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vendredi 3 octobre 2014 à 22:34


ERASERHEAD - while also being one of my favorite films - is the Harsh Noise Wall / Power Electronics / Sound Art project of musician Jake Howard. Punishing, minimal, distorted, raw, and visually and aesthetically striking, ERASERHEAD is one of my favorite modern HNW projects. On this release, we see the artist bringing the listener a wall of disheartening and disturbingly unpleasant sound, while bringing with it a sense of remembrance, love, and pain. 

The cover image is apparently the work of Japanese visual artist Nobuyoshi Araki. The only liner notes present on the release state: "Rest In Peace to one of the greatest Japanese Visual Artists who ever lived". The image is striking and compelling, and seems to represent a theme in the wall of sound itself. It seems to embody some feelings of pain and romantic desire - lust perhaps. 

A powerful and strong 30 minutes of blistering HNW. A highly enjoyable listen for fans of the subgenre. 


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ALEXANDER BAZZI - The House Itself Isn't Haunted, It's Just The Way The Light Hits Its Walls REVIEW

vendredi 3 octobre 2014 à 22:20


Noise is a genre built upon textures. Empirical and existential, noise is a genre that embodies the idealism behind self-expression and brings the artist's inhibitions to radical conclusions. Here, we see an artist beginning his promising chronology with a release of experimentation, ingenuity, influence, and confidence. Alexander Bazzi's debut effort is a release that demands attention in the world of noise. 

A fellow Michigander like myself, Alexander Bazzi brings listeners multiple textures, emotions, tempos, sounds, atmospheres, and senses of calmness and calamity. A chaotic and spastic example of the power electronics genre (reminiscent of the best names in the Japanoise sublabel), this noise artist never lets the listener become comfortable with one sound of one context for too long before hurling them into a new landscape of beeps, feedback, scratches, frequencies, and harsh abrasive attacks. Skillfully mixed, and coupled with top notch - yet not overproduced by any means - production, this release is grating to ears, yet pleasing at the same time. Composed of two tracks and clocking in at just over 20 minutes, this release doesn't overstay its welcome and is a short but intensely chaotic power electronics recording.

A power electronics artist bent upon the power of his craft, Alexander Bazzi assaults and interests listeners in a way few artists in the subgenre can. A truly devastating and provocative listen. 


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jeudi 2 octobre 2014 à 11:56


The UK never ceases to amaze me with their impressively talented and inventive noise artists. Described by sole member Reece Thomas Green as "depressive industrial synth abuse", this short but powerful and refreshing release is an emotionally-charged release of expression and rage. With the agonizing melodies and piercing lo-fi soundscapes challenging the listener, ALOCASIA GARDEN gives us a release of ugliness and beauty, a contrast of extremes, and hits the target perfectly. 

Starting off with the track "'A Man Without A Mask'", one might think they are listening to some of Lust For Youth's older material. The repetitive and beautifully docile synth melody is the calm before the storm that the rest of this record throws at us. The track winds and bends and and bleeds perfectly into the following track "Blue Figures". "Blue Figures" further exhibits a hauntingly beautiful synth melody expressed with distortion and melancholy. Majestically composed and minimal, this track compliments its predecessor perfectly. 

Closer "Howl Of Our Faith" is the harshest track on this release, building and building off of a simple fading synth rhythm. This track just builds and builds progressively until the lo-fi distorting creeps in, overwhelming and swallowing the track. Once again, this piece is executed with such wonderful precision. 

This short but powerful release is exactly what I look for in noise. Inventive, interesting, beautiful, emotional. I expect nothing but good things to come from this impressive UK noise dynamo. 


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jeudi 2 octobre 2014 à 11:35


The Midwest United States has often been a source of inspiration for many an artist. From its often times bleak and repetitive atmosphere and nature, to its aura of loneliness and emptiness, these feelings of Midwest isolation permeate the art of many musicians and creative minds, including my own. Based out of Lima, Ohio, METHLAB EXPLOSION's second full length brings the grueling, harsh ugliness of the most extreme examples of the power electronics genre, and coincides these sounds with a sense of dread, loneliness, isolation, minimalism, and ultimately resentment. 

Starting with the track "Control", "Odium" punishes the listener from the get go. Incorporating harsh piercing waves, subtle buzzes and backdropped walls of sound, unsettling dissonance and tension, METHLAB EXPLOSION manages to make familiar ideas and sounds sound original, sincere, and most importantly, angry. 

"Nauseated" is a prime example of the minimalist approach flirted with on this release, while "Piss Fetish" has an almost gothic - and strangely melodic - sensibility and atmosphere to it reminiscent of a Wet Nurse release. 

It should be noted how well-executed the differing textures on this release are. The album stylistically shifts from grating harsh noise wall, to somber, clipping power electronics, to minimalist pulses and waves that wouldn't sound out of place on a Hive Mind release. The production is top notch without being overproduced or diminishing (not surprising since this is a release on the always-pleasing Placenta Recordings from MI). 

This release is 45 minutes of brutality recorded and presented to destroy any listener in its path. "Odium" boasts its influences while understanding itself and its process. Powerful, glooming, loud, and often chilling, METHLAB EXPLOSION'S sophomore effort is a required listen for this year in noise. 



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mardi 23 septembre 2014 à 22:35


The Cherry Point have always been a group that has interested me and captivated me since the beginning of my entrance into the genre. Their work was always extreme, raw, and completely D.I.Y., which I respected and took with me as an influence on my own music. What little I know about the group - or rather the individual behind this static, chaotic wormhole of sound - is irrelevant in my opinion. As this release has continually been a work of noise that I have returned to time and time again for inspiration. 

Piercing, abrasive, destructive, emotionally-charged, The Cherry Point are about as extreme and disorienting as you can get in the world of harsh noise. This project is criminally under-appreciated and over-looked, yet highly influential to acts like Infirmary (who I may be reviewing very soon), and the like. 

The sounds captured here are so over-modulated and wrenching, yet so well executed and precise. It is chaotic and manic when it needs to be, yet furious bellowing and trudging when you least expect it, until it stabs you in the face once again with a sonic assault of high frequencies and feedback. 

This is by no means a new release in the world of noise, but rather just a fan showing his appreciation and gratitude for such a relentlessly powerful piece. 


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