I guess you’d call this a remix album, but it's of the most extreme and brutal form- there are no beats, extra elements, or silly extra singing voices added to the tracks here; what’s added is more feed-back, more sonic ugliness and more brutal grimness. DBC takes each track from there original form( be it tape, cdr or wave file) then feeds the tracks back through up to five peddles, and the results vary from been slightly altered to complete blown-out and white noise abused version of each track.
DBC has put two tracks a piece on each of the four discs, and playing this as just one long over four hour attack on the senses is great. Sure like any type of remixed or re-contextualised project this is somewhat hit ‘n’ miss affair, with a few tracks here either sounding too much like the original tracks or just not been that effective in their own right. Yet there are also great moments like his re-raping of Vomir’s Proanomie, which has made me reconsider and enjoy this particular vomir track/ album that had always underwhelmed me in the past. Or DBC's violent and seared re-churning of Svartvit' – Dodecafonie, which makes this often wondering c90 release more urgent and instant.
This is certainly not a release for newbie to the scene & it’s not the best thing DBC has put out, but taken as a whole this collection is worthwhile and extremely unforgiving release which will please long term wall-heads. It will be interesting to see if DBC does do a second volume, and what he takes on next to bend and sonical pervert to the DBC way.
Another high quality release from Victimology records, featuring extremely prolific Dead Body Collection, with his familiar, brutal artworks, showcasing an array of morbid images, all picturing a tortured female in some way or another.
But the morbid artwork is not even a slight warning, for what awaits us when we play the wall.
Nearly 78 minutes of the most brutal, unrelenting, torture sounds I've heard in some time. The wall starts with high-pitched female screaming,which can be heard every ten minutes throughout the wall, which is, as stated by the author, the amount of time he needs to find a new victim. The wall then proceeds into a frenzy of dense, yet pounding static judder, with bass in the background, creating a mind numbing bombardment. The wall finishes off with a female crying, screaming in pain, and is the slashed and killed.
Definately a release not to be missed. Play it loud, play it to the end!
The CDR features just one seventy seven minute track of intense, battering and brutal walled-noise which finds DBC unfolding a fairly rapid paced thick ‘n’ slightly crusty wall of juddering & jittering static toned noise that stays fixed and nasty through-out. For the most part the ‘wall’ has a brutally persistent and sleazed feel to it, but sadly there’s one thing that keeps this from being a great and rewarding ‘wall’. and that one thing is the female screams that pop up every ten or so minutes. Firstly it seems to be the same single scream sample that’s being used again and again- surely there could have been some variation or mix of screaming/begging tones?. Secondly DBC just drops the scream on top of the 'wall' and makes no attempt to mix or stretch it into the ‘wall’, so it just sounds a little sloppy and none too effective. The track also features screams and pained wails at the start & end of the track, and these work a lot better than in the body of the track; and thier particular effective in the end torture breakdown where there lots of pained female sobbing, and then a slicing of knifes as the track exists.
So to summing up on this release- it’s good to see DBC trying different and new elements in his sound it’s just a pity that more effort & time wasn’t put into mixing and structuring them in a more terrifying and effective manner. Because what your left with now is a ‘wall’ that could have being great, brutal and nasty , but instead sounds rather amateurish and sloppy every time the same old scream sample pops up in the wall.
This fine release came with the new batch of the fairly new record label Victimology Rec. which already made a name for itself by releasing a couple of prominent HNW acts.The release is a pro-done CDr in sleeve, featuring easily one of the weirdest, yet most interesting artworks out there, a rather funny looking guy in a suit,wearing big glasses, and a cilinder hat. Nothing more.
Smrznik keeps following the theme of weird soft-science fiction, both in art and sound. This half hour wall is the epitome of Smrznik's SF weirdness - a deep,bleak hum, dominating the wall itself, with distant short cracks, barely noticable, but complementing the wall.Near the half of the track, everything stops and a short
conversation, apparently taken from some movie, jumps in, further deepening the theme of the release. After that, the wall becomes slightly more aggressive, now with more judder than before.The wall in its entirety feels like a journey through space,as if the infinity of the universe, and the silence of space are being
interrupted by the muffled hum of a passing spaceship.
An amazing release, once again proving that Smrznik is on of the weirdest and most innovative HNW acts out there. Recommended
On offer here are two full length albums and each celebrates a different single Krimi moive in typical Werewolf Jerusalem textured static and walled noise form. Before we get onto the sonics on offer on each disc here, its worth mentioning the great and pro-looking packaging which must be one of the brightest and colourful Werewolf Jerusalem releases I’ve seen thus far. The two pro-labelled cdrs come in a DVD sized case, and on either outside side of the case is reproduction of each colour and macabre original film poster for the two films covered here: 1961’s The Dead eyes of London and 1964’s The Phantom of Soho. Inside the case along with the discs is a pro printed colour A5 inlay sheet which features a picture of Ramirez manipulated his peddles and the tracks details. There’s also two nice pro-printed Werewolf Jerusalem stickers too.
So let’s move on the discs themselves first up we "The Dead Eyes of London" which takes it’s influence/ name from the 1961 movie of the same name which was directed Alfred Vohrer(who directed a number of “Krimi" movies), and the plot follows the tale of several wealthy, heavily insured men that are being murdered at an alarming rate. Scotland Yard investigates and finds clues leading them to a ring of blind men, led by a mysterious reverend. On offer here is single forty seven minute track which finds Ramirez’s boiling up this very urgent and battering wall of noise which kicks straight in from the start and doesn’t let-up or break it’s brutality until it ends. The ‘walls’ built around these two or three rapid, boiling and circling tones- one has quite a locked billowing to juddering or liquid rush feel to it; while the other has more hissing/ roasting texture to it. These two(or three) elements are fed out into a truly searing and inescapable wall of brutal texturing. I guess the track nicely captures the feeling of raging and blind killing machines….which of course the movies killers are meant to be.
Disc number two is entitled "The Phantom of Soho" and it takes it’s name/ influence from the 1964 film of the same name which was directed by Franz Josef Gottlieb. And the plot of the movie tells of two Scotland Yard detectives who are investigating several murders which have taken place near a Soho nightclub. They soon discover the murders are been carried out by a hooded killer in a grisly skull mask, who is killing off the survivors from a shipwrecked boat. The track on this disc comes in at a slightly longer fifty six minutes, and it all starts off in quite an odd and weird fashion with ten seconds or so of this really strangle guttural and slowed down speaking texture. After this strange intro we jump into the ‘wall’ which finds Ramirez building an clearly defined two texture sonic noise structure which finds a mid-pace jitter ‘n’ juddering tone been mixed with a lower and thinner tone whirling ‘n’ muffed grain texture. This track feels a bit more creepy and eerier around the edges compaired with the first disc, though it’s still damn brutal. At the ten minute mark it nicely drop downs to just a slightly hissing ‘n’ spooky single static ambient noise tone trail, but by the twelve minute the wall kicks back in once more, but it’s seemingly more static feasting and hissing with locked jitter ‘n’ judder tendencies then it was before, and there’s also less separation between the two tones. In the last few minutes we drop down into the weird guttural and slowed down speaking textures for a few seconds, then it’s over. All told it’s a rewarding enough track/ album, and I like the weird and surprising elements…though on the whole it’s not as Moorish and enjoyable as the first track/album
So all in all another worthy, brutal yet sometimes creepily atmospheric release from one of Mr Ramirez more respected and know projects, with both discs and artwork being presented in a nicely bright yet morbidly arty and pro manner.
“Battlefield Recordings” is the 4th full length release from this battle and warfare obsessed Serbian HNW project who makes thick and unbreakable walled noise.
The pro-pressed CDR features a single fifty minute track that pulls the listener deep into a very war torn 'wall' of thick and painful sound. The ‘wall’ is a mixture of rolling tank like judder ‘n’ rumble, and thick yet locked static jittering- both elements are fed along side each other in a uniformed and unbreakable manner for the full length of the track. And the track really does give one the feeling of being stuck on a battlefield filled with endlessly rolling and human life crashing tanks. The ‘wall’ certainly creates the feeling of war very nicely, through I felt my attention did start to ebb towards the last twenty minutes of the track- so maybe it should have been cut down a little.“Battlefield Recordings” is the 4th full length release from this battle and warfare obsessed Serbian HNW project who makes thick and unbreakable walled noise.
The pro-pressed CDR features a single fifty minute track that pulls the listener deep into a very war torn 'wall' of thick and painful sound. The ‘wall’ is a mixture of rolling tank like judder ‘n’ rumble, and thick yet locked static jittering- both elements are fed along side each other in a uniformed and unbreakable manner for the full length of the track. And the track really does give one the feeling of being stuck on a battlefield filled with endlessly rolling and human life crashing tanks. The ‘wall’ certainly creates the feeling of war very nicely, through I felt my attention did start to ebb towards the last twenty minutes of the track- so maybe it should have been cut down a little.
All in all this is another worthwhile release from this Serbian project, which keeps the warring/ destructive themes and sounds to forefront of it’s sound. It’s not the best ‘wall’ I’ve heard from the project, but it’s not the worst either. I guess if you enjoyed the projects other releases pick this up, but if your still to check them out start with “Untitled Recordings 1942” which is the most successful releases I’ve heard from the project thus far.
“Toute Une Histoire”( A whole History) finds this French HNW project offering up a seared, altering and mixed pitch wall of extreme noise. Featured here is a single hour long track that nicely slices ‘n burns through various noise textures and crusty 'n' high pitched tones, yet it always remains full and extremely intense in it’s attack.
The ‘wall’ smashers straight in with mixture of struggling static & higher pitched sonic end trails- but it does'nt stay in that sonic place for long. As the track moves on we move from: roaring ‘n’ cluttering static battering, to billowing and expanding noise dwells, though into jittering and grating semi-harmonic mid-pitch tone bombardments, onto skipping and caught grainy static hiccups, and all manner of seared and noised-up texture that could once have been crowd chattering, radio music drift or all manner of sonic flotsam and jetsam. The track remains a very full and flowing ‘wall’ of sound through-out, with Å cleverly and aptly adding in new detail, texture and sonic shift as the track moves along- though the noise altering is never too oblivious or jarring; meaning this stays with-in the genres boundaries, but attempts something a bit different with the form.
I’ve been a big fan of all of Å’s releases thus far, but I must say “Toute Une Histoire” is one of the best things the project has put out. Simply put this is a great, unstoppable, seared yet subtle shifting 'wall' of noise which has a great urgency, depth and brutal clarity to it. Umissble stuff really
I’ll have to admit I approached this release from quite a negative stand point- I’ve not minded this projects sound in the past when it’s been more noise genre mixed, but I’m afraid the project first true foray into HNW (last years “Infinite Uh”) rather underwhelmed me. So I’m happy to report that “High Definition Ghost” does a lot more for me, and really stands as a fairly consistent HNW release in it’s own right.
On offer here are just two fairly lengthy slices of HNW, first up we have the title track which is the longest of the two tracks at just under the twenty nine minute mark.
This track start out with a very nasty and unrelenting mixture of rapidly paced juddering 'n' churning noise textures- these are under fed by this expanding and intense drone trail. The ‘wall’ has a very full-on yet layered feel to it, and as it progresses the churning and juddering textures seem to nicely yet subtle shift and ebb in the seared violence of the track. At times I’m sure I can make out warming 'n' pressing harmonic rubed synth textures or battering synth drum textures buried deep with-in the raging wall of sound, but this could just be my imagination. One thing though I’m sure of is there’s a lot going on with the tracks make-up and your mind picks up on all manner of textural shift and seer as the track moves along. There’s also quite a neat yet very blown-out industrial and battering feel runing through-out the track which gives it quite a distinctive feel.
The second & last track is called “Superimposed” and this comes in at just over the fourteen minute and thirty second mark. This track moves up the pitch from the first track to a slightly higher more storm battering feel with a mixture a raging and circling wind like tonality, that are underfed by this unrelenting drilling and slight ringing drone boil. As we move towards the tracks fourth minute an overridden almost synth like grinding meets mid-tone alarm judder is let lose, and this seems to buzz and rage into your head like looped yet arcing shot of pure & thick electricity. This elements remains center stage for the rest of the track, and it just gets more and more intense and drilling in it’s feel as the track reachers its deeply searing conclusion.
This release offers up two rewarding tracks that sees this project sculpturing and focusing thier distinctive mix of sounds into a thicker and concentrated HNW form. I look forward to hearing more forays into the HNW form from Where is This, and if your after a distinctive sounding take on the HNW genre “High Definition Ghost” is well worth a look.