(self-released;
CDR; 2 tracks; 4 minutes 36 seconds)
(File
Under : …Brutal but short…)
First I thought it was a CDR sampler for the new upcoming album of these Tennessee brutal extremists, but I guess this IS the new record… A 2 song EP. Fuck I want more… I can’t wait to hear more of this pretty brutal death metal. Because fuck, here’s the deal buy them shitload of their exquisite death metal release on Unmatched Brutality and get this limited edition CDR that should be hand numbered. So here’s my supposition on this one, the CDR I got should be a tour CDR and the other release is on CD and got a cover… but get this and like me and all my friends you’ll be tongue in cheek for the next Brodequin CD since their two first, especially “Instrument Of Torture” are so good and new drummer Jon Engman (also of Foetopsy) which is a fucking monster behind his tiny drum and a gentle person too. Hands up Brodequin, but go for a new Full-length please, I WANT MORE MORE MORE.
http://www.unmatchedbrutality.com
(Sollipsism; CDR; 10 tracks; 56 minutes 38
seconds)
(File Under : …more of this Texas noise
vortex…)
This album begin with some of the most sick
sounds you can actually think, like a
guy howling slowly or agonizing on a contact mic with some wind sounds behind
(actually that was recorded live). That’s what impressed me first. I’m always
scared when it’s time to listen to Concrete Violin because it got one of the most
particular sound in the noise community. That’s not the most ear-splitting, not
the most original, but the most challenging one, like a vortex you don’t want
to fall in since you don’t know where you’ll be in the end. And the second
track proved me that this record is everything that marked the Concrete Violin
sound. Sadly, I’m going to make a confidence here, but when you put some
samplings in your songs, sometimes I can’t understand what they says since the
sounds are too process for my Latin ears… sorry but the samplings, even more in
Concrete Violin, are to me part of the tracks as sounds. I will repeat what I
say when I recently reviewed Austin Colley’s destruction of Richard Ramirez
works, but Concrete Violin is the only noise project I’m into that I constantly
raise the volume as the tracks goes on, this should be a proof that it is a
good record since most of the noise records I listen to make me do the
opposite… The first problem I got with the album is a mastering critic since
the space between all songs pisses me off and left me with a unprofessional
feeling. But the sounds on this album are really punishing, mixed I guess
between some very deranged mouth sounds (I don’t think we can speak of vocals
here…) and I guess some metal manipulation and that disturbing constant white
noise that surrounds all Concrete Violin records. This records comes in a I
guess the Concrete Violins records that are collaborations with other projects
(and watch the one with Foutredieu!!! coming soon) are somewhat superior to
what he releases on solo, as I guess the collab with TEF and Richard Ramirez
(that is not really a collab I guess) are superior to the Eyegouge CD and the
RRRecycled tape I heard. But when we talk about Concrete Violin, I don’t listen
to the project for years but I’m into noise and listen to enough records to say
that, we speak about something superior to the average noise project in the
North American scene. And this record, without that mastering problem that I
didn’t liked, is another demonstration of Austin Cooley’s very incisive noise
manifestation. But I heard from many people that this project should be caught
live and track number four called Happy Is He, was recorded live and proved me
the intense insanity Concrete Violin should provide on his live appearance, but
once again, the vocals are inaudible and makes me cry since I can’t understand
them… But the high parts of this songs will makes your neighbours runs for
cover since you’ll listen to this record at more than high volume. That’s
pure noise… Track number five
and his repetitive sounds will provide you some of the most scary pain in your
ears. Track number seven will scare you too while I was thinking it was a
whining fest for the escape froma
machine of death ready to crush you with a voice stronger imploring you
to don’t press the start button, that’s the Gates Of Janus… That was live with
applauds at the end… mmm… At this point of the record I realised that the most
crushing sounds from the album are taken from live sets… Maybe Austin should
always performs as if he is live… But maybe I think they marked me too much
because they are near unusual from the usual album sound of Concrete Violin and
the track number eight is a good exemple of a good return to the usual sound
but without sounding cheesy because it isn’t. The last track is live too but
isn’t the best one of the records, sounds like some field recordings at the
last edition of Concrete Violin grand prix, I mean it really sounds like some
car racing… what a weird way to finish a record… The records comes in a jewel
case with that kind of big pixels multicoloured picture that every Concrete
Violin records got, I guess after 4 releases you end up thinking these cover
are not that ugly… This one is like a van in front of a building… In a sense
this record is a very great one and if the mastering job should have been done
in a better way this should have been a perfect noise production. Maybe next
time… But if you haven’t heard the crushing sound of Concrete Violin yet check
this one since I guess it’s a very awesome one… Congrats for this one mister
Cooley!!!
(Misanthrope Studio; 8 tracks (4-4); 52 minutes
18 seconds)
(File Under : The most scary record you can
actually hear, and I’ll make sure I’ll never will say this again in my life…)
Misanthrope Studio http://www.crionicmind.org/misanthrope
(Huff Raid Robots Records; CDR; 7 tracks; 33
minutes 50 seconds)
(File Under : The best noise debut album of
2003?)
Newcommers of the Cali noise scene, Oscillating
Innards are a very promising noise band, as this records was release through a
contact me and you’ll get a free records, but I guess they are sold out now
since mine is number 37 of 40. It comes in a kind of plastic soft case you get
sometimes when you got promo copies of CDs and there’s two sheets with
handwritten infos. There are some drawing too like some explanation icons and
some abstract stuff I guess. I always must say that this kind of noise is not
my kind because sometimes it’s becoming very repetitive and tiring but I can
see when they are well played and enjoyable. Oscillating Innards are part of
the good side of power electronics noise. The allows to performs very fast and
very abrasive noise with what I assume are screams. I really like it when it’s
fast, when sounds changes very often and the fact that the album is filled with
sampling is really interesting. The problem is that it always sounds too much
linear, like there’s only one track or two, the saturation isn’t total, but the
performance worth some handclappings. I hope the project will keep on that kind
of noise in a better and better way, since this is a very painful release. And
the more ambient sounds of the last track make me think that we got a very
non-repetitive album. See there everything you need for me to be a great album
: short, diverse, ambient or/and fast. And this is awesome because when you see
a very awesome debut record like that, the future can only be prolific. You
actually can see that the people off this project are possibly connaisseur of
the genre and used to attend and performs live shows and they should listen to
a lot of noise. But being part of the
noise family is not enough, overpass it should be better and I guess
Oscillating Innards can do it… Good luck dudes.
(Freckle; 4 tracks; CDR)
(File Under : Montanoise reverbing fury…)
At the beginning of this records I was scared by the psychedelic nature of the sounds, the Montanoise master is going hippie? It reminds me a lot of the more noisy parts of Acid Mothers Temple. Some sounds experiments with reverb. And then these very soul-sucking high tones that PCRV is good to do come and the orgy of noise come in… But the sound rage is vast and reminds me a lot of some of the Luasa Raelon sounds density but in a dirtier sound. For a reason that I don’t know, I really like that kind of full reverb noise, it sounds a lil bit minimalist and cheap but done in a good way it can sound nice, this one is very interesting, that nearly the best I’ve heard coming from PCRV I guess, I never knew it can sounds as psychedelic as this… This album is very fresh and it offers sounds that few other explores and that makes this recording maybe a statement for a different kind of noise. This is a very scary release in a way that PCRV always produce scary noise… In a way that goes well since it’s not that long as some of his other records are (may I remember you my disdain for long tracks… that is mostly as a result of my legendary impatience…) but this record is nearly a log oeuvre In Four Movement and the complete listening of it is mainly recommended… As this record is recommended too… You like to take drug with your noise, get this. Period…
(Unmatched Brutality; 10 tracks; 32 minutes 37
seconds)
(File Under : Pipi caca grind festival…)
The first thing that hit my curiosity about
this release was the very very offensive nature of this release. Mmm, to resume
what it is, let’s say that this is baby’s heads attached with barbed wired who
are shat from an ass from whot the orifice was oversized with an exacto and
there’s decapitated bodies of babies on a floor. Let’s mention too that there’s
blood and shit everywhere… That’s pretty fucking sick… But see, when the
extreme dudes from Brodequin have to put other bands records on their label,
let’s say that there’s extreme stuff on this label. Recth are from California
and are comprised of two guys and a drum machine devoted to the most perverted
shit metal ever. Musically that’s pretty intense, sounding like any form of
gory grind you can have, maybe all of these Razorback bands can be a good
comparison, especially Fuck…I’m Dead. I mean the time were bands were putting
inhuman beats from a drum machine should be over, like in Mortician. With bands
like Retch and Fuck I’m Dead we seems that they just didn’t found drummers to
play in their band and considering that 70% of drummer are pretentious
assholes, let’s say that there should be harmony in these bands… Retch are also
part of these “We Don’t Use Vocal Harmonisers” kind of grind, that mean you
know how much the vocals should be sick. But here I don’t know if they tell the
truth in this since the vocal is pretty much sick. Really sounds like a mix of
puke and fart. Trust me. Musically sometimes it reminds me a lot of recent
Carcass clones, especially when there’s a more high vocals behind that fart
vocals behind. And oh! I forgot to mention these very sick samplings between
song, like it took 45 seconds before the first song begin as we hear fart
sounds and people fucking and the very long outro of the CD which is somebody
telling to a girl “You want it in your ass?” during 2 minutes. Actually there’s
two cover on this album, one from a band called Clean Flesh which sound like a
generic 1992 death band, like the 4rth wave of Carcass copycats. The other
cover is supposedly a song which got written by Lars Ulrich which is called
“Pussymouth”, I guess even Lars Ulrich didn’t knew he wrote something like that
due the insane memorable brutality of the track. If you like you metal full of
caca, go for it, essential of the genre I guess. Awesome shit.
http://www.unmatchedbrutality.com
(Steamhammer/SPV; 2CD; 24 tracks; 100 minutes)
(File Under : The Legend Live)
Well, what more do you want than Sodom, do you
really need something else n music than Sodom? Mmm, maybe but in my sight they
are a symbol of a band that is constant and strong and release maybe the best
thrash ever and as I am a big thrash fan, that mean Sodom are big in my heart…
And a new live album from them sounds to me like a gem coming from the deeps of
the skies… Recorded during a promo tour in Thailand, this records provides the
Sodom experience at the best we can. Actually they play at least a song from
every records they did (actually there’s at least one from every records I own
and from those I know… Damn import prices, fuck off…) The album begins with two
cuts from the two last albums and mostly “The Vice Of Killing” from the mighty Code
Red. They play a good dose of classics such as “Agent Orange”, “Sodomy
& Lust”, “Outbreak Of Evil”, “Witching Metal”, “Blasphemer” and
“Bobenhagel”. Something that really impressed me in this album is the fact that
they play all my favourites German song like that one off Taping The Vein
and Get What You Deserve (which I guess this is my favourite Sodom album
post-Agent Orange with Code Red.) Trust me, there’s enough energy
on this 2 CD set to make mountains move. Yeah I like this album so much that
the week I bought this album I think I played entirely this 100 minutes albums
like 7 or 8 times and I was very busy… That mean that there was space in my
heart for a Sodom live album… There’s also a video on the second disk which is
the opening track of the show, “Among The Weirdcong” from M-16. There’s
also a new song that is very under-par and a very fast cover of Actually that’s
pretty awesome to see what do Sodom looks like live and two metal attitude
point for these 2 guy on their knees on the stage shaking their heads. That’s
maybe a curiosity that you just listen to once unlike the rest of the album. Ok
I don’t know if I should say more than this but if you don’t think I liked this
album just contact my friends to who I only speak about this album and the last
Turbonegro for about a month… then you’ll see how much I liked this CD… The
only sad point is that they only plays Bobemhagel in the middle of Stalinhagel
as what is from the great album Persecution Mania which is the only
album I got on CD, cassette and vinyl, but if you want stuff from that album ,
get Mortal Way Of Live. But this present and third live album from the
German monsters is a very strong documentation of 20 solid years from the band
that have the most integrity in metal…