…Hagshadow’s Anti State Jugend…

ANTIchildLEAGUE – Holy Ghost CD Hagshadow 2016

Godlesstate – Godlesstate CD Hagshadow 2016

Sutcliffe Jugend – Shame CD Hagshadow 2017

For this label showcase it is important to highlight that Hagshadow is run by Gaya Donadio: an Italian national, yet long term resident of London and a staple of its underground scene as a gig promoter via the Hinoeuma the Malediction banner.  Although Gaya’s role as a promoter may have reduced somewhat over the last decade (…when compared to the monthly shows in the early 2000’s), Hagshadow has been operating as a label since 2008 (…and mail-order prior to that).

Up first is ANTIchildLEAGUE, which is the solo project of Gaya herself, where ‘Holy Ghost’ appears to be the third in a trilogy of album’s starting with ‘The Father’ in 2008 and ‘The Son’ in 2014. However I am afraid to say that apart from hearing a few selected tracks from ANTIchildLEAGUE over the years, I have not heard these other trilogy releases, so cannot comment on how ‘Holy Ghost’ continues or differs from their sound. With that said, what ‘Holy Ghost’ brings is a sharp and clinically edged industrial album which bristles with fierce energy. With its 13 tracks spanning 47 minutes, the general impression is that of a collection of tracks, where differing sounds and moods are explored throughout.  With the opening title track being more of a introductory piece (i.e. solo female religious styled singing), ‘I Hate You’ follows and is a sharp and buzzing piece of looped power electronics (…think of the clinical and clean tone of Haus Arafna), with Gaya’s vocals being aggressively spat and slightly treated (…an excellent start).  As the album progresses from there, a pattern is then noted where some tracks are constructed around rhythmic programming and minimalist synth pads, while others following a stricter adherence to industrial and power electronics expression. With the vocals covering everything from spoken whispers to banshee like wails, these also mirror the moods of the tracks which themselves range from calm yet tensile, to those of controlled and/ or unhinged anger.  With some absolutely excellent tracks in among other generally solid offerings, it is perhaps an appropriate time to dig into ANTIchildLEAGUE’s back catalogue to check out what I have already missed.

Up next is the debut album from Godlessstate, but rather than being a young new project, it has significant pedigree in being helmed by Patrick Leagas. Noting this former Death In June member departed in 1987 and continued recording under the Sixth Comm banner, for whatever reason I have never properly investigated his releases over the years. Yet now some 30 years on from the creation of Sixth Comm comes Patrick’s new debut solo project under the Godlesstate moniker, and being: “a personal attempt to codify audibly the somewhat unfathomable ritual religious practices of our collective pre history..”.  What has been created is a rather imposing experimental tribal industrial album, based heavily around intense soundscapes and complex rhythms driven by martial drumming and hand percussion depending on the track.  The album’s rhythmic focus is further complimented by chimes, wailing horns, dulcimer, mouth harp, sub-orchestral synths, field recordings and varied vocals (i.e. whispers, chants etc. which function mostly as backing layers than providing central focus).  Selected tracks feel entirely organic in presentation, while others opt for elements of programmed electronic percussion to merge the archaic and modern (…although the consequential atmosphere is rooted in an 80’s post-industrial approach). Likewise while exploring different sounds and moods, the rhythmic approach is noted to range from Middle Eastern styled to more Euro-centric rooted sounds. With straight forward tribal industrial tracks and others of fully fledged ethno-ambient expression (…and which brings to mind a classic but short lived CMI project Memorandum), all in all this is a varied and interesting tribal industrial styled album.

Moving finally on to Sutcliffe Jugend, over the years the aura surrounding the project has been maintained by the sheer force of the extremity of their early power electronics approach, and in particular their highly coveted ‘We Spit on Their Graves’ 10xMC box-set from 1982.  Noting then then potentially difficulty in maintaining such levels of extremity, some 25 years later it was during the late 2000’s that the duo of Paul Taylor and Kevin Tomkins pulled back on the extremity to allow a greater degree of variety and experimentation to their sound. Furthermore the pair currently seem to be on a bit of creative streak as 6 albums have been issued since 2016 (…including this one). Although I have not necessarily kept up with all of the recent releases, ‘Shame’ is a considered and controlled album (…by Sutcliffe Jugend’s standards), and includes close to 50 minutes of material spanning 5 tracks. The title track opens the album, and with being based around a discernible guitar, the sound is one quite close to that of noise-rock (…sans drums) – or perhaps doom drone where the riffing has sped up to less catatonic pace. Although some nosier synth slashes are included, the guitar elements remain as the main focus throughout and the track definitely expresses a song format which extends to the vocals delivered in a half shouted/ half sung wail. Despite the musical focus of this track being far from what I initially was expecting –  it most certainly works as a listenable and engaging approach. The following track ‘Sledge’ is then more experimental with sparse atonal plucked notes and percussive sounds, leaving the vocals to issue a semi-aggressive rant.  This mood of restraint continues on ‘Hurt’ with its tensile and suspenseful tone, yet conversely the vocals are far more chaotic and unhinged in delivery and sonic treatment. Moving into the back third of the album, ‘Bait’ opts for a straight forward, mid paced pummeling riff, pounding rhythmic thuds and synth squall which are combined into a song style, which is reinforced by the ranted, half sung/ half screamed vocals. For the final of the 5 tracks, ‘Blood’ is an instrumental piece which bookends the album with a lengthy industrial soundscape of looped drones and cinematically tinged elements, which is calm yet tensile in equal measures (…and consequently and excellent track). Although I do not know how reflective this is of other recent albums and despite its quite significant deviation for my own (…perhaps ill informed) expectations, I have very much enjoyed this album.

Claustrum – Funeral Fugues & Reminiscence † 1992-1997

Claustrum – Funeral Fugues & Reminiscence † 1992-1997 CD Old Captain 2016

Claustrum are a Latvian project whom I am not at all familiar with, despite it seeming they have been around since 1992. But according to what background details I could dig up, evidently their sound has evolved over the years to include: dark ambient, industrial, neoclassical, martial industrial and power electronics.  As per the (perhaps obvious) title, this album collects together 18 selected tracks from the first 5 years of the project.

Although featuring early Claustrum material, this includes material which is well above what you might usually expect from the fledgling steps of an artist, and covers some stellar dark ambient offerings and more fully completed neoclassical tracks. Contextually speaking about the first half of the CD features sacral dark ambient type tracks, and in more than a few fleeting moments brings to mind the likes of the highly regarded Raison D’etre, (…particularly with the use of church bells, sampled/ manipulated choir chants and dank subterranean atmospheres etc). But this is not a case of Claustrum drawing direct influence from Raison D’etre, particularly given that both projects commenced in the same year of 1992, therefore they both clearly evolved a similar sound in isolation of each other.  On the later half of the tracks, a greater proportion shift towards neoclassical expression and features more heavily composed tracks which range from funeral organ dirges to rousing martial driven pieces etc. Regardless of styles covered, all of the featured tracks are on the shorter side (…given none exceed 6 minutes and most are around 3 to 4 minutes each), which provides the feel of short musical sketches rather than a holistically composed album, yet the musical flow still manages to meanders between pieces without jarring the general mood and atmosphere. Perhaps the only real musical missteps of the album is the darkwave styled ‘Instrument of Cacophony’ (…which include guitars and sung vocals), which to this ear sound clunky and awkward compared to the rest to the material, while some of the neo-classical elements do suffer from an overtly synthetic edge (…but is more of a minor observation).

As with most Old Captain releases, this has been issued as a cleanly designed digi-pack in a small edition run (250 copies here), which clearly functions to provide the label flexibility and scope to issue interesting obscurities such as this.

Mytrip – Filament

Mytrip – Filament LP Amek 2016

Although not having come across this Bulgarian solo project before, sole member Angel Simitchiev has issued a dozen releases since 2007, with ‘Filament’ being his latest offering.  And although the project is billed as an ambient / drone project, this release operates at the border regions between dark ambient, drone, (modern) industrial and (abstracted) experimental techno, therefore encompassing a sound that defies easy categorisation.

‘All Black’ opens the album with a slow spiraling, vortex inducing drones (…think of a more mellow Yen Pox), while the following cut ‘Fibre Mask’ blends some excellent micro-tonal textures, smattering of keys, slow throbbing kick and deep ‘dub’ rhythm to drive the mood (…and consequently is the first album standout).  ‘Dust’ then rounds out the first side with a short piece of mid-toned shimmering synths, combined with deep bass addled drones and minimalist rhythmic programming towards the end for good measure.  Another album highlight in the form of ‘Lustre’ opens the flip side of the vinyl, which after an extended, laid back droning introduction adds a driving mid-paced kick-drum, moody synths and additional swirling drones.  ‘Adaptive’ regresses with sub-orchestral vortices and a dour synth melody (…coupled with some seriously heavy bass rumbles), while ‘Soft/ Outer’ closes out the album with a dark and heady mix of moody minimalist dark ambient, bass driven drones and laid back beat (…a sublime conclusion).

Sonically and visually this release would slot quite easily into the current rosters of the likes of Posh Isolation, Hospital Productions or Northern Electronics, which should give a clue to the hallmarks of this as a high quality production. Also after having used the group’s Bandcamp page to first sample this release, I can say that online listening does not do this release full justice, as the vinyl mastering really elevates the sound through its deep and heavy bass production.  Perhaps this release slightly deviates from the usual types of releases reviewed herein, but ‘Filament’ demonstrates some clever intermingling and styles and influences without being overtly slavish to any one particular genre. A slick matt card gatefold cover rounds outs the visual and physical presentation, with the music pressed on the black vinyl being worthy of investigation if this review has raised any interest or intrigue.

Theologian & The Vomit Arsonist – Nature Is Satan’s Church

Theologian & The Vomit Arsonist – Nature Is Satan’s Church DLP Cipher Productions 2016

Originally released as limited CDR in 2013 on Oppressive Resistance Recordings, Cipher Productions have seen fit to reissue this on vinyl with all new artwork and 3 lengthy remixes appended for good measure.  Thematically the album functions as a direct homage to to Lars Von Trier’s film ‘Antichrist’ (….or perhaps can be considered an alternate soundtrack of sorts?), and certainly manages to capture the mood of mental anguish and emotional desolation of the film.  Sonically speaking this music found herein is far removed from what might be typically expected from either project, where ‘Nature Is Satan’s Church’ features industrial orientated drones and minimalist dark ambient soundscapes (…which then verges on the isolationist ambient side of things at times). In then tying back to its inspiration source, this minimalism has replicated and expanded upon the the harrowing and starkly minimalist sound design (…which is only fleetingly employed within ‘Antichrist’), while each of the 6 album track titles specifically replicate each of the chapter titles of the film.

‘Prologue’ commences the 6 main album tracks and sets the scene with a moody series of orchestral type loops and a lone female choir vocal sample, which is clearly a nod to the music of film’s opening chapter.  This track then turns out to be the most ‘musical’ on offer (…which again is reflective of the film’s sound score) and functions as the gateway into a slow descent of creeping anxiety and rising dread. This is particularly demonstrated on the second track ‘Grief’ with is foggy enveloping ambience and sonically wintery landscapes, but later in the piece it ramps up with added windswept force (…including a section of echoed knocking tones which creates a haunted basement vibe for exceptional effect).  ‘Pain (Chaos Reigns)’ on Side B is structured around a series of minimalist but quite forcefully driving loops with gradually elevating momentum which culminate in foghorn styled intensity.  ‘Depair (Gynocide)’ continues the album’s established dank and oppressive minimalism mixing layered bass rumble, and a heavy dose of echo and reverb, while ‘The Three Beggars’ continues a comparable droning blast furnace styled approach. ‘Epilogue’ rounds out the final of the main album tracks with an general sense of stasis, where its gradual sonic fadeout drags the sound down into ultimate oblivion.

With the 3 re-mix tracks, these broadly maintain an underlying feel and mood of the source material, but also provides individualistic sonic flair on each.  Four Pi Movement features first with ‘Despair Remix’, where the mood of this piece features some prominent and driving ‘cosmic’ type synth elements.  Worms of the Earth follows with ‘Chaos Reigns Remix’, which is sonically more consistent with the source material, but here with the main augmented/ additional elements consisting of driving synth melody, sparse percussion and sampled Gregorian chants for excellent ritualistic result. Iszoloscope then rounds out the remixes (…and album overall) with ‘Pain Remix’, being a quite minimalist drone affair and generally closest to the sound of the main album tracks.

Having heard this previously this via its original CDR edition, I did observe that due to its sprawling scope, minimalist construction and continuous soundscape format, that if full and attentive listening was not facilitated you could get lost along the way as to exactly which track was playing.  While this is not in any way a criticism of the music, I do perhaps feel the vinyl format is a much better fit for this album as there is ongoing engagement with the material due to having to change sides as the album progresses.  As for the cover, the photography courtesy of Gretchen Heinel functions as a stunning visual counterpoint the featured sonics, which also appears to pay homage to the style, colour palate and visual mood of ‘Antichrist’. Overall this is an excellently realised release: from concept, to visual representation and ultimately its sonic execution and should not be passed over despite its limited pressing of 150 copies.

Concrete Mascara – Caustic Realities

Concrete Mascara – Caustic Realities MC Angst 2016

In reflecting on the comments made about the sound production of the last full length ‘Perennial Disappointment’ (reviewed here), at the time I did wonder whether my initial assessment was slightly off, but found I came to the same conclusion after multiple revisits of the album over as many months.  Fast forward to this new 4 track cassette it provided further opportunity to test those perceptions, and upon hearing it to my mind vindicates my impressions of the last album’s production.  Again it is not to say the production on ‘Perennial Disappointment’ is in any way bad, rather the equalization of all layers meant it lost the depth and space which made Concrete Mascara’s sound really stand out in the past. To then refer back to the trademark sound it is on full display here, being harsh and hard industrial/ power electronics (…but equally with that characteristic separation of those elements).

‘Caustic Realities’ features 4 tracks spanning around 30 minutes (2 tracks each side), and contains everything I love about the project: moments of unbridled aggression; ripping mid to high pitched noise squall; harrowing and agonised vocals etc., which all framed around a bedrock of dour synth lines. Sitting well within such parameters, an elongated ominous synth line draws you in on ‘State Disappointment’ and from there gradually introduces a variety of wailing noise textures and vocals which span the spoken to a gruff roar (…although is perhaps a more controlled atmosphere overall than normal). ‘Blacker Than Pitch’ follows and amps things up a notch with a driving synth pulse and shredded vocals (…mixed well up front in the mix), while the loose mid toned noise become increasingly chaotic as the track surges onward.  On Side B ‘Relentless Affirmation of Futility’ opens with a feel of idling stasis, before layered ‘needling’ high pitch noise and manic and unhinged vocal screams push the mood of the piece over the top. ‘Drowning in Tar’ then rounds out the 4 track release, with a loose and only minimally structured affair of sprawling mid toned layers which weave and intertwine, as the barked vocals barely rise out of the sonic muck.

Although ‘Caustic Realities’ does not necessarily bringing anything new to the table of what Concrete Mascara have done before, this is still a varied and standout example of their characteristic sound. A release worthy of your investigation.

Human Larvae – Behind Blinding Light

HL

Human Larvae – Behind Blinding Light CD Malignant Records 2016

For those who missed the original LP version released by Freak Animal also in 2006 (…perhaps due to the limitation of 300 copies, or maybe vinyl is not the preferred format?), Malignant Records have been kind enough to quickly reissue this on CD.

Not to repeat the original review (which can be located here), this is an excellent album and one of the best of last year. To then quote the conclusion of the full review: “Without being in any way derivative, ‘Behind Blinding Light’ is a strong, focused and sonically diverse industrial/ power electronics release which demonstrates full control over its sonic elements, both in the recording and their construction”.

All elements of the original artwork are included here, but reformatted in the guise of a 8 panel fold over digi-pack. In a word: recommended.