Hunter – Form Hunter CD Found Remains 2020
Form Hunter are an American harsh noise duo consisting of Stefan Aune (of Breaking The Will, Kjostad and Found Remains) and Weston Czerkies (of Sunken Cheek). Following a slew of cassettes issues between 2018 and 2019, this is their self-titled debut album.
Commencing with a hefty noise blast Sprung Trap is as the title suggests, while an undercurrent of scrap metal clatter underneath makes it anything but one dimensional. Mid-track the headier noise elements drop away and with the resultant tonal space, it allows for the back half the track to focus on raw sheet metal manipulations. Dry Storage functions a veritable lava flow of raw and overblown metallic generated noise, while the following piece Tracks Left in Snow provides sonic respite with shuddering and echoed sounds of undefined sonic sources. Using a cyclic echoed structure, the tone is gradually elevated through additional layering, and where the creaking metallics again take focus from mid track onward, yet never becoming completely overblown save for that dying moments of the track. Drawstring opts for a more uniform upfront blasting noise, yet the undercurrent of metallic sound-sources remains a constant with both detail and variation. With each of the preceding tracks being around five minutes each, the final album track is the monolithic 17-minute piece Blood Trail. Leaving the harshest track to last, it commences with a section of looped mid-toned creaking sheet-metal manipulations, which is gradually built into a voluminous avalanche of hefty and aggressive distortion. With the tonal range extending from low bass addled distortion to mid to higher pitched metallic squalls, there is constant variation of sonics at play, while the late track respite provided by a segment of layered scrap metal loops is a particular highlight, before launching back headlong into a harsh noise cascade.
Although raw and free-form, there is clear dynamics at play, given there is careful pacing in the way the tracks are constructed and where the raw metallic noise is hewn into loosely composed structures, as opposed to simply sounding like a free-form improvised noise jam. While personally I may not listen to harsh noise all that regularly, this is clearly an album where it represents just how creative and sonically diverse harsh noise can be. Packaging wise the album is pressed on a cleanly designed digi-pack on thick card stock, while a vinyl version is also available.