CHARM & STRANGE “Jams” 3” CDr (No label) 2011

CHARM & STRANGE “Jams” 3” CDr (No label) 2011

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OK. so let me say  first off before we  even get to the music, this is the  FIRST RELEASE  EVER  that I  have seen that comes with a JAR OF  FUCKING HOMEMADE JAM. Yes  Jam, I believe it was mixed berry? strawberry-rasberry? not  sure but it was  just as  delicious as the sounds on this little number. The 3” CDr came  affixed to the top of a mason jar of jam (pic coming soon), I think the  first edition was 13/ and  they sold out within minutes??? at a performance in downtown Oakland,  CHARM & STRANGE is a  duo from Oakland, CA consisting of Angie (Sharkiface, PITG, etc) and Julia Mazawa (Nice Ass  Industries) This is a live show recorded from Life Changing Ministries In Oakland, CA 2010. Opens up with creekly, noir like howlings, distant  trumpets ?? and plucks of  horror decay into warbling records delayed and delayed. Homemade pops and  crackles, turn into the  creeks and cracks of doors into a distorted landscape of uncertainties, you may be STABBED  at any second, or  maybe you’ll just walk  out alive- stumbling, alone, delusional and schitzophrenic. A Slow pulsing  drone shifts in and out of a  almost chopped and  screwed broken jazz like trumpet and oboe sounding stuff,  churning painos being pushed and pulled over the ledge of an old attic floor, glass  tings of  one way  mirrors reverberating to a uncomfortablw put perfect pitch,  and  then STOP. Silence. O  sorry to inform you,  you might already dead. #Justsayin. There’s  subtle bass throbs that ooze in and out of the  creeky landscape, and then a screeching howl, and then a bass  crunch transforms into looped popcorn being sucked down the drain of ones throat in slow motion. and it ENDS, just like that.

Charm & Strange is a A  MUST  for  fans of ambient textured Horror OST slowed down played through a wind vacuum trumpet machine. Catch this due  live for a  taste of the  sweet jams. and really folks, the CD  came  with  fucking  delicious homemade jam IN CASE YOU FORGOT,   TOP  THAT.

Nice Ass Industries

DECAYreviews: GNAWED / RXAXPXE Split Cs (Industrial Culture Records)

DECAYreviews: GNAWED /RXAXPXE Split Cs (Industrial Culture Records)

This arrived in the mail a few weeks  ago out of the blue, I rip open the package to make sure it’s not a bomb ( it has the weight of one, not that I’ve ever picked one up, but let’s just say the whole package seemed “bombey” . Anyways a cassette tape  encased in two sheets of  metal bolted together, holding the  cassette tight in it’s grips. (Yes, you actually had to unscrew one or two of the bots to get the cassette out, pretty unreal) It almost seemed as if the  piece were  fabricated for the project, either way the sterile presentation of the  metal case leads the imagination wild as to the sounds that could be contained inside.

The GNAWED side opens up  with dark, growling LFO scraping manipulation  madness, oscillating  undulating thwrawts of ripping bass, almost instantly bringing the listener down into the  perspective on all  things unnerving. Muddled CB radio esque style  vocals emerge  from the modulating squelching feecback  synthesizers and a more  dynamic space  emerges and then it clutters into  chaos, vocals and  synths building up into a maddening, nauseating eclipse of chaos.  A vortex in the  universe starts sucking in on itself, creating broken  vacuum stuttering  synthesizer and  vocal swells which unveil a  dark  sloppy underbelly of your  subconscious; the  rattling machines which you are  slowly turning into. This is  really well paced harsh industrial, but the  clarity and  sounds never really suffer as a result. Individual sounds blend together to  thicken the  chaotic sound, yet are  never pushed to a point of muddying the mix, donr  very  well IMO,  A great glimpse into the dark, chaotic harsh sonic world  that is GNAWED.

Flip the tape and RXAXPXPE HITS  YOU  right off the  bat  with a bleeding, oozing, clawing harsh noise wall, layers and  layers of  feedback occasionally give  way to high pitched squeals of what sound like a baby  bird caught in a high pitched machine that needs  lubrication  BAD. Cluttering and  clanging dark undertones modulate the wall but it  remains LOUD steady and pretty unchanging, then it  DROPS;  giving way to a second track which is just as  errie, yet  has a slower and  more  refined pacing to it, Scratchy in the beginning and  then the  feedback  decays into a middle-low  bass drone which  slowly modulates- sub oscillators help  dig  out  your  grave. The  title and  sounds of  this  all point to the  soundtrack to the burial of the listener, Slow moving,  relentless, and maddening.  High pitched blasted distortion waves come in and out over the bass drone, but it  goes on  for  a few minutes, and  then CUTS in and out and in and out, until your not sure where the entire thing started.  Distant  distorted vocals  slowly creep in and become a more  prominent part of the mix but actual words/lyrics are  pretty indistinguishable, would be nice if the lyrics are  available  somewhere?  Aside from “personal meaning” to the  artist him/her/them selves, I have honestly become frustrated with listening to people  sing, yell , scream with no access to the  content, i would like to  know, but  ONLY if the  artist wants me to know, kind of a side  rant, but the music and  project title, only lead me  to assume the  lyrical  content is  harsh/negative/etc. Maybe I’m wrong.  About 10-12 minutes in really gets going in a distinct, yet concise direction on the XRXAXPXEX side, a  sudden cut  of a  feedback wall brings in a new more  dynamic feedback wall, which holds the most meat-   sounding of  simple mic and  feedback scraping whilst possesing an  internal tension which  elevates the track to the peak of the RXAXPXE  side. It’s a bit more  raw in it’s fidelity, yet controlled and  articulate, and the  groaning vocals play a wonderful counterpart to the stop – start flutter of the  feedback punches. A  solid  tape overall and worth checking out if  your into the harsh/industrial  still that borders on wall  at  times.

written by : malo

available  still from http://industrial-culture.com/

DECAYreviews: JULIA MAZAWA “God Bows To Math” Cs (Nice Ass Industries, 2011)

decayREVIEWS: JULIA MAZAWA “God Bows To Math” Cs (Nice Ass Industries, 2011)

A new  tape from local artist, seamstress, record cutter and musician Julia Mazawa on her own Nice Ass  Industries  label based out of Oakland, CA. Mazawa’s setup is  shockingly  simple, often using just a turntable with custom cut records.This tape  starts with subtle loop slices, whirled and cracked microsounds, often referencing ancient recording technologies through their  crunchy and nuanced textures. Barely pouting steam whistles, distant  motor  putterings,  lost voice  recordings, ancient  telegraph messages lost at sea  all wash up and  down in the  mix into a subtle rhythmic wash. Dense delays of one sound shift through microscopic feedback manipulations and  turn into  other sounds leading to a new sound, but all   falling back into a “locked groove” aesthetic of  experimental composition.

The B side works well as a  continuation of the explorations of the  A  side, with the  loops seeming to  build up density a bit  quicker, and coherse the listener into a gel of subtle looping feedback  controlled with pinpoint precision. Louder rhythmic pulses build up and then slowly decay into mathematical wind  textures, the presence of  absence also plays well into this release. The delay plays  into the looping themes of the release, and provide a nice textural jacket to the sometimes raw source material.  Record loops and subtle pops and purs orchestrate the backbone of these minimalist turntable?? explorations. Cassette is the  perfect format for this release  as the  warmth of the magnet colors these  sounds in a beautiful way, look out for more from her  and this label, each release is more  and more crafted and heading in a steady direction.

Nice Ass Industries

Overall : 8.2/13

written by : malo

From Novel in Progress

 Late one night in Meshed, Iran, Sally the Smuggle trolled the streets in search of a good buyer. She had on her person twelve half-stacks of Ignusdiazem, a drug as difficult to come by in the region as it was coveted.
 Slinking down arcades and alleyways, she soon came across what she estimated to be a prospective buyer.
  It was rare to see a man dressed in a green silk suit and sunglasses at 23:45, standing near an all-night cafe (equally rare) nonchalantly smoking a cigar and eying her suspiciously as she approached him tentatively, draped in the traditional “chador” so as to appear less conspicuous.
  Still, it was incredibly dangerous for her to be out this late. Not for herself but those around her, for she was Sally the Smuggle, and she could smuggle more than lightweight objects, she could smuggle herself.
  Across the street was a mosque and two clerics stood outside passing between themselves a hash pipe. The Silkman (as he would soon be called) continued to eye her suspiciously. Suddenly a lion with spiraled horns appeared. The ground split between Sally and Silk and the sky was suddenly filled with green, incandescent orbs so that it appeared to be daylight out as far as the eye could see, or rather some sort of testing ground for extraterrestrial weaponry. The smell of sulfur filled the air and everyone save for the two S’s were frozen in place.
  “I recall long ago, I saw you in the court of an ancient king whose name escapes me. You were up to just about the same thing you are now, blending in quite apparently. But that’s neither here nor there, fact is, this fact proves you’re one of us, so why don’t we blow this popsicle stand, sweet cheeks?”
  “But- but… the lion, the orbs, ground split before us, frozen natives…”
  “What the fuck are you talking about?” Little did either of them know, one of the half-stacks had been untied by a portal stool and the mass amount of powder had mingled with her sweat, just now taking effect.
  “Tongue twister Pahlavi sediment blend of tyrants leaking point of departure from tomorrow stool softener chameleons are slipping of roofs of pure marshmallow and I’m no larger than a clown fish breathing hydrogen in adobe light sockets while Frank Sinatra creoles bloody mary agony by poolside filled with tongue depressors and Sierra Madre lack of sleep in lost yorkshire pudding and terriers leaping over shotput…”
  “Uh-oh,” the Dodger thinks to himself, “We don’t have long before this place is swarming with ‘undesirables.’ Had better make a run for it. Never a wise thing to make a scene.” He sniffs the air, “Does smell like sulfur though. Strange.” 
 
-Zeid bin-Zubala

STYROFOAM SANCHEZ / HORAFLORA “SW 2012 Tour”

STYROFOAM SANCHEZ/HORAFLORA SW 2012 Tour

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STYROFOAM SANCHEZ & HORAFLORA, two of the Bay Area’s more oddball acts are teaming up for a SW tour, departin next thursday, april 26th, 2012. Be sure to catch this tour as both have some great surprises up their respective sleeves. Here are the dates!

4/27/2012 – @ Old Curtis St. Bar Denver, CO Denver Noise Fest
4/28/2012 – @ Old Curtis St. Bar Denver, CO Denver Noise Fest
4/29/2012 – @ Rhinoceropolis. Denver, CO DNF Decompression Show w/ Crank Sturgeon
4/30/2012 – @ Centaur For Peace & Justice. Albequerque,NM w/ Kayfable Quartet , The Jeebies, Javelina.
5/01/2012 – @ Meat Market Garment Factory. Tempe, AZ w/ Sara Century, Paul Arambula, Good Amount,
5/02/2012 – @ The Shakedown SD. San Diego, CA w/ California Bleeding and Torn Humorist
5/03/2012- @ The Handbag factory. Los Angeles, CA w/ AMK, Conscious Summary
5/05/2012 – @ The Smell .”Psycho De Mayo” Los Angeles, CA w/ RUINS, The Haters, GX Jupitter-Larsen+Gil Kuno

http://horaflora.bandcamp.com

http://ratskin.org/ss.html

“12/3/12”

Late Tuesday night and Crash sits on his couch, inert. It’s 10:03 PM and sycophants are on his mind.

It’s the sad state of this dilemma. Take or be taken to.  But the Lakota are rising up- why can’t he?

He’s breaking out in welts again. He’s dreaming and he can’t seem to make it out. Rhines? Pines? What was that again?

Burn-away rice cream flailing. A tincture of green and yellow. Two children are running down a flight of stairs. The stairs are each one foot tall and imprinted with Quranic verses. Qabbalah strings lurch out at them.

“The cochlear implants could be useful to the average man if one could encode their transmissions to paper.  They could be our greatest weapon.” One says.

Two replies, “What of the boy in Dusseldorf? Are you saying he came to us unknowingly?”

One, “Don’t they always?”

Two replies, “Not always.”

One, “Oh, here comes Crash.”

Crash interjects, “Let’s get off this sour subject. What of transplants?”

One, “We put them in a bowl. Let the fates decide.”

Two replies, “Spectacularly. The amulet Raid left, what do you think of it?”

Crash interjects, “..After finishing the food, an assortment of octopus tentacles and tin cans, the monk walked along with the peddler and spoke with him. ‘Leif Erickson had two children, William (Bill) Leif (1946) and Susan Irene (1950). Why I tell you this? Because it is a matter of public policy. You see Leif Erickson was no normal actor. In fact, he was the greatest actor. For he was moonlighting as a Hollywood actor when he in fact was an agent for the KGB, which was in FACT a SUBdivision of the Israeli Mossad. You see, it all goes back to 1876 in which the Zionists and the Sri Lankans joined arms. But that’s a different story. You might consider getting in touch with Tom Richard, his number is (781) 235-1004.” He then knew the hardship and unluckiness of the peddler. The monk continues, “Opium was actually derived from a space lichen. That is to say some purple fuzz that grew on the outside of Rod’s spaceship, survived reentry. Anyway so i was fucking this chick right, she told me she wanted a facial. so i said sure would you like it spiced up a bit?” As they parted, the monk took out a clay doll-like statue from his bag and gave it to the peddler, telling him to treat it well everyday so that his luck will change. Soon after that, the peddler’s business got better and better and his wife birthed children exposed to radiation on average grow to be smaller and less apt to sprout loarizinine and leap out into faith. Hordes of ’em. Sheeple can turn word documents into ketamine ask me how. I breathe, relocate the off switch and gladly disappear. Scratch out the crevices previously worked, Big Wheels.”

Big Wheels is a man of about 40. We’ve known him since high school, you see. He’s a member of the Lakota Indian tribe. He always keeps a .22 on the Davenport and wanted to carry out film on paper before filming it…”

“Hank’s coming to town.” Big Wheels extols the virtues of the Russian Peoples. Hank Sokolov is his name. We’ll get to him a bit later for the second night in a row the Callused Dodger looks out his window and wonders where that green light is coming from. Often times it shows up while the Dodger is winding down with a with a glass of Red Label. You might call it a “neon puke” green, but it’s rather unrelenting. He recalls an old Japanese Doctor describing one of the victims from Hiroshima who somehow made it 3 kilometers after being scorched by gamma rays and infrared and fire. 

“I encountered the first victim halfway back to Hiroshima. This black thing suddenly popped out from the side of the road, swaying unsteadily. I had no idea what it was. I slowed down my bicycle and gradually moved closer and realized that it was a person.”

 Sipping Merlot The Dodger licks his lips. He recalls an assault with napalm he once witnessed in Honduras. It all stemmed from a dispute over a rice dumpling. The entire family was reduced to embers. Hog-tied and then doused mercilessly, drowned in a sea of plastic and fire.

“I tried to look at its face, but it didn’t have one. There were these two big swollen balls where the eyes should be, a gaping hole for their nose, and the lips had puffed up so big that they were covering half the face. It was hideous. And it had a black thing that looked like a sleeve draped off its arm, so I initially thought that it was wearing rags. I was wondering what all this meant when suddenly the person started moving toward me. My first reaction was to move back. But then it tripped over my bike and fell down. Being a doctor, I immediately rushed forward and tried to take its pulse. But the skin from the entire arm had slipped off and there was nowhere for me to touch.” 

Mckinley has just turned twelve today. He draws up a straw-full of Cherry Coke and eyeballs his mother hungrily. That’s just Mckinley for you: cold, deanimated, devourous eyes of red and green and doom. He lifts the serrated cake cutter intently. He scrutinizes it, he becomes it. Still eyes dead set on his mother he lifts the blade and brings it through the first slice of ice cream cake.

“I realized then that the person was not wearing rags but was entirely naked. What I had thought were sleeves was actually raw skin that had peeled off from the body and was dangling down. The skin on its back had also burned and peeled off completely, and there were dozens of small shards of glass piercing the surface. The person suddenly twitched a couple of times, and then lay completely still. It was dead.” 

“Any culture unbeknownst to swallows and seagulls in Spring in Tuesday is never known outside of all-seeing tongues of unwretchables and wanton alien delights never to become final is one thing automatic .44 caliber deactivates a final plummet in lime green tongues in Summer you can’t know what it is I’m unfathomed spiral is ultraviolet crest of Saturn’s delight Poor Baphomet soon to be found out soon to be sipped from chalace of Winter all-knowing all-becoming elliptical wraith of autoimmune deficiency in tired penguin heart of tongue lashed out of dangling moving toward me unsteadily antiquity is balm of sanity in otherwise less atrocious veneer,” Mckinley spews at his mother.

Through the glass come John and Larry. Larry has a fireplace poker in one hand, which was used to penetrate the orifice of home and John has simply a handgun and an assortment of rosery beads. Maybe a knife would be better or a steel baton? What if you leaked out your serendipity with a poor salt-lick?

A murti make better for me. Tongue out the closet it’s coming out of Todd’s ears. Hey you, why don’t you strangle yourself with the umbilical cord you rode your way in on? And furthermore, I could really care LESS what your saddled tramp has to say about last nights obeisances. FUCK your maltodextrin. Fuck all things unbecoming of a man such as yourself! Surely there’s something better than this in the afterlife because tomorrow is oh forget me not I’ve soiled myself.

                                                                                                                           2

Pallindrilica is the one world government which rules in 2033. The fires of Shiva scorch from such a height.. But not even his flame can cleanse the totality of the unrighteous. Ol’ Ed White knew all along. Have your thoughts ever raced to such an extent that they reduced themselves to a derailed train of ultraspeed translight? They jumble and misform to such an extent that they usher in the hissing and the guttural intonations of what one would only liken unto that of a demon? The Jinn speak to us at this point. They wish to break through from the other side, to usurp our lives, our forms – because it’s just so fucking awful back there. Some try to help, yes. Some are psychotic beyond the point of recognition. Do you believe in possession? The manifold nature of unbecoming. You are not always your thoughts. Beware and don’t respond.

(author’s note: This is similar to the conflict between First and Third World. Upper class and the impoverished.)

“It is true that some of us equate nature with hierarchy. The interlopers, the eugenicists.”

“Cut with the silver blade of titanium I insulfate the antiquity of all lifeforms. Relapse is key to climate. I’ll trim what I can’t become and I’ll become trident.”

“What’s next?” He asks. “Calm yourself and think in terms of the chalace.” She responds.

And so he drank. He drank and drank and drank. And then he laughed. And then he defaced sacred objects, he spewed, and he fought. And then he laughed. And then he talked shit. And then he was agonized once more. He looked down at himself and saw pinwheels and obelisks. These are not your typical innocuous spores. Like dipping your hand in a public toilet. Like Hiroshima, leaving your child trapped beneath burning refuse and watching your husband die of radiation poisoning. The doctors attempt a blood test and he never stops bleeding because he has no white blood cells. “I am become Death. Destroyer of Worlds.” Like black rain. Like the war being over and celebration. Like an experiment for total destruction, no new way of life.

You must struggle to survive, that is your one fore-ordained purpose. How well you achieve it will afford you a mission from God laced with the “ability” to save others or the world. And that will be the pitfall. And it will be a long, long way up from there. There’s only falling up. Gravity releases and you float off to the heavens – but don’t float to high. Half of you will never return.

Like brain damage.

A black cat’s eyes in the dark reflected upon by a computer monitor slightly aschew from her. An innocent mew. Sudden calm.

decayREVIEWS: REVIVER “Total Load Shed” CS (Temple of Pei, 2008)

REVIVER “Total Load Shed” CS (Temple of Pei, 2008)

Despite being from CT, while I was there I was never able to stumble upon the clandestine yet articulate New England noise project, REVIVER, aka Chris Donofrio. OK we pop the tape in; WOAH, have to say this is some of the more interesting and well articulated “drone” ish? releases I have heard in a while, although to just call it drone would oversimplify a style which goes, at times, beyond the structure and pacing of what we think of as “drone”. The tape starts with a low rumble of buzzing broken boat engines sputtering in the dark, creeping with a pulsing drive, REVIVER takes the listener on a tour of desolate landscapes, barren buldings, and crumbling consciousness. The simplicity of this release makes it approachable to fans of music outside of the traditional noise “genre” yet dynamic and textured enough to hold the interest of those who can no longer take the quick melodic shifts and westernized structures that pop pushes-THE “NOISEHEADS”. The changes in tone and pulse are slow but they are PRESENT. This is not just wall drone, where the sound may be unchanging (or perceptively so) for 20 minutes, rather it’s modulations shift just when your wondering if your tape player is caught in a loop (NOT possible) This could easily be taken out of the realm of “noise”or “drone” music and be placed as a soundtrack to a yet to be made film, or a live score. Don’t have any real evidence to support this, but it breathes a pacing that would map well onto an abstract film architecture; it’s well balanced. This cinematic edge lies in REVIVER’s progressions and spacial awareness. Not to me, but I could see how some might dismiss this release as “synth noddling” or “droning” but WAIT, this is made using ONLY GRAPHIC EQ’s ?!?!?! In some sort of feedback loop or something? regardless, in my opinion it just makes this release that much more interesting.WHAT? Couldn’t be, so I wrote the artist and he confirmed that he proudly uses ONLY graphic EQ’sas the sound source. So simple, yet so elegant, and yet still conceptually interesting. Not totally integral to listening experience, but listening to it again, after knowing the sound source, gave it a new breath of complexity. The A side starts out solid and ends solid, with three or four different movements in between, all varying tones and explorations with similar pacing.

The B side picks up right where the A side left off with low crawling squarewave pulses, a grey modulating din of tonal patches stitched together with decrying buzzing, humming, hammering, and hills and hills of psychotropic pillars of color and timbre. Sometimes sinister, and sometimes soothing, Reviver accomplishes much with little in terms of controls, though it’s quite clear he has some control of the machines that he’s working with, grabbing distant radio blips of distorted transmissions.

The A side overall is a bit more solid, spaces on the B side tend to be a little underdeveloped compared to the former, but it’s quite cohesive overall, and the recording quality is good/consistant throughout, so it seems it was all done with a similar process? Nice full color artwork in one of those semi transparent plastic “jewel cases” for cassettes, which for some reason, I CANNOT FUCKING STAND, I feel it would look alot slicker in a regular norelco box, but then again i think 99/100 cassettes that come packaged in those would look better, so it’s just my own shitty bias. but that would basically be my main criticism, which is null at best, so a great release overall.

Overall : 8.1/13
Written By: malo 3/5/12

REVIVER

TEMPLE OF PEI

decayREVIEWS: DEVELOPER “OOBR004” CS (2011)

+++++++++++++++++++++++++++++++++++++++++++++++++++++

DEVELOPER “OOBR004” C20 (Out Of Body Records, 2011)

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DEVELOPER "OOBR004" cs (2011)

dEVELOPER blazes forth sharp, visceral, hills of harsh noise walls, pausing and chopping for various lengths only to punch back in at the oddest time where your ear-mind just begin to orientate itself to the sound, and then it slices-dissappears-kills back in again. Super high pitched feedback blasts knife their way through blown out bass hammerings, and then swell together to once again enduce a choppy form f nausea. The parts of this tape that work best for me, are where it gets really choppy, as opposed to the places where the walls build up to a point of density where things become blurred and sashed out, but this never happens for long, as DEVELOPER stays on the pace quite swiftly throughout the majority of the A side. Roaring, pummeling mechanized broken up loops sift through the blown out pillars of chaos and take brief rests, before jackhammering the cavity with thousands of white noise ghosts. The more the tape goes on the less and less breaks there are between the chaotic buzzing walls, yet it never totally looses it’s chopped aesthetic and frenetic pacing. Developer’s style, on this release at least, doesn’t come off as a bunch of tracks piled upon each other digitally, but rather a line-in style of recording where the cuts are being made live, I have no REAL evidence of this, but that’s the “organic” nuance that I pick up from the aesthetics of the pacing and editing, done quite well.

DecayREVIEWS “GNAWED- Patience is Waste” c40 (OOBR, 2011)

 

“GNAWED- Patience is Waste” c40 (OOBR, 2011)

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Dont know much about this project (seemingly cause im
Out of the loop) but from the second the tape starts rolling, it caught my attention. It starts with a throbbing dissonant beat with druid?esque synth swells, slowly building up to a chaotic explosion of exploding throat vocals spliced with sharp blasts of dense white Noise. Grating throbbing pillers of STATIC trigger machine guns synth and drum blasts tear apart the cochlear as overdriven howls of repeated pain pulse the speakers. Distant drum patterns start to build
Up to a creshendo of chaos, but all while Keeping the overall tension between the instruments. While mny harshnoise/rock/industrial hybrid bands go for an all out sonic assault, obliterating all traces of “traditional” instrumentation, GNAWED rides the line very well. Dark pulsing low to
Midrange synth tones
Provide a balanced and textured backdrop for the drums and vocals to breathe as voices of their own , yet building up into a swelling breathing, bleeding storm of sonic chaos. DECAYED~ blasting stabs of ear pain keep building and building into your speakers and start to short circut your system then silence, ear ringing silence.

Side B picks up where side A left off but with a slightly quicker pacing. A crumbling church bell modulates in the distance as subtle machines begin scraping and shaking at the fabric of time. Slow Building tones create a chaotic space of confusion and disorientation. Before you know it your back in fhe whirlhind of self hate. Each miniture explosion of sound is another howl into the whistling winds that curl off of the slopes of gravestones. Slow churning peels of distorted spun around vocals swell into a. Unscalable wall of noise. The second track on the B side is the most developed spacial of the tape, dispaying a great call and response style of spacialized development between the oscillating vocals, and crawling syntn a d percussuin blasts. Most ofthe tracks have noticable intros ans outros which helps to demonstrate them as movements within themselves. The tape slows down a bit toward the end to a last breath type pacing, a creaking ship of dangerous winds. Are you the last one left on the boat before it sinks? Buzzes again build into a shaking chaotic nervousness that keeps the listener on a delayed edge of sanity, as black winds smother the percussive sounds of machines malfunctioning in the vacant hole of the afterlife. Good luck with that :/

This release isn’t terribly varied in the sonic spaces and or structures that it explores., yet GNAWED manages to create articulated chaos and TENSION with a fairly simple and stripped down sound palette, something many projects in this genre seem to have difficulty grasping, a very solid release overall. Top notch death/power electronics! Will be looking out for new stuff by GNAWED for sure. Pro dubbed chrome tapes with pro printed labels and color covers with black and white inserts, beautiful decaying artwork wraps around the black tapE.

OVERALL : 8.7 /13
Written by : Malo
2/29/12

GNAWED

OUT OF BODY RECORDS

Sicily Some Decades Earlier

A wafting sea crest of twelve sodden tongues alerts the Dodger to the unpleasant fact that he has work today. Not only that, but he’s late. He recalls something his grandfather had told him on his dying bed.
“A man’s first duty is the cold hard realization that light is a point of fact.” This is called “Dharma.”
Upon textual analysis of the aforementioned coordinates, we – the three of us, Dodger, Blue Eunich, and Sal Richardson set out across Panama. We’re en route to a place called the “Volcán Barú” it is the highest peak in the country and lies near the border of Costa Rica. Having erupted in 2024, the area is scorched and now devoid of any plant life. Somehow the mountain survived itself, but there are numerous faults and pitfalls which await the unwary traveller.
Here an arcane cult, who worship a grain of rice as their savior has set up shop. Despite the seemingly innocuous nature of their Messiah, they are quite savage and quite unwelcoming to outsiders. Many a venture has led to misfortune. Scattered carcasses spot the terrain, held aloft by primitive pikes in the fashion of Vlad the Impaler. The corpses are always mutilated with complex insignias and designs which upon further examination reveal themselves as maps. One man is said to have accurately deciphered one such map and has since been spotted in Portugal, the West Andes, and Morocco. His visage is rumored to resemble that of Finn McCool, which is strange, as this man was originally from Haiti. Then again, the progenitor of this tale was later institutionalized in a Guatamalan Insane Asylum. They often are.
As the Dodger and his crew scale the mountain they are alerted to a swarm of robotic bees surrounding them. They seem to be after the group’s rations containers which Blue is carrying. These maverick robots are fueled by sesame seed oil. Just the slightest drop can give them enough power to fly 10,000 miles. Thusly, they must be attracted by the vegetable tempura which Sal had prepared.
The “Ro’bes,” as they’re called, were created by an unknown scientist operating out of Sicily some decades earlier. Very little is known about him, but he was clearly a fan of alternative energy and rather pointless innovations. The general consensus is that he was killed by his invention, this single swarm of sixty.
Twelve of the bees latch onto Sal’s neck, disabling him with radioactive venom. Eighteen attack his legs and arms, while the remaining thirty divide amongst themselves to create a perimeter around him and latch onto the rations pack respectively. Alloyed teeth and claws dig through the leather and electronic proboscis penetrate the tinfoiled tempura, siphoning the oil from within the batter. Quickly they release and depart, and Sal falls some four-hundred feet, luckily long since dead.
Dodger and Blue look on solemnly. “Well.. We’ll retrieve and reanimate him if we make it back down. We still have the rice cult to worry about.”
“What of these sorry souls?” Asks Blue?
“The impalees have a chance.. I’d rather not – quite inhumane, but we may have to reanimate a skull for directions.”

To be continued.

-Zeid.