Top Noise, Drone, Experimental, & Electronic Releases of 2013

Hey readers, welcome to the second of my posts rounding up the most exciting and enjoyable releases of 2013. This is another catch-all type post, but instead of focusing on things that wouldn't normally appear on my website, this entry is a journey through all of the strange, potentially unclassifiable releases that have graced my ears over the course of the past year. I was initially considering making a list for harsher forms of sonic experimentation and a separate list for mellower stuff or things with roots in other genres, but I realized that I'd be in far too deep if I made a million separate categories, so without further ado, I present the best BM&B approved albums that aren't quite metal, but are entirely worth my readers' time.

25. K11- "Another Temple to the Great Beast 666" (Utech)
From horror to bliss and back, "Another Temple to the Great Beast 666" is an album that (like many here) can't truly be described with words. It's a series of experiences that weave in and out of each other. From subtle sounds of nature, as if one were actually visiting the ruins of an ancient temple, to roaring tones that evoke images of demonic rituals, this album touches on many different areas of noise and drone, keeping things fresh from start to finish.

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24. Machismo- "Severe Disconnect" (Depravity Label)

Easily some of the most static and turbulent noise I've heard, "Severe Disconnect" is like leaving reality behind in a moment of pure fear. If this group isn't out to directly cause harm to the listener, they're certainly skilled at making me think otherwise. Violence embodied. Don't know how this hasn't sold out yet. Get it while you can.

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23. Sunken Cathedral- "Sunken Cathedral" (Black Horizons)
Slow moving, textured drone atmospheres aplenty on this release. It all feels very organic and you can practically feel the moss growing on the ruins of something ancient and sacred. Blissful and mind melting, perhaps both for the same reason.

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22. Trepaneringsritualen- "The Totality of Death" (Malignant Records/Silken Tofu)
As one of the first death industrial projects I ever heard, Trepaneringsritualen has long been a reference point for me when discussing the bleaker side of music. With this two disc set, with each CD being released by a separate label, this project visits new depths that set me on edge in all the ways I needed. It's hard to state how much of an endurance test this release can be at times, but the reward is all the more enjoyable after repeated listens.

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21. Body of Light- "Volonta di Amore" (Chondritic Sound)
Surprisingly beautiful and almost entirely reminiscent of new wave, this tape instantly captured my attention and should do the same for you. My only complaint is that it's far too brief, but as always, that just means it's good for multiple listens in one sitting.

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20. Dylan Ettinger/Goldendust- "The Pale Mare/Truth" (DKA Records)
This split 7" is the first release from fledgling label DKA Records and offers one brief yet engaging track from each artist. Ettinger's side features dense beats, seemingly rooted in rap/hip-hop, which are paired with elegant and simple electronic melodies and heavily warped vocals. Goldendust's side contrasts the almost claustrophobic dance vibe of Ettinger with a hazy, mellow ballad that might seem a bit sleepy at first listen, but proves truly addictive over time.

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19. Brennendes Gehirn & Dorian Williamson- "Rites of the Aethyr" (Antithetic)
This collaborative release surprised me despite my familiarity with Williamson's primary work in drone duo Northumbria. Traveling from entirely welcoming and comforting bass drones to the vast emptiness of the abandoned remnants of once great cities, this release kept me guessing the whole time, and subsequent listens only reinforced the strengths demonstrated here. I hope these two minds meet to collaborate again. Read my review for greater details.

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18. Judas Christ- "American Gulag" (Male Activity)
This one was submitted for review and the name struck me as silly. Then I realized I couldn't stop listening to it. My review should sum up my thoughts on this fantastic offering from this bleak new group.

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17. wet nurse.- "Flux Emission" (Male Activity)
Overwhelmingly depressing power electronics with unconventional structures, if there is such a thing as a conventional structure in noise. One of the albums that convinced me that analog purists sometimes miss out on real gems. Read my full review here.

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16. Waves Crashing Piano Chords & Tanner Garza- "de Sade" (Forever Escaping Boredom)
At times terrifying and others merely disconcerting, this collaboration between two competent noise musicians was one of those tapes that REALLY wasn't long enough. With a mere two tracks of collaboration between these individuals that barely makes the eight minute mark, I can only hope that this is a teaser for some sort of horrifying opus rather than a brief melding of minds. Read my full review for further details.

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15. The Stargazer's Assistant- "Mirrors & Tides, Shivers & Voids" (Utech)
Possibly the most conventionally accessible release on this list, this album has been one of my most heavily played of the year. My thoughts on this 2x10" release can be found over at Hammer Smashed Sound.

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14. The Vomit Arsonist- "An Occasion for Death" (Malignant Records)
The melancholy drone and noise experimentation of The Vomit Arsonist caught me by surprise earlier this year and never really let go. It seems there's no occasion for which this album didn't feel appropriate this year. Read my review and go buy a copy.

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13. Swallowing Bile- "Wojtek" (Sounding Session)
To pick a single Swallowing Bile release and say "this is the one" is hard. This fresh project has already proven to be a powerhouse in the noise and power electronics communities, and "Wojtek" was the first of his albums I obtained this year. It also happened to be the one I've listened to most frequently. It's quite safe to say this is one of the only truly harsh releases I loved enough to include on this list, so if you're curious about more extreme sounds but aren't fully prepared for them, give this tape a listen and see if you're ready.

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12. Breathing Problem- "Reactive Attachment Disorder" (Wohrt Records)
Easily one of the most depressing and fluid power electronics releases of the year, "Reactive Attachment Disorder" was an early find for me and has remained as gripping as the first time I listened. While it's hard to recommend this for everybody, brave fans of the genre will find this tape incredibly rewarding. Read my review for full details.

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11. Crowhurst- "Memory Loss" (Self-Released)
After reviewing Crowhurst's ominous "Death Van" earlier this year, it was a pleasant surprise to find an even more thrilling release from this nebulous entity. What kind of music does Crowhurst perform? It depends on the release. With roots in noise, Crowhurst seems intent on spreading its horrifying little fingers in every direction. "Memory Loss" is some of the most detached yet focused work I've heard from this project to date. Listen and fall in love.

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10. Bodystocking- "Sheer Spidertouch" (Strange Rules)
As with most Strange Rules cassettes, it's rather unlikely this one will surface for purchase at any point in the near future, but I managed to snag a copy with great luck. This rather prolific side project from A Pregnant Light/Colloquial Sound Recordings mastermind is a dense, beautiful industrial endeavor and this (along with many releases on CSR sublabel Locust Leg) has captivated me in a way I may not have initially expected. The motion never stops. The beauty is more than superficial. Keep an eye out for more from Bodystocking, and don't expect it to last long when copies do surface.

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9. Synsophony- "Karmic Existence" (Acephale Winter Productions)
This free digital EP is one of the few releases I was uncertain about placing here rather than in my black metal section. Still, as an absolutely horrifying drone release, this absolutely belongs on this list and is one of the unsung albums of the year that I still can't believe didn't receive more attention. This absolutely deserves to be heard by everybody. Read my review for more information and get ready for a new EP in early 2014.

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8. Herukrat- "Anna Karina" (SVN OKKLT)
This tape is harsh noise wall with a purpose. Focused, obsessive, and in control, Herukrat guides the listener perfectly. My friend Tom at Metallic Imagery described this better than I ever could. Download this sold out cassette and lose your mind.

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7. Jason Hodge- "Hope Has Abandoned Us" (Enemata)
This heartbreaking, pensive cassette has been a frequent companion over the past year. Jason Hodge has released a few tapes this year, each of which has proven to be truly dynamic in its approach to noise. Like any of his works, this album feels fresh and Hodge's commitment to creating something unique is fulfilled through the course of his work. Read my complete review and grab a copy for yourself.

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6. Khfiva- "I" (Male Activity)
Shimmering beauty paired with depressing atmospheres. Khfiva's debut cassette's only weakness is how short it is. Read my complete review here, and visit my friend Tom at Metallic Imagery to download this long sold out gem.

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5. a death cinematic- "corrosions of traveled daydreams" (Tycho Magnetic Anomalies/Simple Box Construction)
As one of the most brilliantly packaged releases of the year, this should instantly appeal to anybody who gets into the visual component of owning music. As one of the most engaging and desolate experimental/drone cassettes released this year, this should have sold out a long time ago, but it hasn't. Get it if you haven't already. Read my complete review for more reasons you need this.

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4. Image of Life- "Weight Loss During Wartime/Walking in the Dark" (Chondritic Sound)
Easily one of the most frequently played 7" records in my collection, this one is two perfect tracks of coldwave brilliance. Whether it's the featured A-side's frantically catchy madness or the plodding gloom of B-side "Walking in the Dark," this one is absolutely amazing. For bonus giggles and enjoyment, slow things down and play it at 33 instead of 45--it gets super dark and totally fun. If only I could find a copy of their full-length cassette, I'd be quite happy.

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3. Tollund Men- "Virbius Abstract" (Nostilevo)
While Tollund Men managed to release two excellent tapes this year (possibly three, depending on the timeliness of the impending Total Black tape/shirt combo), it's safe to say that this one received more play in my house than pretty much the entire Tollund Men discography combined. While my very amateur interview with Neal touched on this release to some degree, I never gave it the proper review it deserves. I can't really put a genre to this music, but it's both melodic and uninviting at the same time. There's a heavy layer of distortion and reverb that seems to eat half the sound coming out, which only makes these four songs more intriguing, as multiple listens yield a deeper understanding of the music contained within. I seriously can't get enough of this tape and I imagine I'll be listening to it frequently well into 2014.

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2. Crown of Cerberus- "With Arms Extended to the Heavens" (Depravity Label)
Early this year I was almost certain that this would be my top album of the year, and I was almost right. The gorgeous A-side contrasts perfectly with the somewhat startling B-side, making for a thoroughly enjoyable experience. I wrote a lot of nice words about this tape over at Hammer Smashed Sound, and you should read them if you aren't convinced that you need this in your life simply by its high placement on this list.

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1. Tanner Garza- "Lucid" (Static Reason)
I feel it's almost wrong of me to feature the talented Mr. Garza twice in one list, but I'm doing it out of necessity. In almost direct contrast to the meandering madness of his other release on this list, "Lucid" is one of the warmest, most inviting albums I've had the pleasure of hearing all year. There are so many things I could say about this tape, but I've already said them on Hammer Smashed Sound, and I need not ramble any longer on this huge post.

A death Cinematic- Corrosions of Traveled Daydreams CS (Tycho Magnetic Anomalies)

Just over two months ago, I was fortunate enough to interview a death cinematic, who briefly made mention of a future cassette release from Tycho Magnetic Anomalies. Such a short time later, I find that a copy of this cassette has made its way into my hands (and many other copies are available for purchase), and I'm finding myself surprised once again by an artist whose music has already been in my thoughts for years. As always, a death cinematic has outdone himself with both presentation and music. This is his first cassette release, and he has transitioned quite nicely from digital to analog with this album.

a death cinematic has always had an audience with the drone metal community despite lack of any direct "heavy metal" sections in the songs, but the very first moments of "Corrosions of Traveled Daydreams" consist of a nearly galloping riff that lasts just long enough to disintegrate into cleaner, gentler territory than I've usually heard from this artist. The contrast between two new extremes presented here had already gained my interest, but even without context of a death cinematic's other releases, this album impresses me. Clean guitars seamlessly integrate with the hum of gently rolling drones, and melancholic notes stretch slowly across percussive static. Despite the melody so often displayed, this is not so much a reflection of joy as it is the aural equivalent of the last glimmer of hope. These are not songs for the victorious nearly in the sense that these are songs for survivors. If there is any beauty at all, it is only in the knowledge that the world will continue its course regardless of humanity's intentions. Desolation and rebuilding have long been at the heart of a death cinematic's sound. With this release, the two have merged into a sort of functional emptiness. From soft to entirely jagged, the sounds and colors swirl and  soar through a bleak and unchanging landscape. The world a death cinematic shares here may be covered in soot, but its rivers still run and the roots of the trees still grow. The song titles and sonic paintings tell of a human race that has lost itself in a way that would make Cormac McCarthy smile, if he's capable of such a thing. There is little good left in humanity, and nature will eventually undo our messes when we finally finish destroying ourselves, at least if I've been listening properly.

Perhaps my words have been a bit abstract here, but when dealing with music of this nature, I find concepts and feelings become stronger than genres and ideas. a death cinematic works just as much in textures and blurred sounds as with defined song structures and discernible instrumentation. To limit a review to simply touching upon the musical characteristics would be a disservice to music that is created with such a visual and conceptual approach. In fact, accompanying this album are a set of photographs and vellum prints, along with a poem, an etched wood box, and decals with the album cover's trademark dead bird. The entire experience of this album is both humbling and impressive, and demonstrates an expertise that I hope to witness again soon. This release has been limited to a mere 60 copies, yet some are still available from the label at this time. As a reviewer and lover of music, it's my duty to recommend you purchase this before they sell out.

Then and Now: An Interview with a death cinematic

This post was originally intended to be part of my summary of the year 2012, but the more I think about it, the less that would have made sense to me. It's oddly appropriate that my first interview here is with prolific drone artist a death cinematic, as this project has been important to me ever since I began delving into the deeper reaches of the music community. Forgive me if this post gets a bit personal, but the context is quite important for me.

In 2007, I was just learning about extreme music and had started a musical project with a trusted friend. He recorded all the music and I screamed at the top of my lungs about nature and depression. I remember the music fondly, but the contacts my bandmate made on our collective behalf are particularly memorable. One of the earliest musicians he discovered and contacted was a death cinematic, which was a brand new project at the time. One day I showed up to record a song and my friend handed me a copy of Epochs Shifting Out of Time. The album quickly became mandatory listening and was in heavy rotation for much of 2007 and 2008. I was going through a period of anxiety, self-discovery, and overall turmoil. The bleak yet soothing soundscapes provided me with a sense of familiarity and comfort.

Fast forward to late 2012. Shortly after I established Black Metal and Brews, I found myself in touch with the artist behind a death cinematic for the first time. While I still had the album in my possession, I'd been heavily removed from current output from most artists, and was surprised that the project had grown into something larger and more proficient. As I hadn't heard any of the albums recorded since Epochs Shifting Out of Time, we decided it would be ideal for me to review a death cinematic's latest offering, The New World and compare it alongside Epochs, which I'll pair with an interview with the artist himself. Thanks for reading this rambling introduction, and I hope you enjoy this massive post as much as I've enjoyed creating it.

In addition to having the opportunity to interview a death cinematic/simple box construction today, I’m going to review both a death cinematic’s earliest offering and most recent. Released in 2007, Epochs Shifting Out of Time (which is available for free download), is a hazy, distorted journey through a world that is undergoing the violent yet beautiful process of coming into existence. The song titles touch upon everything from the shifting of tectonic plates to certain species’ experiences as the planet grows and changes. In many ways, the music’s subtle sense of turbulence lends itself perfectly to the turmoil of a world in its infancy. This is all too fitting for an early release from a project whose latest release is an album appropriately titled The New World. While the initial release from a death cinematic is certainly not a work I’d describe as amateur, it’s interesting to see how the art and musical direction has evolved while remaining entirely recognizable as the same artistic mind.

Almost as a direct continuation of Epochs, The New World starts with crackling and frantic guitar that fades in and out of the listener’s awareness, resembling some sort of transmission being broadcast into space. While there’s still a degree of droning ambiance here, the guitars are strummed and create distinctive notes rather than textures and moods. It’s somewhat akin to Earth’s more recent output, with a shimmering beauty that cuts through the overall darkness of the music’s direction. Accompanying The New World is a collection of photographs in a small bound book entitled "A Prelude to The New World." As the title suggests, the photographs contained within detail a bleak, hazy landscape. It's no stretch to say that the marriage of sound and vision here is a documentation of a death cinematic reaching the artistic ambitions made apparent on his earliest of works. While the title and photograph accompanying the first CD from a death cinematic are certainly in the same vein, it's fantastic to see a fully fleshed version of this unique vision.

I had the opportunity to interview a death cinematic himself both about these two albums and his overall artistic process. The interview follows for your information and enjoyment:

Black Metal And Brews: 
a death cinematic has always created very visual music, beginning with the evocative song titles on the very first release, and now including the extensive photography collection included with The New World. How did the hybridization of the two come to mind for you?

A Death Cinematic: 
I guess there was never a question of separation. The two were always entwined for me, so it really became a question of bringing them together in a meaningful and aesthetic way as the projects grew. The visual aspect has always been very important to me and simple box and a death cinematic is an ongoing work in progress. I now consider any artwork, whether it is writing, photography, music, or drawing to be a part and a continuation of this.

BMAB: 
Is there a unifying theme to your albums as a death cinematic? Is there a message you’re hoping to convey with a death cinematic’s artistic output?

ADC: 
I think there is a unifying theme. To me it is a journey and each release is the next logical step along that journey. It all goes together. I am not as concerned with conveying a specific message with a death cinematic as I am in building a context for a listener to construct their own message. The work I do has specific meanings for me but I am not concerned that a listener or viewer know what those are for me. I want it to mean something to them on their own personal terms. If I was to say that this album is specifically about x, y, and z and nothing else, it constricts and pigeon holes the work, limiting the experience for the listener. At this time I want to make fertile ground for a willing participant to grow their own meaning.

BMAB: 
How has your personal growth as a person and musician changed a death cinematic’s direction? Has it changed the direction?

ADC: 
I am not so sure the direction is changed but I think my personal growth has furthered and moved a death cinematic farther. I work on becoming a better musician/ noise maker and artist and with that this project grows and gets better. At times it feels like there is no movement at all or that it is glacial at best. Those times are the worst, I imagine, for any artist. The times of misperceived stagnation. As I grow and progress with these projects, I get better at editing the work. I also get more efficient with my decisions as how to get to a theme and what materials to use.

BMAB: 
You collaborated with Matt Finney on your most recent release. How did that come about?

ADC: 
That was his idea and offering and it was a long time in the making. He suggested we do something back in 2010. He sent me a track of him reading the new world and I recorded the music and sound to it. It was meant to be a download only single but as I was working on that track the concept for the whole album crystallized for me. It just came in a flash and was so complete that I even had the basic concept for the packaging. I then asked him if I could make this album around our track. He was into it and very gracious and patient. It took me a long while to realize the release in its final 150 hand made copies.

BMAB: 
What inspired you to establish simple box construction rather than signing off your releases to some other label who can do all the physical production of the album for you? What drives you to craft and oversee every aspect of a death cinematic’s artistic image?

ADC: 
I have been a visual artist or interested in being one for as long as I can remember. simple box originally was going to be a small press for handbound books and limited edition print runs. When I started to get into making music, I looked into finding labels but as I was developing the concepts for the releases, it became clear to me that I should be doing this on my own. So simple box construction was revived and started to be this label of sorts. 

The drive to do everything for a death cinematic is that even though I want the audience to build their own meanings and experiences, I want them to do it in a specified context. That context [is something] I have to construct and be as meticulous as possible about building. It could also be the early signs of madness and OCD, to try to control every aspect and build every copy as if it was a singular piece of art. At times it sure feels that way. I enjoy making the work and it becomes a vehicle to express myself in various mediums at once. Plus, doing it this way I have to answer only to myself and the failure or success of any release is my responsibility.

However, there have been and will continue to be a death cinematic releases on other labels. A lot of the labels that I have worked with allowed me to design and fabricate the packaging for the the releases. On some of the splits, the other artist designed them and the label had them made. It all comes down to what everyone is comfortable with. I found that most of the time everyone is pretty accommodating and respectful of each other's concerns. The new full-length on cassette is being released on tycho magnetic anomalies. They're a great little cassette label who asked me to do a tape release for them. They were very accommodating to my aesthetic concerns and gave me control over the design and fabrication of the whole edition. This was great because I had specific ideas for the album and could work on cassette packaging which I have not done before. So it feels like this album is made on terms that are very agreeable to me. As I talk to other labels who are interested in my work I always ask them to allow me the control of over the design and fabrication of the edition. Even though I have some projects slated on other labels this year, for the most part I still plan on the majority of the albums to be self-released.