Tamon “Am Not” Miyakita has a new project. According to Cloister Recordings created together with (the unknown to me artist) Mollusk King: “this tape explores tendency cinematic/dystopian-electronic/ rhythmic industrial to convey the harowing experiences and processes described in the text”.
The opening track is a rumbling piece of noise that shows the hand of Tamon. Then follows a more atmospheric (yet still industrial) track. What comes after indeed reminds a bit of Propergol at times. The tracks are more of a ‘noisescape’ type with samples giving that ‘cinematic feel’. Even though some sounds are known from Am Not, the overall sound and atmosphere here is different. Not as extreme, yet still dark. There is also a reference to the “Auto” 7″ with a track called “Bioluminesence II”.
“Spirit Breaking” is a nice ‘ambient noise’ release.
Moral Order is an active ‘new’ project. After the 2018 album on Tesco that I reviewed, there have been no less than five albums and as many ‘other releases’. The project released through labels such as Tesco, Malignant and Old Europa. Two of the shorter releases were made available by Cloister who now also release this vinyl full length.
The sound of Moral Order goes from dark ambient, to ambient noise, but often working towards more of a ‘wall of noise’ type of noise and death industrial. Extremely distorted vocals bring an extra layer to the fairly extreme sound. However this is my kind of sound, I cannot say that I listen to Moral Order a whole lot. Perhaps it is good, but does not really stand out or something. Also there are other kinds of tracks, more experimental soundscapish things which work less for me, so I would probably not just play an album from start to finish.
In any case, all I can say is that “Backlash” is a good new album in the noise type of music.
In spite the fact that this is not the first release of Slow Slow Loris and that earlier releases are made available by labels that I know, such as Zaetraom and (like the present title) Cloister, the odd band name did not ring a bell.
“Solve Et Coagula” is released today through Bandcamp and on tape. When I put on the album I thought ‘hm, some sort of experimental soundscape type of thing, not entirely my cup of tea’. The vocals reminded me a bit of Alzbeth of The Moon Lay Hidden and on closer listening, the project brings memories of the pre-TMLHBAC project L.A.A.
The music consists of sound experiments which go from soundscapes to more industrial and noise(y) parts. There seems to be guitars and then there are the almost constant vocals of Angela Nina Yeowell. The result is certainly uncommon compared to what I listen to more often, but the more I hear of the album, the more it grows on me. This is actually pretty interesting music. I will have to listen to the previous releases of this project.
“One of the longest running Death Industrial – Death Ambient projects still active in the USA.” The name sounds familiar, but I do not think I ever listed to Subklinik. Many releases, mostly on labels I am not familiar with. Good that he now appeared on Cloister! For the first time too it seems.
“Neuroskizm” opens with a dark and monotonous, yet interesting dark ambient track. After this the sound becomes almost wavey with a simple rhythm. “Pulvursive” slowly becomes a bit more industrial, but not much.
The last two tracks are more dark ambient again, but slightly leaning towards death industrial, but mostly remaining ambient.
Not great, certainly not bad. I am going to try to listen to some more material of Subklinik.
I have the idea that I have known the name Satori for decades, but I have never known them. Did I try their music when I could not yet listen to noise? Do I mix them up with a band with a similar name that I am not too crazy about? I do not know.
Noise Receptor has reviewed quite a couple of Cloister releases recently. I know Cloister as a tape label and I never really got to explore their roster. I buy tapes every now and then, but usually only when I have other things that I want to have.
For some reason I never checked if Cloister releases can be obtained in another way, so when I did, I noticed that they have a Bandcamp. The tapes themselves are all sold out in no time, but the Bandcamp page gave me the opportunity to finally find out what Cloister is about.
The newest release (when I write this) on Bandcamp is Satori. ‘Oh yea, Satori, I know them’. No I did not! Fortunately I skipped through “Angor Animi” to find out that Satori makes pretty impressive wall-of-sound type noise with samples and vocals. Not bad at all!
Satori has been around for decades. The oldest release is from 1987! However Dave Kirby is a Brit, “Angor Animi” sounds somewhat like “Japanoise”, but then in a way that I like. Perhaps the vocals?
After a while Satori proves not to be just an extreme noise project. The fourth track opens with fast drumming and after the noise sets in, a very energetic noise track remains. A very interesting combination!
The next track starts with samples and noisy ambience, but towards the end extremity returns. The remaining tracks contain some novel ideas too. In basis the sound remains a harsh wall of noise though.
Not entirely my kind of noise, but I do like the fact that there are some elements here that I have not heard on other noise releases.
Just like Tølerant, Maltreatment has only four releases, all released on 2020, three on Trust Collective, one on Cloister.
Maltreatment sounds more like what I thought Cloister Recordings to be like. Chaotic noise, quite some high frequencies. It is not extremely harsh, but I prefer the more (death) industrial approach to noise.
Indeed I have been scanning the recent back catalogue of Cloister Recordings. I have known the label for many years and even though I listen to noise more and more in recent years, I never really came to check what this label releases.
Perhaps I thought their releases were more of the chaotic, extreme types of noise or they just were not on my mind enough. Anyway, several of their releases prove to be more ambient than I like, while other releases are in a death industrial direction, a direction that I do like.
I had never heard of Tølerant. It appears to be a new project with only releases in 2020. Four releases!
As with other projects, what you get here is dark, low frequency, minimalist industrial noise with highly distorted vocals. Not very innovative perhaps, but moody and decently made. This sure is a style of industrial that I like.
This is not the first release of Westendhall, but the project is new to me. It appears to be a project of the same man who makes music under the monicker Code Neda.
Code Neda makes mostly ‘noisescapes’. Initially I thought the same style filled “Reluctant Resistance”, but it soon becomes clear that Westendhall leans more to the death industrial type of noise with highly distorted vocals.
The music is quite minimalist, perhaps even a bit ‘ambient’, but with low frequencies and heavy blasts, so the result is more ‘death industrial’. The sound reminds a bit of Gnawed. Though not as good as the American project, “Reluctant Resistance” is a descent noise release, especially for those who -like me- like the darker types of noise.
It does not happen often, but Spotify surprised me. I have known Blitzkrieg Baby since the “Kids World” tape on Beläten from 2014. Later there were a few other releases.
Spotify had only one Blitzkrieg Baby track on some compilation and yet last week I got “Genocidal Sextasy” as a new release. Not bad of Spotify. Incidentally I notice that older releases have been added to Spotify as well, even an album that I did not yet know: “Homo Sapiens Parasitus” (2019) which was released on Neuropa just as “Porcus Norvegicus“.
Actually “Homo Sapiens Parasitus” seems to be newer than “Genocidal Sexstasy” as this 2020 version seems to be a second edition. Cloister Recordings also rereleased some earlier material and that is probably how it all ended up on Spotify.
Anyway, if you know Blitzkrieg Baby, you will know what to expect. Nihilist lyrics, slow, beat driven music that sometimes leans towards industrial. This project as a very recognizable style, but it is not easy to compare to something else to give an idea of the sound.
This new album, as with previous releases, has amusing tracks and tracks are I like better, particularly the more industrial tracks.
Interesting and should you have missed them so far, give them a listen.
