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.

S.E.T.I. – The Sphere Of Density

S.E.T.I. – The Sphere Of Density 2CD Zoharum 2020

Andrew Lagowski’s long-standing project continues to forge ahead with his now trademark deep space focused drone/dark ambient musings. For this recent release it features an album of new studio material, in addition to a live recording from the 2019 Wroclaw Industrial Festival.

For the studio material, it is characterised by galactic scale drifting drones, and with only five tracks spanning 114 minutes, it gives a clear hint at the slow pacing and evolution of The Sphere Of Density. Coupled with the monolithic widescreen drones are the tasteful use of sparsely melodious synths provide a hint of musicality and on occasion rise towards a tonal level which provides an oblique nod to the early Berlin school sound. Also of note, while the swelling melodious progressions are of a particular minor key scale, they are not overtly dark, rather contemplative and drifting in atmosphere. Sparse ‘alien-esque’ rhythmic phrases also appear on occasion but are subtle and unobtrusive while functionally adding an enigmatic mood. Yet the final track 11^th Dimension stands out from the rest, with the inclusion of transmission signals and scattered radio chatter against a heavier and more forceful cosmic churn.

The live recording on the second disc was evidently based on improvisation and consequently differs from the studio material. Although the sonic undercurrent is still drone-ambient in flavour, the overall execution is slightly more post-industrial tinged, where tonal slashes, sonic shards and mechanised rhythmic whir variously interjects over the singular 40-minute span. The end result is both a sonically strong and enjoyable, but also mostly feels to be a bonus disc rather than equal half to the studio album.

Perhaps as an overall observation, Andrew has released pinnacle-level material for literally decades now, which makes it all the more difficult to stand out against his own discography. Yet sidestepping such a suggestion of Andrew needing to complete with himself, simply put The Sphere Of Density is yet another superb stellar sonic journey, where the vastness of deep space slowly unfurls within the inner mind’s eye. Six-panel digipack with exquisite graphic design rounds out the presentation of an excellent release.

Jagath – Devalaya

Jagath – Devalaya CD Cold Spring Records 2020

Jagath is a relatively new Russian ritual-industrial project concerned with recording in unconventional locations such as underground sewers, mine shafts, and other abandoned industrial spaces. This results in the spatial sonic timbre of such locations being infused with other musical elements including vocals and handmade instruments (while also specifically avoiding the use of digital means such as synthesisers). The generated sound then sees a blending of raw post-industrial metallics and more archaic ritual elements of the vocals and handmade instruments. Evidently, the chosen recording location for this album was a monolithic decommissioned oil tank.

A key aspect to Devalaya’s prevalent atmosphere is the slow and controlled pacing, where the five meditative tracks unfold over an extended length. Deep guttural throat chanting drenched with reverb and thick bass drones introduces the album on Agadah (Abyss), where the subsequent track titles allude to a journey or transformation of sorts (i.e. Utthana (Rise), Catu (Conversation), Devalaya (Temple), Nila (Darkness)). As part of the broader approach, passages of ritual throat chanting are seamlessly blended with reverb-derived drones and further interspersed with slow percussive segments, distant wind instruments, sporadic use of ritual chimes & mouth harp, and the ever-present interjecting shards of metallic textures. Some aspects of contributed sound are clearly identifiable (such as metal being dragged over concrete, or metal striking metal), while the source of many other sonic elements remains obscured. Also of note, a number of repeated sonic elements across the album strongly remind of Alan Lamb’s classic ‘wire music’ experimentation.

For the physical presentation, the six-panel digi-pack is adorned with stunning photos, including some images that appear to be from the actual recording sessions. All in all, Devalaya is an extremely engaging album of emotive atmospherics which blends archaic pre-modern ritual sounds with a current aesthetic of post-industrial decay. But given its minimalist construct and controlled pacing, it certainly does not sound to be the result of a project with eleven members.

Various Artists – Terässinfonia Vol. 1 / Terässinfonia Vol.2

Various Artists – Terässinfonia Vol. 1 / Terässinfonia Vol.2 CD Freak Animal Records 2020

Freak Animal Records have always been a huge supporter of new and up and coming projects in the noise-industrial-experimental underground, no matter how obscure. These two collated volumes are then noted to have a more specific function: that being to specifically focus on current activities with the Finnish underground as evidenced by the tagline of: ‘The sound of Finnish experimental noise. Terässinfonia : Steel Symphony’.

Noting the role of a good compilation is to showcase projects you may have not come across before, on that front I only recognise a handful of project names across the 24 contributions here, which includes (in order of appearance): Umpio, Kitu, Tyhjä Pää, Hazarda Bruo Sonsistemo, Atrophist, Unclean, Edge Of Decay, H.Ö.H, Jazzhand, Rotat,Junkyard Shaman, Contortus, Metsäkirkko, Ihmisen Jälkeen, Nuori Veri, Parempi Ratkaisu, Amek Maj, Toteslaut, Maskhead, Vitun Siat, YANA, Circle Of Shit, Ahola & Silander, Electric Hobo, Tyhjiø. However, as there are then far too many contributions spanning the two discs to focus on individually, some of the notable highlights of those projects whom I am not overly familiar with include:

• Kitu – Edeema: features a strong contribution of hollowed-out industrial rumble and soot-infused ‘abandoned factory’ ambience.
• Hazarda Bruo Sonsistemo – Loishäätö: contains upfront ‘detailed’ sounds sitting over a rising tide of thickly atmospheric distortion.
• Atrophist – Mutation Cycles: offers a touch of sonic respite on the first disc, with a droning composition that edges ever so closely towards dark ambience.
• H.Ö.H – Mittausteknologian Kehittyessä: aims for more experimental expression with a short track of wonky sparse cutup sounds and tape loop material.
• Jazzhand – Gavia Arctica: stands apart given its main focus on natural based field recording, while a minimal underpinning drone and vocal and relegated to being low wihin the mix.
• Junkyard Sharman – Harha: opting for an enveloping ritual ambient drone-work, the compositions subtle scrap metal elements sitting off within the background.
• Nuori Veri – Jatkumon Ahjo: ranges from minimalist ‘micro-tonal’ elements, which are blended with sampled choral vocals for emotive effect.
• Parempi Ratkaisu – Ali-ihmisten Kärsimys: actually reminds quite strongly of Grunt’s sound, given its focus here on raw noise which has been roughly hewn into intertwining scrap metal loops.
• Toteslaut – Strike the Master Sword: strongly impresses with a track of raw and overblow power electronics, complete with rough vocal proclamations.
• Yana – Tuntematon: shifts tactic to charts a minimalist soundscape of sparse tones and a variety of scrabbling sonics.
• Ahola & Silander – Koitos: is notable with its thick and warm, yet hollow tonal quality to its clinical experimental drone-work.
• Tyhjiø – Aurinko: being a raw and spitting noise-industrial track with significant sonic heft thanks to its massive production sound.

Despite not all tracks getting an individual mention above, there is a lot to like and discover across the 80 minutes of material spanning two separate CDs. But it is also worthwhile noting that a number the more established names like Umpio, Unclean, Edge of Decay, Rotat, Contortus, Maskhead, Circle of Shit function to represent the harsh noise, scrap metal industrial, and ripping power electronics sounds of the Finnish underground. The striking collages of the cover artwork provide a suitably strong visual presentation and are further pressed as four-panel digipacks. Solid compilation collections all round.

Himukalt – Between My Teeth LP & Septic

Himukalt – Between My Teeth LP Helen Scarsdale Agency ‎2021

Himukalt – Septic LP Malignant Records 2020

Straight off the mark, it is highlighted that Between My Teeth is not a new album from  Ester Kärkkäinen’s project Himukalt, rather is a welcomed vinyl reissue of a 2018 tape. Packaging is also immediately noteworthy given it comes with a full-sized 16-page booklet of Ester’s collage artwork, while the sonics have been duly given a remastered treatment. On the other hand Septic is one of Himukalt’s newer albums, and the second issued on Malignant Records.

Across the six cuts on Between My Teeth rudimentary yet fractured drum machine patterns eke out minimalist structures while spitting and fizzing fissures of distortion burst forth in chaotic and unexpected patterns. Vocals are then delivered in a laconic whispered to spoken style, but subject to further heavy echo and distortion smear treatment. I No Longer Belong is a particularly good track, based on a start/stop programmed rhythmic loop and cascading waves of bulldozing distortion, while the spoken vocals are relegated to the back of the mix. Mine, which opens Side B features a stilted and simplistic industrial techno thump, which is coupled with layered noise of jet engine proportions. In Every Stage Of This Oppression then offers a counter approach, with sustain tensile drones and spoken vocal passages which are obliterated with increasing jagged noise eruptions.

Septic does not significantly differ in approach, featuring a further five deep cuts of tonal angst. Although immediately notable is the sharpness and bulk of the recordings, as well as the power of the mastering (courtesy of Kris Lapke), where the whispered and low-spoken vocals have an immediate ‘upfront’ presence. Again the rudimentary drum machine patterns provide a basic structure to which static explosions and scrawled noise are framed. Yet with its layered mid-paced rhythmic loops, dive-bombing textures and sweeping noise The Drive Towards Oblivion charts a more straight down the power electronics sound than typical of the project, but the vocals bring an immediately recognisable tone. The title track opens Side B with a deep drone, low static loop, and spoken vocals, then using the tried-and-true method of slowly elevating intensity, which includes a stilted metallic oil barrel beat. The Gun In Her Mouth is the final track and feels to be the hit song of the album, based on its fast-paced programmed beat which when coupled with other looped elements gives it an anthemic type sway. A further sustained melodious synth line pushes the mood ever forwards, coupled with building static before peaking and collapsing at its conclusion.

To my mind, there is a thematic parallel to be drawn between the single-minded approach of Atrax Morgue and that of Himukalt. From Ester’s earliest cassette releases Himukalt arrived fully formed with a distinctly mature style and sound. Now that in excess of ten releases have been issued since 2016, there is a noted singularity of approach displayed across all of her releases, which is an element of consistency that also reminds of much of Atrax Morgue’s discography, despite the two projects sounding decidedly different. Given the sheer volume of material released in the underground these days, it is a difficult proposition to foster an individually recognisable approach and also to maintain an atmosphere of vitality over multiple releases. Yet both of these vinyl editions are equally strong testaments to Himukalt’s ability to do both with seeming ease.

Cent Ans De Solitude ‎– En Concert – El Diablo, Lille, France 29.11.14

Cent Ans De Solitude ‎– En Concert – El Diablo, Lille, France 29.11.14 LP Force Majeure 2020

Cent Ans De Solitude is a somewhat obscure French experimental noise-industrial project of Jean-Yves Millet who has been active since the mid 1980’s. Yet the obscurity is perhaps explained by the limited output from the project over the years, which has mostly on compilations rather than his own albums. To speak of one compilation contribution, the project notably was featured on the now cult classic Zyklon B cassette compilation from 1994 which was collated and assembled by Les Joyaux De La Princesse (LJDLP).

To then talk of this recent release, the visually striking Russian Constructivism-inspired cover artwork draws immediate attention, while the title denotes this album as being a live recording from 2014. La-Bas is the short intro piece based on dour melodious elements, shimmering noise and smatterings of muted vocal chatter opens the album, which later shifts off into a lengthy experimental noise passage of drone, bowed metal shrieks and sampled radio dialogue which encapsulates a moodily atmospheric and hollowed out tone. Given the live flowing format of the recording, it is not immediately clear where one track concludes the next commences, but the later half of Side A sees jagged and metallic tonality offset against a drone of increasing intensity, and by side’s end the tone has risen into a cavernously echoed cacophony of sound. Paysages Industriels opens Side B resets the sonic approach with melodious (piano?) loop and distant creaking junk metal tones. The next track Des Visages Et Des Ruines with its layers radio chatter, rising orchestral style synths, slow pounding martial beat and muted industrial noise reminds strongly of the martial industrial approach of LJDLP, which is a high compliment from these quarters. The Unacceptable Face Of Beauty follows and charts yet further stylistic territory with prominent looped orchestral elements taking focus prior to rhythmically percussive elements being introduced later in the track. Ailleurs is the final piece and reverts to tonal noise experimentalism of the first side, featuring shimmering drones, sampled dialogue and the shrieking of bowed sheet metal, while muted dour melody and heartbeat pulse appears late in the piece.

Of note, this live recording was first issued in 2019 on CD via Jean-Yves Millet’s own label Les Nouvelles Propagandes and now been given the vinyl treatment on ‘rust’ coloured wax, which is housed in full colour screen-printed, foldout sleeve. Despite being from a lesser-known artist within the post-industrial underground this is a wonderful discovery of highly varied and atmospheric experimental noise-industrial soundscapes. Very worthy of further investigation.

Haare ‎– New Age Of Death

Haare ‎– New Age Of Death CD Aussaat 2020

New Age Of Death was fittingly issued in the final month of the ‘plague year’ of 2020, and followed quite quickly on the heals of the Brain album also on Aussaat (reviewed here). For this new offering, it features four lengthy tracks of freeform psychedelic and ritually tinged experimental noise.

Thunderbolt Gate Invocation opens the album with slow paced meandering serpentine coils of sound, warped tones and thick bass focused aquatic rumble. There is a sparse calmness to proceedings, where the heavy use of echo and reverb provides hallucinogenic effect. The slow unfurling pace continues on Phowa which opts for a more straight down the line doom-drone oriented offering, where the abstracted bass guitar distortion is sonically notable, but does become more freeform as the track progresses. The title track is the longest piece at 20 minutes, consisting of a thick washes of hollow wind-tunnel styled textures, and minimalist underpinning bass drone, while a slow swirling churn to proceedings remains throughout. Final track Maitreya elevates a ritualised and psychedelic sound above all, framed around a central shimmering tone given the impression of a hurdy gurdy, further combined with a variety of sparse ritualised chimes.

Based on the length of the four tracks and their overall slow pacing, clearly this is an album on the much calmer end of what Haare do, so certainly an album contemplative and meditative appreciation. A mini-gatefold card cover rounds out the dark vein of psychedelic spirituality nicely, with the physical edition limited to a mere 200 copies.

Sa Bruxa – Gnosis

Sa Bruxa – Gnosis CD Dunkelheit Produktionen

Gnosis functions as my introduction to Sa Bruxa, yet ten or so releases have already been issued since 2016 on various formats (digital, CD and cassette). But in then noting that the project name translates to ‘the witch’ in Sardinian, it provides a strong indication that there is likely to be a ritualised sound at play. This turns out to be correct and being self-described as ‘hexed electronics’, where there is a darkly archaic ritual ambient/industrial timbre to proceedings.

The album features nine distinct but untitled compositions, each around six to ten minutes each. With a slow unfurling of its ritual sonic tapestries, Gnosis displays substantive musical ideas and sonic detailing across the album’s 65 minutes. Each distinct piece is frames around a variety of tonal elements, variously including: dank subterranean drones, bleak but strangely unidentifiable field recordings, tribal rhythmic elements, ritual percussive clatter, and on occasion abstracted garbled/chanted vocals and dour rudimentary synth melodies. Thus, with the core of the material seemingly being framed around seething field recordings and coupled within real instrumentation and occasional vocals, it pushes the overall tone well away from a cleanly produced studio sound, and one which at times gives a slightly more modern nod to the ritual sonic spheres of the cult Nekrophile Rekords roster.

In an overarching sense there both clear character and atmosphere at a play on Gnosis, which makes for a rather sullen experience given its darkly claustrophobic and soot-infused pitch-black atmospheres. Thus with reference to text on the digi-pack which states: ‘Gnosis is a journey into occult emotional soundscapes, articulated in ten nameless rituals’, rather than being a statement of bluff and bluster it is a very spot on and accurate description of what the album delivers.

Smell & Quim – Cuntybubbles

Smell & Quim – Cuntybubbles LP Cheeses International 2020

Look at the cover. Stare at the detail. Take in all of its garish, oddly surreal and theoretically offensive but more specifically hilarious visual elements. Even without reading a further description of the sonics found on Cuntybubbles, the cover is a clear statement of what to expect. Thus with the visuals being an effective counterpart of the sonics, it all combines to create a complete package of disturbed yet satirical improvised noise weirdness that only Smell & Quim can deliver. It then perhaps goes without saying that Smell & Quim are very much an acquired taste, and in my early years of getting into the post-industrial underground in the late 1990’s I found their surreal and absurd approach off-putting for my ‘too serious for my own good’ attitude at the time, so consequently I never deep dived into their now rather extensive catalogue. But with the passage of time, it means I am approaching Smell & Quim completely different light with an older mind.

The opening track Cleopatra Frankenstein kicks off in fine form with a mid-paced lumbering elephantine rhythmic stomp further blended with mutant noise. Later this gives way to a spoken word passage akin to a BBC radio story, and also sees the backing with shamanic drumming and random pop beats which cuts in and out. The very English titled Old Spunker is an extended length track framed around rhythmically looped sex noise (not kidding), elongated loops, and other sonic randomness, while a rising wall of wind tunnel noise elevates in the background. The fantastically titled Jimmy Saville – Timelord concludes Side A, in a short track of layered vocal cuts up and pulsating noise. Side B brings a further four tracks of sonic weirdness. Another fantastically titled Quim Reaper charts a sound akin to Smell & Quim trying their hand at death industrial, where a soundscape of grinding echo textures and descending synth tones acts as the backing to a looped vocal stating ‘and now we’re going to die’. Bang Out Of Order further delivers with a brute force industrial noise flair in all its overloaded distortion and bluster yet Smell & Quim stamp their trademark eccentricity through the inclusion of a sampled nationalist type song. The Cuntybubbles Variations follows and is the track where things get seriously weird – if they were not weird enough already. Being a track split into five parts it plays out as an LSD tip gone bad, chopping between noise cuts ups, odd spoken word, and more vaguely structure and rhythmic sonic passages. Rounding out the album is The Wicker Thing and returned to BBC radio story territory, with tolling church bells, minimalist countryside soundscape field recordings, spoken word vocals and a concluding acapella rural folk ditty sung by what I presume is an aging farmer.

As can be gleaned from the above, this is a rather sonically diverse and darkly surreal album as to be expected from the group, but is a strong and coherent album too, functioning on its own internal logic which pulls you into its weird and bleakly humorous sonic world. I have read the commentary of others that Cuntybubbles is as strong as their any of their best prior material, but I will leave it up to other long-standing fans to determine the validity of that. As a final note, this release sees the relaunch of UK label Cheeses International which has been inactive since the early 2000’s.

Silence Of Vacuum ‎– 6: The Rubberist

Silence Of Vacuum ‎– 6: The Rubberist MC Institute Of Paraphilia Studies ‎2020

For those unaware, Silence Of Vacuum is a side project of Mikko Aspa focusing on the specific theme of rubber fetishists, articulating this through visuals and sound.

As per the title this is the sixth in the series and features two untitled 10-minute tracks. Each of the tracks is based around laboriously grinding and seething layers of mid-toned droning distortion which is equally muted and minimalist. Clearly there is a muffled and ‘suffocating’ aspect to the atmosphere which aligns with the theme perfectly; there is limited sonic movement or tonal change displayed over the 20-minute run time.

As for the presentation, the tape is housed in an oversized black plastic box with a 20-page full colour booklet of vintage rubber fetishist imagery. Between the sound and the visuals, you can almost smell the latex, talcum powder, and sweat.