This entry was posted on Wednesday, September 12th, 2007 at 3:05 am and is filed under 12", Drone, Experimental, Music Reviews. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
Minimalistic drone has is usually hit or miss for me. Hatred hit me in more places then I can count. The project involved members of Wolf Eyes (Nate Young & Alivia Zyvich) and the album bares resemblance to other Ultra Eczema vinyl projects such as Hans Grüsel’s Krankenkabinet and Burning Star Core (minus bXc’s use of standard instruments such as piano) yet Hatred remains 5 snobtastic levels above them with no website, no liner notes, no song titles, and one fucking creepy large poster as the vinyls packaging. I read that its a 500 limited run press and that the label is out of them all so if you got $25 to smoke, go pick it up from Mimaroglu Music Sales or Aquarius Records in SF.
So yeah, the artwork contains no words and not even a mention of the band, just orange scary hairy-faced creatures depicted with line art highlighting vacant eyes, horrible noses and the oddities in teeth architecture. The faces unfold to create a bright green, psychedelic poster on the back to reveal the biggest creature of them all. I’d love to see it in a horror flick on a wall somewhere where the killer lives, perhaps listening to these same sounds.
As for the sounds, well they went something like this:
The 12-Inch opens with piercing sounds that escalates into an intense soundscape of blisters popping while locusts devour the great plains. The next track opens up with demented church bells ringing out of tune followed by a loud bass-level time warping vortex of energy. Blips scurry past as the demented church bells come back into the background of the piece. Laser beams and horror film blasts echo like an alien abduction scene. The looping vortex is joined by other noises, such as steady scraping noise which work to distort what little time signature which existed in the tracks beginning. The 3rd Track slowly creeps up in volume as an evil organ loop played by bored evil spirts in gothic mansions. Crashing sounds float above and echo into the ends of this nightmare. The trance evoking noise could be the wake up call of the dead or their masters.
Track 4 growls with the pains of starvation with meteor showers breaking up your weenie roast. The fallen starts begin to weep and whine as the hunger blips and bellows from the boiling lake. The streaking remains siren overhead as high frequency antennas shoot static into vapid minds. Everything becomes amplified static into fried amphitheater microphones as this beast retreats back into its cave. #5 brings the same horrory echo beats at random and unexpected times and with distinct amplitudes. The echo never dissipates and bells ring wet filling the emptiness between each crash. A working beat forms as small drills hiss with an assortment of light cymbal hits, sounding more bent than round. Everything becomes quieter and bird calls and squeaking rodents peak from their nests as the long fade out ends.