Hallucinocide - The Peel Session

Hallucinocide is one of the noise identities of Chilean artist Vicente Perez, perhaps most well known for his other project, Bucket Of Piss. The Peel Session isn't quite so drumstick-meets-saucepan-core as his more "meme'd" project, but it definitely offers up a much more violent and vital exercise in proper harsh noise.

Comprised of two tracks, each clocking in at over 20 minutes, The Peel Session is a meandering listen covering a broad spectrum of the patterns, frequencies and expressions one would expect to find in such a performance: "Espresso With A Twist Of Lemon" is almost primal in nature, sounding in parts like some sort of digitized wounded animal. "Get The Fuck Out Of Here? (No, I Cannot)" offers a more traditional exploration through the static; feedback loops, bleeps, rumbles and some nice'n'spicy crackling. 

Currently streaming on the Dismissive Records site but also coming soon on a physical tape release under Trashfuck. 

Sissy Spacek - Gate

Excellent noisecore-meets-harsh noise project (I'm sorry if you are unaware of these subgenres, that sentence must look ridiculous) from the USA. Definitely something that will push the boundaries of my listening patience if all mushed together into one big cube, simply due to the frequency of the distortions used, however once broken up into grinding chunks of noisecore I find it much more humanly consumable, which is just great, folks.

This is one of those things that makes 7 minutes feel almost like an hour. If you like the noise-equivalent of someone scratching their nails on a blackboard to a bunch of blastbeats, then I wholeheartedly recommend this 7" record. Imagine early Anal Cunt overlapped with cripplingly-loud layers of 90s-era Merzbow or Masonna. Your gran would love it, fam.

Fire Walk With Me - Flesh World

Every year or so I come back to this project and record something new. I'm currently working on the 4th release for this project, and that got me thinking - I need to do another post about this shit. I can't review it, as it's mine, but I can tell you a bit about it. Flesh World is the second Fire Walk With Me record, and is by far my favourite; even out of the new one that's almost finished. How's that for a bleak noise outlook; I already think the best stuff is in the past, why are we even alive? Haha

This whole thing started in Cornwall when I had some time on my hands. Copious amounts of Stella Artois, weirdos on Plenty Of Fish and a binge watch of two seasons of Twin Peaks brought me to the usual frustration of wanting to record something noisy. Only, when I came to put it down, it just wouldn't come. I guess maybe it was the sleepy, laid back nature of my southern surroundings at the time. Instead I took a gentler route (there's still some noise), playing the longer, more ambient game. I did a lot of research on unsettling noises, and actually ended up sampling a lot of stuff from devices that had converted space probe signals into actual sounds. 

I keep meaning to put a few of these on CDr so I can shift 'em at Judas Cradle shows, but I'm just a lazy fuck. As always though, it's completely free to stream and download, so if this concoction sounds like your thing, do me a favour and try it out. Nice one!

Masonna - Spectrum Ripper

Masonna (not to be confused of course, with Madonna) is a staple and legend in the noise world. He is "famed" for his intense live performances, where his body is seemingly nothing more than a channel for pure chaos; as if some invisible higher power is playing the poor guy like a marionette and pouring the result out as harsh noise. These performances can be seen on YouTube, thanks to the wonders of modern technology. Spectrum Ripper, is the perfect audio-only representation of the Masonna chaos, split into 25 parts of various lengths, but flowing as one misanthropic ear exploding performance.

It's incredibly impressive when someone can carve their own sound out of of the harsh noise world; the scatty, super-distorted, vocal-led "pieces" are instantly recognisable despite being often imitated. It sounds like a cut and paste soundtrack to a descent into a mechanical hell, with delay pedals emphasising the machine-like repetition through the walls of sheer noise. Maybe it is hard to coin this a classic of the noise music / non-music genre, but this would do no wrong as a fantastic starting place for those curious to what noise is, or what it has to offer. 

Glowering - Demo 2012

Glowering is a side project ov the tr00 and totes brutes invokator of gore noise havoc, Bobby Maggard. This time however, Bobby puts aside his hacksaw and bloodstained apron in favour of a pentagram-topped staff and a severed goat's head hollowed out to make a snug little mask, as black metal is the theme of the day. But this ain't no ordinary romp through black metal, no sir. It's quite annoying actually, because a few months ago I was looking for something just like this, and turns out it had been sitting on my CD shelf all along.

Glowering's 2012 demo mixes the dissonance of harsh noise (in a gorenoise style, if I can be so rediculous to try and point that out) with the ambience and imagery of black metal, creating a truly hellish listening experience that is sonically abrasive, but rather unfortunately, quite irritating by duration's end. Black metal often sounds like it was recorded in a wind tunnel. This is the wind tunnel.

Gnaw Their Tongues - Abyss Of Longing Throats

(Words by Doomfinder General)

I'd never heard of Gnaw Their Tongues until I saw them live at Roadburn and I was almost instantly blown away by them (I say them - it's just one guy making so much horrible music from his basement). A mix of black metal and noise would probably be the best way to describe this but then again so would two people screaming at you when the sound of the world ending at million miles per hour plays in the background. so when i got home pretty much the first thing I had to do was find the newest album by them.

Abyss Of Longing Throats is a more darker and restrained beast than I was expecting, with opener "Lick The Poison From The Cave Walls" going at not much more than a crawl. The music is mostly various horrible noises in the background with intermittent black metal style vocals. You have to wait until track 3 to get any blast beats, giving the music almost an illusion of being straight black metal but with an industrial hint.

The rest of the album doesn't really deviate from that formula as such, going from slow horrible noise to, well, faster horrible noise, all the while having vocals screamed at you. But it's amazing nothing else in the world really sounds like it so go give it a listen.

Merzbow - Cycle

Look at all that lovely sand! Well, one assumes it's sand - like the coloured sand you hammer into crappy glass bottles on family holidays to the beach. No? Well fuck you.

Cycle is a pulsing, circular throb of a noise session, that loops and dives into waves of repetition and (yes) cycles; the palpable worm Ouroboros in wave format, writhing itself in undulations of sonic ecstasy. Yeah. At least, that is what part one sounds like. I expected more of the same from part two (because Merzbow really loves more of the same) but alas I was mistaken - part two starts with a building ambiance of muted synth noise before casually falling apart into a cacophony of what at first appears to be a succession of random sounds.

What's fascinating is, is that as the final stages of the record progress, the blips and hisses firing from all corners of the aural spectrum begin to sound like wildlife (edit: this record is rumored to include recordings of Merzbow's personal pet chickens). It is as if you are listening to a machine simulation of the Mekong Delta at sunset, rather than a harsh noise record.

Torturing Nurse - Nonentity

Nonentity is a grating, deafening displaying of analogue harsh noise broken down in to three consumable parts. The first part hisses and belches the way good noise should, before the second track “Abuse” provides us with a break that, in all honesty, seems to come a little bit too soon. The third part kicks back in for a final 15 minute push through a seascape of bubbling static bliss. I find myself trying to loop it over in my head, searching for patterns and meaning. But, like most harsh noise, there isn’t one. Just total sonic annihilation. And then it’s over.

Nonentity comes in a really fancy DVD-sized case with full artwork and even includes a little booklet choc-full of further xeroxed imagery; a disturbing tangible accompaniment to the aural freakshow that is Torturing Nurse. There’s a ton of harsh noise out there these days, but Torturing Nurse is some of the best. Check out Palinopsia Recordings who put this release together. 

Ramleh - 31/5/1962 - 1982

What I usually associate with Ramleh is an unstoppable barrage of power electronics and barked vocal eruptions. Which is exactly what we’ve got here. This does not disappoint. Catching them live with Godflesh a few years ago literally (and physically) blew me away. I am, however, pleasantly surprised by the static, choppy, experimental nature of how 31/5/1962 – 1982 starts off, which leads into a much more digestible forty minutes or so than the more Vomir-like facebash of powerful noise walls. What is on play here seems like more fun experimentation with delays, loops, basic distortions and pulsating rhythms, until the vocals kick in and destroy everything, at least. 

It does eventually meander into the dangerous, volatile territory of barked vocal blurs and mental sheets of noise attacks with the self-titled track, “Ramleh” and also “Deathtoll”, but on “Throatsuck” for example, the vocals are used in a much more atmospheric approach, almost like another "instrument", if you could call it that. Despairing shit. 

An apparent power electronics classic, dodgy album art or no. 

MZ. 412 – In Nomine Dei Nosti Satanas Luciferi Excelsi

I came across MZ. 412 on my quest for bands that mix black metal with power electronics. Although to me MZ. 412 takes elements from both genres of music (with both being quite introspectively similar in some respects and also a million miles apart in others), yet it seems to stand alone from both in a sound more rooted in industrial, or experimental ambience.

This is something morosely militant about In Nomine... which lends heavily from the martial side of power electronics, and yes, the repetitive beats are distorted and overpowering, but that’s where the similarities end, for me at least. This creepy, isolated record is more akin to the soundtrack for some independent horror movie rather than anything along the lines of A Blaze In The Northern Sky.

I write lots of words and post the pretty pictures but realistically the music itself needs to do the talking. Mad props to Dave Wilson for introducing me to the world of MZ. 412.

Hecker - Recordings For Rephlex

(words by Kristian Cole, Merthyr Tydfil's very own laureate of the digital noise revolution)

As we are inclined to wash the feet of the beggars John Cage (American Tramp) and Karlheinz Stockhausen (German Weirdo) I cannot help but think what shit they pulped out over their years of sound production. Cage and Stockhausen, both from academic musical backgrounds, may have seemed ground breaking to the other chin rubbing fucksnouts who pretended to understand their take on 'music' and assembled themselves in Europe's café's to discuss the preceding minimalism which was rolled across their cochleas in null tones. "Fuck mainstream, I'm academic!" Of course you are. I pat you on the head as you use musical instruments in non musical ways. 

The avant-garde was born and rolled on into the underground when the first noisefag chained a few distortion pedals together and amped that fucker to the three gig attendees, who in turn rubbed their chins in faux-understanding. Hooray, academic experimentation had been assimilated and reborn in the underground! Ok, I jest...there is certainly a connection with Throbbing Gristle's first punk gigs, the art world, right time, right place, London, yadda, yadda, yadda, industrial, noise, power electronics, yadda, yadda, yadda. I can only assume by the time Florian Hecker had arrived in the academic arena (studying Computational Linguistics and Psycholinguistics at Ludwig Maximilian Universität, Munich, and Fine Arts at the Akademie der Bildenden Künste, Vienna) the use of the Supercollider app was a free download with his course and although he may have been too pissed to use it around freshers week, he certainly used it mid term of the first year. Supercollider enables digital noise to take place using code and the copy and paste method of code to file, save as, etc.

Of course I am jealous, Florian sits within the art world as well as the underground, and fuck that is something I yearn for. His dealings with Rephlex Records and Aphex Twin certainly garnered enough street cred to take this Germanic genius and place him, anorak and all, into a realm of exposure that highlights how electronic music can be deciphered and displayed to us Luddite's with charm. Noisefags may chain a thousand pedals together and stand back in awe of their own pomposity but Hecker explains it with an actual interest in the subject (see Liner Notes). Hecker's main instrumentation on this very album is produced by laptop and supercollider application. Not a pedal in sight and good fucking riddance to analog purists. Long live digital noise and its programmatic constructs. We are all a copy and paste away from white noise screaming through the backbone of a PA. 

The scope of digital noise is unfathomable as its multiple range of frequency ranges can be mined indefinitely, looped, arpeggiated and aligned with the time of day as a global variable. Yet we still have noisefags jamming a soldering iron up a Teddy Ruxpin doll's arsehole for self satisfaction; boring childish cunts, come dream digital noise with me tonight.

The liner notes certainly divulge the albums processes, lets take a look:

1. Hénon Map & Gingerbread Man (Linear Edit) 

Gingerbread man

Henon map

Starting from my previous works using dynamic synthesis for sound generation, I was intrigued to use nonlinear differential equations to generate chaotic signals. Although complex equations are frequently used in algorithmic composition to define pitch or note selection criteria, their use as a source for direct sound synthesis is rather unpopular. This recording is based on the Hénon map and gingerbreadman functions. The sonification of these equations offers a wide spectrum of sounds ranging from simple sine waves to coloured chaotic noises. These are different from 'classic' noises such as white, brown or pink noise due to their features of nonlinearity and feedback. 

06:26 

Kristian says "Hecker used noise objects to produce noise. Code was written...or copied and pasted. Noise music placed in the context of actual beats, not club worthy but still a piercing slab of digital noise, an ear bleeder at the right volume. In your car you may be able to get the same effect whilst searching for radio stations."

2. Pulsar Wg'lett 

This short track was produced for the second Götoborg Biennial 2002. It was generated entirely with the 'PulsarGenerator' software, a framework for a speciality particle synthesis developed by Curtis Roads and Alberto de Campo. Subsequently it was edited in a two channel audio editing software. 

03:46 

 

Curtis Roads and Alberto de Campo ^ ^ ^, they are actually two different people just same specs.

Kristian says "Both left and right stereo spectrums have been used to place noise music in. Imagine the initial stereo recordings of the 60's, replace the bowl hair cut mummy Beatle boy cunts with aimless scraping blips and beeps, Uncle bob is your Uncle."

3. Precedence
For his 2004 Solo exhibition in Marseilles, Carsten Höller asked me to contribute a sound piece. Shortly before this invitation I started researching on psychoacoustic effects using time delay, and therefor came across the precedence effect. I produced a series of seven percussive, rhythmical tracks, eventually named Höller Tracks, all of them based on short sequences of pulsars, synthesized with 'PulsarGenerator'. The one featured on this album is the edit which was also used in the exhibition. Additionally to the constantly alternating shift between a lagging click in one channel and a leading click in the other channel, each channel was phase inverted every few seconds to add higher spatiality and increase spatiotemporal confusion. 
04:17 

Kristian says "Hecker used delays over left and right stereo fields. more info on the Precedence Effect here. You can download PulseGenerator from the network."

4. Acid 245; Ph.Inv 9T2 

She will not like this

Produced for the 3rd Berlin Biennial 2003. 

05:38 

Kristian says "Accccciiiiiiiiiiiiiidddddd.......if you were on a fucking downer."

5. C 04 05 I_μdd 

05:02 

Kristian says "Aphex Twin style track naming process. Harsh."

6. 4G5EQ 94825492426.7531 

00:55 

Kristian says "Aphex Twin style track naming process. Shrieking."

7. In Actu (Create 7.1 Edit) 

Here's how you fuck shit up.

This piece is centered around an edit of a live performance at the Bartos Theatre, MIT Media Lab in May 2004. This recording features extensively all the processes and techniques I've been using, namely pulsar synthesis, waveset processing, dynamic stochastic synthesis and chaotic synthesis. The editing strategy I applied was made in close memory of Bruce Gilbert's albums Ab Ovo (Mute, CD STUMM 117, 1996) and In Esse (Mute, CD STUMM 171, 1997). 

12:21 

Kristian says "Fucking shit up."

8. Wippi 

02:53 

Kristian says "Piercing. Future power electronics...now!"

Conclusion:

Mentioning the word 'meaning' in the same sentence as the word 'Noise' blows the brains out of noisefags who take every word in the dictionary as gospel. "Noise is non data! meaningless!" What it should be is "Noise is academic! I only learned how to chain pedals two days ago!" Hecker may have never heard of power electronics but this surely crosses that boundary. All he needs is a few reference sto serial killers and an image of a stabbed prostitute or two and you would have a sheer classic.

Beyond all the brain pulsating literature here is a Rephlex fan's comment (got this off the internet):

"I have collected "electronic music" since early 1991 and now have over 4000 records and cds, just in this category. From Xenakis to Autechre - I listen to everything electronic that I can get my hands on. I also own nearly every release that Rephlex has produced thus far. I felt the need to preface this comment with that information because I believe this to be the single most pointless "thing" that Rephlex has yet released (topping Lektrogirl with EASE!). It's not music, by any means. You could call it "experimentation", if you like to experiment with ramming sewing needles in your ears while machines bleep and blare aimlessly around you at deafening levels. I honestly did not find ONE second of this release to be enjoyable. Ya know those "noise" tracks on the AFX Men releases? Extend that silliness over 35 minutes or so and you'll be getting close. There's a bit more variety to these tracks, but they're still ear splitting nonsensical noise. Now, if this is your thing, great! You should pick this up with a quickness. But if you're looking for some good old-fashioned Braindance, this ain't it."

Urine Festival - Of A Hermaphroditic Enema & Urophilic Pissparty Pleasure

Urine Festival is one of those things that exist to challenge you on how you feel about a particular genre, sound, theme or subject. A ridiculous form of music at the best of times, goregrind (or porngrind) is known for it's reams of dodgy content and greasy subject matter. Often, it takes somebody or something pushing the elements making up your favourite genre to the absolute maximum extreme before you can begin to reflect and question yourself and your interest in such circles. When one immerses oneself in extreme music one can lose perspective on the extremity of it all ("For if you gaze long into the abyss, the abyss also gazes into you").

Obviously there are sounds more abrasive than this. Harsh noise exists. But for me, the absolute extremity of goregrind laid with Last Days Of Humanity's Putrefaction In Progress record for a very long time. And then I heard Urine Festival (ironically the brainchild of a LDOH member Marc Palmen). Goregrind has meshed rather successfully with noise music these days (gorenoise anyone?) but this album is the first true instance of such an extreme sound. One could argue that the Meat Shits have a lot of credit due in the creation of "music" such as this but I strongly feel that a lot of gorenoise and modern goregrind imitate the puzzling gurgle of Urine Festival.

It's during listening to records such as this I realize just how far I have fallen down the rabbit hole on my quest to discover the musical extremes. This is, quite evidently, not for everyone, but I couldn't recommend it more. 

This full album vid is incorrectly listed as 66 untitled tracks.

Phyllomedusa / Toad Birth - Split CD

Phyllomedusa’s blasting, burping and croaking froquencies have quickly become a firm favourite here at camp Lines In Wax over the last few months. It’s kinda hard to define Phyllomedusa’s sounds but after listening to a lot of it I’ve noticed a pattern emerging - you can divide the majority of the sounds presented into four categories; ambient / field recordings, gorenoise and/or goregrind, more traditional harsh noise and finally, err, doom metal. 

Their part of this split though (entitled The Munz Grove Incident), after what seems like a never-ending intro dialogue, bursts into bubbling vats of screeching, hateful power electronics style noise, with plenty of grim, horrifying bestial vocals. I’m not entirely sure what happened at Munz Grove, but it sounds fucking terrifying, and I’m kinda glad that I wasn’t there.

Toad Birth is another project by the same frog (lol) that created Phyllomedusa. Honestly, this could be another Phyllo release, but Toad Birth’s stuff is a bit more lo-fi.

Spawn some tracks in the player below!

Urine Cop / Vomir - Split Tape

When I heard of Urine Cop being a collaboration between Adam Jennings of Winters In Osaka and Putrefaction In Progress-era LDOH vocalist Erwin De Groot, I got very, very excited. I would be lying to you if I said I wasn't a little disappointed with what is on show here. Bass, noise and LDOH vocals sounds fucking class in my book, but you literally can't hear a thing here. You've basically got 8 minutes of distorted blastbeats, with the odd De Groot roar farting through the mix. Any noise or bass or whatever the other contribution is, is virtually inaudible. I guess I set myself up for the fall, but hey, I calls 'em how I sees 'em (or hears 'em, in this case)!

Vomir is all about what Vomir is about. Dim fuckio aroundio, as us Welsh folk say. Straight up, to the point, psychosis-inducing harsh noise wall for the whole family to enjoy. Child playing fuck? Smash on this tape. Eldery family member tired of living a pointless life, forgotten about by your children and grandchildren? Smash on this tape. 

Slightly off-topic but I would love it if Stalaggh (or Gulaggh nowadays) did some sort of collaboration with Vomir. Although, that would probably cave my head in permanently.

Auerbach - She's Worth It

Auerbach is one of a gazillion projects by Merthyr Tydfilian / Aberdare-ian (yeah, I can make up my own words now) Kristian Cole. I sit next to this cunt most days in work placement so I might come across a bit biased as I review one of his creations, but I say with all the honesty in my blackened heart that this is a seriously harsh aural assault of the senses. He goes by many names and guises, but I believe that Auerbach is one of the original aliases he came up with. She's Worth It is a puzzling, perhaps worrying exercise in harsh noise; ear-splitting distortion meets feral soundscapes and brooding noise collages. 

Definitely one for the more seasoned noise aficionado, She's Worth It may reduce less experienced noise mongers down to nothing more than a bubbling pile of mysterious goo that may or may not look like semen with acid in it. Yeah.

Theologian - The Chasms Of My Heart

It's nice to see something that bridges the gap between industrial, power electronics and harsh noise so perfectly. Often these terms are bandied about wantonly, with several terms being used to describe the same thing in a pedantic circle jerk of an already restrictive genre. Whilst I still don't quite know what the fuck Witch House is supposed to be, I can literally feel the industrial vibe pouring out of this record, like steel girders shooting out of my computer screen and impaling my face, but in a good way.

Yes, this is a noise record, but it earns the industrial or power electronics tags due to the sheer palpable feel of the tracks, like genuine mechanical beasts have come alive to create these horrendous cacophonies. Some of these "songs" even seem to hold their own sense of beauty, despite being mind-numbingly repetitive and gargantuan in scope. "My Body Is Made Of Ash...I Live As Ash" for example, is so anxious that it's almost relaxing.

There's guitar in there somewhere I'm sure, as well as a clusterfuck of distorted voices. Some moments are repetitive to the point of an almost tribalistic percussion, which when made out of mashed up sound, is actually extremely impressive.

Because The Chasms Of My Heart manages to be a enthralling noise masterpiece without having to resort to continuous maxed-out harshness, I'd wager this is a good a place as any to start with the noise genre, if you fancy giving it a go. To summarise: a very impressive and hypnotising record in a seriously over-saturated and often lazy genre of music.

AUN - Multigone

AUN are another band that I picked up on thanks to Roadburn Festival. I missed them on the day (2012 edition I believe) but in a ritual that my friends call Pre-Roadburn Listening I got listening to their Black Pyramid record. Multigone is an earlier recording of theirs, and is a bit harshier than the meandering ambience present on Black Pyramid. AUN's approach to noise is droning, unfolding soundscapes that almost have some tangible tune to them, but the edges are blurred with harsh electronics and soaring, cutting synth works. 

Multigone is a 7-tracked affair, with track lengths spanning from the usual 4/5 minute length up to 10/15 minutes a piece. The longest track, "Steel Skull Plain", suprisingly doesn't seem too long, which is a problem I find with a lot of experimental and noise tracks. My favourite tracks are the opener title track, with it's droning splashes of noise and atmosphere, and "Palejoy", with it's heavy guitar drone overlaid with dark and throbbing beats. Yummy.

Available in a really fancy CDr package from Crucial Blast, and limited to 300 pieces.

Merzbow - Sphere

Sphere is one of my favourite Merzbow releases. Granted, I have in no way shape or form heard them all, but of the ones that I have heard, Sphere is high up there amongst the best. The three Sphere tracks are pulsing, blooping, bleeping harsh displays of spherical madness. I’m not entirely sure why the tracks were even broken up in the first place, but hey – what do I know. My favourite though is the final track – “Untitled for Vasteras” (which itself is a title – LOLbow) – which is a nigh-on-30-minute disasterpiece of tinnitus-inducing proportions. 

Can’t really say much more than that about a harsh noise release in a literally fucking endless discography of one project. Long live Merzbow, of course, but for once I am at a loss for words. 

Enter the sphere! *que Crystal Maze-style music*

 

Slithis' Revenge - The Human Race Deserves to Rot in the Waste He has Created​.​.​.

Bobby M is upon us again with a slightly-less-gory approach to noise, which is unusual, to say the least. Perhaps surprisingly for music of this genre, Slithis' Revenge focusses on the destruction that mankind has wreaked upon the earth as subject matter. I'd never in a million years consider there to be a market for environmentally-friendly gorenoise, but the world is full of surprises. 

If you think the artwork looks horrendous, then nothing can prepare your ears for the actual audio assault that is about to follow. Guitars are actually audible, which is another unusual factor in this project, and as far as I can tell, are totally devoid of any tuning. The drum machine sounds like it's constantly going to burst into a breakcore-patent snare rush or something, and those good ol' bubbling septic tank vocals are back, because hey, it wouldn't be a gorenoise record without them.

This entire (organic) bubbling mass of mind-bending (gluten free) gorenoise can be streamed at your leisure on the w0w dance Bandcamp page. Enjoy!

Facialmess - Total Liberation

Facialmess is a harsh noise project from Japan. Total Liberation is an EP that was released a few years ago on J Randall's Grindcore Karaoke, consisting of two tracks, a 7 minuter and a 13 minuter. "Suspicious Activities" starts off by oddly mashing together droning, machine-like background ambience with increasingly-erratic cuttings of harsh noise. It just jolts back and forth without any regard for your hearing, or sanity for that matter. It sounds to me like somebody has nominated a supercomputer for the ice bucket challenge, and we are listening to the resulting meltdown.

"Unremitting Exploitation" starts in a similar manner, only when the electronic short-circuitry cuts out, we are left with ominous silence. The way this all fits together I'd hazard a guess that this noise was constructed on a series of pedals rather than digitally (definitely seems to be a lot of delay pedal effects going on). The way the noise keeps cutting out randomly makes this release seem a lot longer than it actually is. I love the way that Facialmess is constantly fucking with your head but I'd be lying if I said it wasn't a little bit tiring.

All in all, a wicked harsh noise / power electronics release that's well worth a listen if you're into audible torture.