Streicher – Global Gas Chamber / Totenrune – Bellum Internecinum 10″ep Unrest Productions 2007
With the original edition of the tape being limited to a mere 100 copies (reviewed here), unsurprisingly it promptly sold out upon release. But given the quality of both project’s contributions and that it heralded the reactivation of the dormant Striecher, Unrest Productions quickly stepped up to ensure the tape did not languish in obscurity. For this new edition the vinyl has been pressed in a slightly less limited edition of 200 hand-numbered copies, and features elements of the original artwork but re-contextualised for the square format of the cover.
Sonically both tracks from Streicher and Totenrune sound fantastic on black wax, which it very much providing a suitable tonal depth and heavy analogue crunch. There is also some small adjustments to the Streicher track, where a slightly different mix is featured and instead of an ending fade out, it abruptly cuts off with a heavy metallic thud (…like a monolithic iron door slamming shut). The Streicher track is also an excellent example of how one’s own perception can colour the interpretation of presented material. By way of example, when first listening to the cassette I took the pig squealing as a sample of a terrified animal being put to death, but rather amusingly I was later informed that it is actually a sample of pigs copulating! (…live and learn as they say).
There is not much more to say other than if the cassette passed you by, do not let the potential to pick up this new version slip through your grasp. Recommended.
Anemone Tube – In The Vortex Of Dionysian Reality CD Blossoming Fern 2017
Noting that a 20 minute cassette EP was issued in 2015 under the same name, this is not a simple re-release on a new format, rather it represents the augmentation and expansion of that material into a 44 full length album (…through the inclusion of 4 new compositions and a reworked version of the opening track).
Within the review of the original tape (located here), some of the observations made included: “…it is a further display of Anemone Tube’s particular style of harmonic/ disharmonic infused dark ambient/ industrial music”; and that it was a: “…demonstration of Stefan Hanser’s ability to create deeply evocative soundscapes built around melodious elements, sculpted field recordings and squalling feedback”. Those comments still stand here and equally can be applied to the new material which follows the same sonic template. The entire album has then been re-mastered by Hunter Barr (of Knifeladder, Black Light Ascension etc.), which has given it a notable different in sonic edge when compared to tracks features on the original tape (i.e. a tonally sharper yet more spacious mix).
Without going into a track by track breakdown, the material based around a blend of looped and processed field recordings and orchestral oriented synth pads which combine to creates an overall mood which is beautiful, tragic and forlorn in equal measures. A dual nature to the sound is also displayed through the balancing of disparate elements, where compositions are underpinned harmonic synths, and then offset by washes of higher pitched disharmonic noise and tonal drones. With the inclusion of 4 additional tracks, these fit seamlessly into the framework of the balance of the tracks, and never stand out of feel like awkward additions (…in fact I had to compare the run order of both the original tape and this CD to work out where the new compositions had been inserted). As for the final album track ‘Like The Streaming Of A Giant River, Life Is Passing, Without Ever Turning Around’ this is contributed piece from the Ukranian project Monocube who have composed their track from field recordings made by Anemone Tube and slightly deviates in sound based on this external influence and input, given it is more geared towards a ritual and tribal infused drone type approach (…although the harmonic/ disharmonic elements retains a familiar edge).
Presentation wise, the 6 panel fold out sleeve is beautifully designed at the hands of Stefan Hanser (aka Anemone Tube), and includes quotes from Friedrich Nietzche and Friedrich Schlegel to further flesh out the conceptual framework of the release. Another excellent addition to Anemone Tube’s discography.
The Vomit Arsonist – Meditations On Giving Up Completely CD Malignant Records 2017
With a substantial discography extending close to 40 releases since 2004, ‘Meditations On Giving Up Completely’ is in fact only the 5th full length album from Andy Grant’s solo project. In then taking a quick looking at Andy’s creative arc over the last few albums, ‘Only Red’ from 2015 was notable in that it took the brooding death industrial sound of 2013’s ‘An Occasion For Death’, but opted to ramp it up with an aggressively rhythmic approach. But rather than potentially continuing on that more direct path, ‘Meditations On Giving Up Completely’ shows clear sense of honing, refinement and restraint in order to create claustrophobic death industrial atmospheres (…to rival the best moments of early Brighter Death Now).
‘Meditations’ opens the album with a minimalist “yawning chasm” tone (…this metaphor is to be read as industrial hum, echo & rumble), and with its semi-buried dialogue sample it very much feels as an introductory piece to set the mood. The following piece ‘What’s Left’ then features as an excellent offering constructed around a slow pummeling death industrial ‘beat’, idling machines and general wasteland ambience, as Andy’s agonized and unintelligible distortion charred vocals articulate a mood of anguish and desperation. Thus from the template established by the first two pieces, the following tracks effectively play out as further variations on these established theme. However to talk of notable elements, the wailing siren sound on ‘It Never Ends’ is a standout when set against a monolithic and slow pounding beat, as is the morbidly cavernous depth and gradually rising dread of ‘On Living’. During the album’s last third, ‘There is Nothing Here’ features a pounding beat that despite pushing towards a mid-paced rhythm the overall mood remains of one of brooding restraint, and with this same tone seeping into the final track ‘Sick Over’ (..which itself bleeds out in shuddering convulsions over 10 minutes).
With each track spanning around 6 minutes or longer, each of the 7 tracks are effectively elongated death industrial meditations on nihilism, underpinned with an enveloping sense of brooding despair. Likewise given the album’s general minimalism and restraint in deliver, its layered sonic elements and sporadic vocals have been meticulously combined for substantive impact. Without seeking to significantly deviate from what has preceded it, ‘Meditations On Giving Up Completely’ features a clear sense of honed refinement, and in the process has issued an imposing death industrial statement.
Various Artists – Poison Vol.II MC New Approach Records 2017
Over the years the post-industrial underground has clearly placed a high degree of importance on packaging and presentation, and in this context the special wooden box casing of this cassette compilation immediately caught my eye. With it then being noted the tape features recognized artists of Kontinent and Wertham (…and the contributions of a further 4 artists), it represented a coveted item to track down. Likewise with only 6 tracks featured it warrants a brief comment on each contribution:
- METEK open the set with their piece ‘Prey’ features suffocating tape hiss, slashes of radio static and choking bass riddled resonances, which teeter on an ‘industrial-noise’ edge between controlled and freeform (…and a solid intro piece as a result).
- Kontinent follow with a dose of their heavy electronics sound on ‘Hive Mind’, and is an excellent piece of droning synths, static shards, layered noise and treated dialogue samples to create a heavily paranoid vibe (…and is one of the best and immediately impacting tracks I have heard from this newish UK project).
- Wertham are up next and do what they do best on ‘Diagram For Delinquents’, which a bulldozing wall of muted ‘blown-out’ analog distortion which resembles hissing gas in loose looped form (…but perhaps the sound is also less immediate of can usually be expected from Wertham’s given the absence of Marco’s trademark and heavily accented vocal barrage).
- See Through Buildings opens side B with ‘Ototoxic Agents’, which is direct in its loose and chaotic noise approach (…being squalling and freeform in its distorted mid to higher pitch sonic attack, but perhaps the least to my liking given typical noise sits within my listening preferences).
- Deterge (…who I know by name only), feature their track ‘Hg(CH3)2’, being a minimalist and droning industrial track and gruffly yelled vocal which generates an excellently morbid atmosphere (…and another tape highlight).
- Instinct Primal then concludes the set with ‘Resonant Peak 2’, and sits towards an experimental dark ambient sound of expertly crafted proportions (…shifting droning layers mingle with micro-tonal elements to create a widescreen and barren landscape styled atmosphere as a calm conclusion to the tape).
Overall I would say this is a strong compilation, but all the same is perhaps not quite to the level of a mandatory one. But with that said the packaging absolutely targets the fetishistic aspects of the post-industrial underground and certainly makes for and adds to the overall experience of listening to the contributions on the cassette and one I am glad to have tracked down.
Totenrune / Insurgence – Totenrune / Insurgence MC Lost Empires Records 2017
Following quickly on the heels of the split with Streicher, Totenrune has returned with another split, but this time with the noise/ industrial project Insurgence, and with the tape being issued on a new French based label.
For Totenrune’s 3 tracks it lead off with a murder confessional sample on ‘Libertine Atonement’ before the raw mass of distorted rumble and heavily treated vocals which provides a rough power electronics slant to the industrial-noise approach, although is also quite laid back in actual sonic agression. Being slightly more tonally forceful, ‘Rapture in Homicide’ then features spitting distortion and loose sense of structure and forward momentum (…although still relatively calm), while the final track ‘Mors Triumphalis’ is built around a prominent grinding loop and looser underpinning echo and rumble (…again being relatively laid back than what might be typically expected). As a general observation when comparing Totenrune’s tracks here to their earlier material on the Streicher split, the mood is more subdued and comes across as being more controlled and considered as a result.
In moving on to Insurgence’s contributions, although not having heard them before I am aware they have been compared to Deathkey, which is a somewhat valid comparison despite not achieving the same over the top fierceness. Regardless of this, the first of 2 Insurgence tracks is ‘Lost Innocence’ and demonstrates a step up in sonic intensity from Totenrune’s contributions. The first segment of the track is based on a prominent ‘stones in a cement mixer’ styled loop (…coupled with samples, static and raw junk metal), before the second segment takes a further step up with blunt-force, churning noise and unhinged vocals (…all force-fed through a feedback grinder and treated with a heavy dose of echo and reverb). The second Insurgence track ‘Shine’ heavily deviates where it commences on ritual industrial routes with chanted vocalisations and cavernous catacomal ambience, before moving back towards to a brutal and chaotic and junk metal noise sound (…complete with shuddering/ burrowing structures and unhinged/ overblown vocals before coming to an abrupt conclusion).
Packaging wise a raw collage is featured on the colour J-card which is stylistically perfectly suited to the sonics on the tape. Obviously this sort of release is not about bringing something new to a raw and ripping industrial-noise / power electronics sound, rather both projects simply deliver a solid dose of underground grit for the faithful.
Le Syndicat Faction Vivante – Morceaux De Choix CD Aussaat 2017
By virtue of the project’s name the direct relationship with the long standing French project Le Syndicat should be clear. Likewise with some further sleuthing it reveals that Ruelgo (…currently the only permanent member of Le Syndicat), has been joined by Saphi of another French project Nocturne (…but even then it is still not clear as to whether this pairing is for this album only or on a more permanent basis, or whether his joining is the reason for the slight moniker variation).
To speak of its sound and style, personally I do not have a clear appreciation of Le Syndicat’s rather extensive back catalogue (…extending back to 1982), thus I can’t say how this new album generally compares. Yet from direct listening it can be deduced ‘Morceaux De Choix’ is rooted in a general amalgam of experimental, noise and industrial styles. The promo sheet further indicates that a particularly studio process referred to as ‘reflex piloting’ has been used in album’s production, which: “integrates the loss of control and the surprise of generative errors, creating new unexpected sound forms”. Noting this statement provides a brief explanation of the creative process of recording, it provides some clear cues as to how the album sounds. Equally the final results seem in part to emulate a style and approach derived from a much earlier era of experimental industrial noise music (…meaning the 1980’s from a time where sub-genres where far less defined).
With its mixed sonic approach, the tracks meander and swing wildly between moments of calm and chaos, where the overt layering of sound elements provides a high degree of complexity to the material. Selected tracks follow atonal rhythmic industrial approach (…formed around pounding and manipulated programmed beats); while other pieces feature fractured higher pitched ‘needling’ elements and panning stabs and slashes of distortion; and yet others employ fast paced and disorientating sonic cut-ups (…which embodies a sense of creative control, despite these looser and jagged tonal elements). As for the sound production, it has achieved a sharp and clear sonic palate, and with its forceful and clinical edge it at times articulates a type of ‘mad sonic professor’ vibe.
With 10 tracks spanning the best part of an hour, this is an interesting concept but based on my own sonic preferences which does not extend to being a ‘noise connoisseur’ I am not likely to return to on a regular basis, thus this release is best suited to those who lean towards an appreciation of controlled and occasionally frenzied dynamic noise (…with more fleeting industrial and experimental type sonic textures).
Human Larvae – Methods of Submission MC Cipher Productions 2017
With new material from Human Larvae always being a welcomed prospect, this release has followed quite quickly from the last exceptional album ‘Behind Blinding Light’ (reviewed here). On ‘Methods of Submission’ it features in the order of 30 minutes of material via a single untitled track on each side of the tape, thus noting that this new tape shifts into a longer, freeform style, it steps away from the more focused power electronics and death industrial sound of recent albums.
Side A reveals a long form cut of rough and caustic, mid-toned and mid paced industrial noise. Featuring a heavily layered approach, various elements of churning distortion, spitting static and a solid industrial crunch (…which may just be sourced from junk metal). Sonically this track sits at the mid to lower ranged realm, and does not reach anywhere near ear shrieking intensity, but also pack a weighty sound all the same. Side B follows a similar elongated sonic path, yet here the static and distortion are tonally pushed up a notch, while a number of forceful droning loops provide a sense of drive and forward momentum (…a half buried screaming sample introduced later in the piece also functions to generating a sadistic edge to the mood).
Although perhaps lacking the immediacy of tracks found on ‘Behind Blinding Light’, ‘Methods of Submission’ is a solidly intense and unrelenting dose of churning industrial noise filth, which certainly suits and reflects the BSDM theme of the artwork. Packaging wise, Cipher Productions have produced more excellent results, with the cover featuring a small 8 page booklet housed with the tape in a canvas over-wrap and front panel cut-a-way. With a short limitation of 75 copies, this is unlikely to be available for long.