James Plotkin and Brent Gutzeit - Mosquito Dream (CD, Kranky 1999)

It’s quite a while ago I did another review from a dark ambient release. But strolling through my collection I found “Mosquito Dream”, a dated but very remarkable album from James Plotkin (also known from Khanate, a black doom metal band from the US) and the experimental artist Brent Gutzeit. It’s a collaboration starting from 1994, where Gutzeit reworks (or deconstructs) Plotkins guitar recordings, and Plotkin remixes the recordings from Gutzeit. This process  went on for a while, till it got finished and released in 1999.

The first track “Mosquito Dream”, (entitled as the album name) starts out quiet and very slow with humming, cold drones (which sound a bit like airplanes) and eerie, glacial soundscapes that sometimes sound like moving ice caps. It’s like you are watching at this world, which is passing you by and without interacting in it. The second one, called “Sand Scroll”, is immediately setting the mood: very spacious, blackened ambient with total bleakness. The universal feeling of emptiness is at hand. This song seems to be existing out of two parts. The first part is what I already described. The second part is longer and sounds more organic and tactile. Here, flanger like effects mix up with echo and deep, darkened voice-like drones. In “Wires”, the third track, the guitars from Plotkin seem to be still occurring in their original state, yet drenched in a nice sounding reverb. They sound much like the soundtrack from Cronenberg’s movie “Crash”, done by Howard Shore. On the background are unsettling sounds to be heard, messing around with contact mics and other guitar noises. These sounds are also accompanied by moody soundscapes and drones. The fourth one, “Cloud Cover”, returns to the spacious and organic sound from the second track. Drones and scapes that weigh heavy on the mind, but there is also a kind of vitality in the mood of this track. Like some kind of light that is fighting with the darkness. “Halo” leaves no room to breathe, choking in a putrid, yet solid state it suffocates and attracts at the same time. A descent into the bowels of Hell, perhaps. This is genial sounding ‘dark ambient’. Somewhere halfway this track, a repetitive, mechanic guitar strumming falls in, sounding a bit like bells from a church. The last track, “Mosquito Veil”, returns to serene atmosphere of the first track. But it’s much more quiet, very quiet.

This release goes along for a while now, leaving me with a nostalgic feeling. True dark ambient fans should definitely check this out, if they didn’t have yet. This is a true classic within the genre, still growing in strength as the years go by.

Buy:

Kranky

Interview with Swallowing Bile

Swallowing Bile is the harsh noise, power electronics project from Ethan Ebling. One of his most recent releases called “Obsession” (which I reviewed a while ago) became a very wanted item in the collection of the noise listener, and his live performances are drawing quite some attention as well. In this interview he talks about his influences, the equipment he uses, his personal view on sound and the future plans of Swallowing Bile.           

JM: To start this interview with, What does your project Swallowing Bile stand for and what do u want to tell with this project?

SB: Swallowing Bile is entirely personal and it represents my own personal depravities..in terms of what I want to present to the audience, it's difficult to say. I cover a wide variety of subjects but I usually stick to a theme that still resounds with me on a introspective level.

JM: Aside from Swallowing Bile, are there any other projects or bands you are/were involved with?

SB: There are a couple of other outlets in which I am involved in! I am in a collaborative HNW project with Quentin Rhys (Wet Dream Asphyxiation) called MOS, a Black Metal project which I will not disclose at this time, as well as a Harsh Noise project that I will also not name at this time (I apologize!). Currently I am a vocalist for a band called Black Houses although I can't think of an accurate description to describe our sound. The recordings can be found here, and our "Demo" CS will be available shortly via Exquisite Corpse. I have done guest spots on a few other projects but nothing that I am a full-time member of.

JM: Is sound your only outlet, or do you have other disciplines in the arts?

SB: Sound is my only creative outlet, yes. I delve into visual art a bit when creating covers but that's about the extent of it. I would love to continue working in that field, however.

JM: Are there other artists that you feel related to, or which inspire you as an artist?

SB: There are too many to name! I have come into contact with so many fantastic individuals (all of you whom have been supportive, you know who you are!), and I believe that their material is relatable on that connected level. However, in terms of relation solely based on thematics/sound, that narrows it down quite a bit. My first love was HNW sonically, therefore the classic artists have left a monstrous impression on how I view sound (Dead Body Collection, Wet Dream Asphyxiation, Cannibal Ritual, An Innocent Young Throat Cutter, The Rita, Burial Ground, and more...). Over time I became interested in exploring the Power Electronics and Harsh Noise realms further, and from there I would say that the most inspiring projects are ones that cover unique grounds with lots of emphasis on atmosphere and strong themes (Teeny Bopper, Deathpile, Climax Denial, Bizarre Uproar, Brethren, Slogun, Deathkey, Nicole 12, Taint, Rape-X, and Pleasure Fluids to name a few...). I allow myself to be inspired by fellow Power Electronics projects but I prefer to find the inspiration for new themes and sound to be drawn strictly from my own experiences.

JM: And are there any other influences beside music (books, art, ..) ?

SB: As taboo as it may sound, personal experiences and aural exposure always leaves the biggest impact on my approach to Swallowing Bile. I do enjoy a wealth of media (books and film), but it hasn't been a major part of my own material and is more of a private interest!

JM: Can you tell me a bit about the equipment you like to use for your project?

SB: Of course. The gear I use is very simple...I always rely on field-recordings I take myself to be the basis of the sound. I like to use minimal distortion (although with my earlier material I was very interested in trying to muddle the sound with 5-6 DOD's in a chain, haha...) and let the source itself remain moderately organic. I employ a microphone with either a reverb or a chorus pedal and have an alternative chain that is attached to a contact-microphone that is useful for getting unique textures in collaboration with the field-recorded "base". It isn't always this way, but I like to keep this formula pretty constant in one way or another.

JM: What can you tell me about the intriguing artwork you used for one of your most recent releases "Obsession"? The use of color and subject seem rather rare in the noise scene.

SB: The artwork for "Obsession" was put together by Jim Haras (Fusty Cunt Tapes, Deterge, PTM, etc...). He does all of the artwork for the material that is released on his label and creates the pieces while listening to the recordings themselves. That artwork was his translation from a sonic realm to a visual platform while listening to the tape and I think it fits very well and I am glad that you enjoy it!

JM: What are the the future plans of Swallowing Bile?

SB: I have an LP being released on Die Song entitled "Secluded" and that will be available very soon alongside a plethora of other material (both released on the label and distributed). A few splits are in the works as well...

Swallowing Bile (Bandcamp)

Swimming Behavior Of The Human Infant – ½ (Cassette, C20, Ache)

S.B.O.T.H.I. is the alter ego of multi-media artist Achim Wollscheid, a monument in making experimental music for more than 20 years now. The most known project of him is S.B.O.T.H.I  (in which he seems to be no longer active) but he also has other projects going on. The release date of the Ep “½“, that I will be reviewing today, seems to be unknown.

½  exists out of multiple parts, which could serve as separate tracks. These segments range from harsh, industrial noise, to bleak sounding ambient and machine noises. Like the other works of S.B.O.T.H.I. the sound is very sharp and angled (almost glitch-like). Sometimes it also got a spacious feel to it. Like some of the parts are recorded in a big factory. The two sides seem to be sharing the same noises and sounds/parts, sounding almost, if not identical.

The works of S.B.O.T.H.I. are very uncomfortable and unsettling in sound, and this one is not different from the others. This is noise and ambient in its most purest and basic form. Ugly, bleak, indifferent and uncompromising.

No longer available on label 

古田 順子 - 四十番目日 (Download, Selfreleased 2014)

Five tracks of industrial brutality, shifting from sick vocal samples to sharp, angled death rattles. Combined with static doom, decomposing humanity and cold feelings, heading towards hell and its machinery.  Harsh noise without complexes and total submission to the genre. A promising project which makes me yearn for more.

This new project (from Japan?) offers the five tracks as a download, but there also seems to be a cassette version if you click on info of the fifth and last track (which is unlistenable). I don’t see an option to buy it though. Perhaps contacting the artist will bring clarity.

Buy/download/listen:

Bandcamp

Francisco López - La Selva (CD / Vinyl, V2_Archief 1998 and Sub Rosa)

“La Selva” is an older album from the sound environment artist Francisco López, recorded in a rain forest of Costa Rica. The release comes along with a 48-page booklet.

The sounds on this album seem to be in their natural form (yet combined) and also seem unprocessed with effects afterwards. They range from quiet, soothing and relaxing, to ominous, hostile, and sonic decay from the forest. One can hear a multitude of noises, like many different exotic-animals, rain, the rustling of plants and much, much more. The chaos of survival and relentlessness of nature is really sensible and present on this release.

The overall sound is very detailed and complex. Even so detailed that the listener may find himself standing in the middle of this compelling event. This is a must buy if you are into the works of Francisco López, or the recording of sound environments in general.

Buy:

Boomkat

Anophthalmia -Totall Death Collection (Download, Selfreleased 2014)

Anophthalmia seems to be another fairly new project, mainly focusing on power electronics, HN and HNW. And on his latest release called “Total Death Collection”, you can find total deprivation of sound. Also the cover/artwork represents much of the atmosphere: vague and brutal.

The first track, “Oral Bleeding”, starts with gurgling noise and minimal delayed (or looped) ambient. The structure of this track changes all the time, but only seemingly with the existing sounds and not with new ones. Later on, also a faint vocal-like sound joins in. “Cut Scenes Of A Snuff Film” produces a lo-fi, harsh, gushing sound, with remote vocals. A very impressive sound if you start focusing on it. “Come Out Tonight”, the third track, has low rumbling, a voice sample (coming from a tv?) and a high ranged, sharp tone. As the track progresses, the voice sample is getting slowly swallowed by oncoming power electronics. The last track, “You’ve Always Been Nothing”, is spewing dark drones with massive density. Industrial noises are noticeable on the background, portraying the coldness of machinery.

This release comes straight to the point. Its minimal but unremorseful in sound. 

Download/listen:

Bandcamp

Puce Mary – The Great Panic (Cassette - C30, Freak Animal Records 2014)

Puce May, the rising project from Frederikke Hoffmeier brings us dark and brooding sounds with her new release “The Great Panic”.

The first track, “Another Dream On Superiority” has a calm, yet ominous atmosphere, with speaking words on a background of echoing synthesizer noises and a very slow sequence sound, which seems to be carrying this track. The second one, “Scaps”, begins with a pulsating sound and arpeggiator-like snare percussion, joined by flanged effected vocals, which keeps the vains rushing and the mind focused. “The Great Panic”, the title track of the album, has a violent atmosphere with delayed vocals and percussion interludes, combined with industrial, reverbed sounds. The fourth, “Insomnia”, brings heavy, bashing  percussion, together with spacy oscillated noises and “Teach Them How To Think”, has some old school synthesizer sounds going on, very dark and bleak, similar to the earlier works of M.B. 

“Drugs I” has a very nice industrial rhythm, and high ranged, unsorted sounds. And with many sounds going on, this one is very well composed and carried out. The last track, “Drugs II”, is similar to “Scaps”, but with a more deranged and mental sound.

“The Great Panic”, is a short and modest, but very clear release that doesn’t mess around. The overall feeling of this record is existential and alien-like, with a dense and cold, factory vibe.

Buy:

Freak Animal Records

Tongue Knax - Sacrosanct Pearl Skin (Cassette C60, Lust Vessel 2008)

Tongue Knax is one of the mysterious projects which appears on the Lust Vessel label. And just like those other projects, it brings a bleak and uncompromising sound.

The first and second track, “Carnal Palace Breaker” and “Gospel Of Fair Slit”, exists out of multiple layers, creating massive depth, such as frantic (‘singing’) feedback that sometimes sounds like agonizing voices and also roaring, storm like noise. Short duration loops join in sometimes, oscillating noises as well, and as the track evolves the overall sound seems to be getting more harsher. Both tracks seem to be following the same path.

On the second half we have “Imperial Fiesta” and “Thee Glabrous Xanadu”. They are also similar to the first two tracks, but in “Imperial Fiesta” the feedback (?) seems to be more controlled and put in straight tone lines, which seems to form some kind of sinister melody in the destruction of harsh noise. “Thee Glabrous Xanadu” has much more oscillating sounds than the other three tracks. Here you can really hear the presence of monophonic synthesizers, orchestrating some real compelling chaos.

I wouldn’t call it old school noise, but also not new either. Maybe a mixture of both. Anyway, a great piece of work that goes right through the bones.

No longer available on label

Penetration Colony - Nature Swallowing Itself (Download, Self-released 2014)

Imagine a ravishing storm, taking down everything it encounters. With epic feedback that sounds like a warning signal. And snarling, viscous noise, rushing through constructions like wind. The eerie drones in the distance are playing the last tones, to eventually disappear in bleak abstraction.

This one track release by Penetration Colony lets the imagination running. A truly mesmerizing piece, definitely worth checking out. But listen with caution.

Download/listen:

Bandcamp

PBOTA – Family Home Videos I & II (Download, Self-released 2014)

(I’m going to keep it short with some of the next release reviews from now on. Mainly because there isn’t much time anymore)

Here, we are having a new harsh noise wall project called PBOTA. His two (short) releases, “Family Home Video’s part I & II” exist out of pure harsh noise wall, with less or no changes in sound. Part I is lower in the details and has more grid on the edges, while part II is more static and blistering. The artwork says it all: lost memories of innocence, suffocating in the hands of time.

Very Bleak and minimal, like it should be.

Download (Bandcamp):

Part I & II