“Incursions” opens brilliantly and brutally. Also “What Are You Waiting For” is a great track. The cooperation with S.T.A.B. Electronics worked out well and (as can be expected) the track is pretty harsh. I am less convinced by the more tranquil tracks, even though I do like the industrial, but not very noisy, “Cruth Do Bhaile”.
Previously I reviewed the “appendix” which also has a more tranquil track that I like less than the other tracks. What occurs to me playing “Incursions” is that the noise on these last two releases is more of the harsh type and less of the structured kind of the two brilliant full-lengths. Even though I do like the more extreme tracks of Am Not, I like the structured tracks a lot better than the more tranquil tracks that seem to have replaced them.
As the name of this project suggests, it is from the Netherlands. It means ‘sacrificial animal’. Offerbeest is actually one of the projects of the man behind Gnaw Their Tongues, an interesting dark doom metal project. I do not know if I knew if that came from my homeland though. He also appears to be active in the nice noise project Aderlating.
“Afrika” is the second of three Offerbeest albums and is released by Malignant, so well available (even though the physical copies are limited to 300).
It is but a half hour album with with noise music. Layers of distorted sounds, drumming or more industrial rhythms and distorted vocals. The album has a few nice tunes here and there. I like the tracks “I Am The One” and “Cut Out Their Hearts” which are fairly typical noise tracks with brutal vocals, but the other tracks are not too much to my liking. The sound is a bit too chaotic for me perhaps. Nothing to do about that.
You can listen to this album on Spotify or Bandcamp. When you want a physical copy, be quick about it.
Well well, a collaboration album between three industrial giants: Thomas Garrison, Geneviève Pasquier and Dan Courtman. Their respective projects (that is to way, one of each), are named, so would the result be collaborations, or tracks of each project? I am not entirely sure!
Among the eight tracks it is fairly easy to recognise the different styles. There are wall-of-noise type tracks that remind of Control. There is one Pasquier track which is fairly industrial in sound on her scale, but it is still Pasquier. Some industrial tracks obviously have Courtman’s vocals. Over the entire album, it looks like Garrison had quite some influence. Of course we all know that our friendly Thorofon couple also does not shun sonic brutality. Perhaps the tracks are collaborations after all.
When you like Pasquier and later Thorofon, “Cold War, Hot Love” may be more brutal than you are used to. When you do like the rougher side of these projects, especially when you can appreciate a Control sauce, this album just might be just what you are looking for. I like it, that is for sure! Too bad that it is not released on cd though.
Tesco comes with a loud debut album of this new German outfit. “Age Of Insignificance” mostly contains violent noise and death industrial, with here and there a little gas off.
After a great death industrial opening follow a couple of noise tracks (less rhythm). These styles alternate until my favorite track of album, the title track, a wall-of-sound type track with brutal vocals in the middle. The vocals are varied from undistorted screaming to talking to a sound that is almost unrecognisable as a voice. There is not much focus on vocals. Where some music in the style has screaming lads from the beginning until the end, Deathpanel usually only has vocals in a part of the track. A couple of tracks contains good sample-work giving these track extra atmosphere.
Of the eight tracks presented, half I like a lot and the other four are still good. Indeed a promising debut.
I got to know Am Not when he released the great second album “Unpunished” (2015). A while ago another good album was released (“The Developing World” 2017). Then I learn that Am Not’s debut tape from 2012 has been rereleased on cd.
I had already heard this 34 minute debut, so I knew it is not as good as the later albums. An artist can develop, right? “First Morbid Vibrations” opens with a great, dark, noise track. Then follows a more ambient track and the third tracks starts off quite quietly too, but we soon go over in complete noise mayhem, a pretty damn dark piece of wall-of-sound style noise. Track 4 is again more ambient and the fifth a somewhat strange kind of fairly extreme noise, but not very chaotic of sound. The closing track is one of these extreme, high-pitched, unstructured noise, the not-my-kind type of noise, tracks, that is to say, I have heard much worse noise. Perhaps I will get used to this track.
It is safe to say that the album starts well, but develops in a negative way, but certainly without getting bad. The larger part is still pretty good. Not as good as the meticulously created later albums and I miss the vocals, but this is a descent document of a time past,
People who are curious about the debut of Am Not can now get a copy on cd.
Once again thanks to Noise Receptor for bringing this tape to my attention. It was Noise Receptor who introduced me to Am Not and hence Unrest Productions, now I learn about an Unrest sublabel, Unsound.
What is a bit weird is that Unrest releases cds, vinyl and tapes and Unsound also releases tapes and according to Discogs also vinyl. Noise Receptor understands that Unsound aims at cheaper productions that can be released with higher speed. Indeed, the three Unsound tapes that I got come in cardboard sleeves with black and white printing, while the Unrest tapes that I have come in a normal case.
That said, Detrimental Effect makes a not too extreme kind of noise with pulsating rhythms and rough, screamed vocals. Perhaps the sound is somewhat akin to that of Anenzephalia here and there. For some reason when there are vocals in noise (or voice samples) the music is ‘plussed up’ in my head. Detrimental Effect has a bit of the Unrest style of not too complex noise, but with vocals. There is good use of samples in the background, not too many high pitched sounds and plenty of low frequencies, another element that raises my ratings. The atmosphere is certainly descent and the sound is often that of good-old industrial noise, but not the chaotic, unstructured style.
This is Detrimental Effect’s debut release and it surely is promising.
Late 2013 I heard of Trepaneringsritualen because Distel cooperated to an album. The styles of these projects have little alike. Where Distel is more of an “angstpop” type of project (especially in the earlier days), Trepaneringsritualen makes very dark “death industrial”. I did (nor do) like all material, but some albums are great and live performances are too.
I got quite some material of this “Götisk dödsindustri” project, but it often sounds quite alike. Therefor the project dropped on my priority list.
I am very glad that I gave “Kainskult” a try though! This album sounds as exciting as when I first encountered this project. All known elements are still there, but as Tesco’s selling text says: “somehow it reaches a new level of intensity”. Among earlier material there already were tracks with less distortion, but on “Kainskult” Thomas Ekelund experimented with his common elements again together with a whole host of fellow conspirators. One of them is Michael Idehall who I think sings on the great and moody opening track. Also there is Kim Larsen who I think sings on the magnificent closing track. Between these two tracks there are Trepaneringsritualen tracks that are somewhat more uptempo than the usual material, Ekelund’s vocals moved more towards a kind of rhythmic growling with more text than just a few lines. Walls of dark noise, hammering on metal and well-placed drumming, “Kainskult” without a doubt contains Trepaneringsritualen’s best material so far. Distel returned as conspirator as the mixer of this album
So does my taste shift towards power electronics legends, or does their sound shift towards my taste? For decades I have known, but never liked, the noise outfits that started in the 1980’ies, but only recently projects such as Consumer Electronics and Sutcliffe Jugend released material that I do like (but I still do not like their entire back catalogues, so perhaps their music is shifting towards my taste). Now The Grey Wolves comes with a great album too. What is too bad is that this is their last album.
“Exit Strategy” does not have the typical TGW sound. There is no earcracking, unstructured noise with brutal vocals. Rather, there is an ‘ambient noise’ type of sound with distorted film samples and here and there a noisy outburst. Some tracks reminded me of Propergol and then I saw that Jérôme Nougaillon indeed produced the album.
Should I make a comparison to Propergol, mostly think of his “United States” (2000) / “Regegade” (2001) period to get an idea of the sound of “Exit Strategy”.
Not all tracks are great, but most of them are. Available from Tesco on vinyl or cd.
Unrest may not be a guarantee for a good release, but of the labels that I (relatively) recently discovered, Unrest has a descent success rate.
Here we have the second release of Abscheu, both tapes on Unrest Productions. I do not know the debut, but judging the new tape, it may be a good idea to get a copy. “Pretense” is limited to 141 copies though, so perhaps “Breviary Of Chaos” might well be sold out.
Similar to other Unrest releases, Abscheu presents great tracks and not-my-kind-of-noise tracks (chaotic, high frequencies, etc.). The thing is, there are some great death industrial things here, perhaps even reminding of Ex.Order. Other tracks have a bit of that structured noise sound of Am Not, the project that acquainted me with Unrest Productions.
Perhaps I should make some sort of Unrest playlist with the good tracks and leave out the ones that I do not like, because the good tracks can be great and this can be said for “Pretense” too.
In 2015 Unrest Productions release the superb Am Not album “Unpunished”. There appeared to be an earlier album (“First Morbid Vibrations” 2012 Unrest) which is descent, but not as good as “Unpunished”. Now Tesco picked up Am Not to release the third full-length.
I do not remember how I learned of this project, but with the previous and the latest album, this project rapidly rises to being one of my favorite projects. Tamon Miyakita combines elements that I enjoy in music. It is dark, structured, emotional, but most of all, he seems to have something to say. Just music for the sake of music (or anti-music in the case of noise) can be entertaining, but I like it a lot when the artist seems to be concerned with more than just music. Am Not actually has lyrics, lengthy ones too sometimes. Not just the shouted one-liners of many similar artists, but lyrics that make me wonder what the artist means with them. A track opening with a sample of a man telling about him torturing black people, ending with “Leopold reigns today” (on the previous album), a stance against racism, as Leopold was a Belgian king who had a terrible regime in the then-colony Congo?
The new album seems to have more “1984” type lyrics, complaining about the almighty bureaucratic system that is more powerful than politics and a “child” that is summoned to “come home” with what appears to be a dangerous regime.
I do not mind that the lyrics are not ‘clear’ or even if there appears to be something there that I agree with or not, but this underused element of extreme electronic music definitely adds something for me.
The music then. Just as the previous album the music is pretty dense and noisy. The vocals are more often heavily distorted compared the previous album. Some tracks are more power electronics in sound, others somewhat less extreme, but “The Developing World” is certainly no easy-listening. It is abrasively dark though and, I said it before, I have a thing with extreme music with vocals. The new Am Not is, once again, pretty damn good!