Free Music Friday: Nighttime in the Abyss- "Amongst the Dead"

This week's edition of the Free Music Friday feature touches upon an album that would've been an appropriate soundtrack to the overly hyped yet obviously unbelievable apocalypse we were supposed to experience today. Nighttime in the Abyss is a one-man project with the sole purpose of creating audio horror without simply turning all the switches up to eleven.

Rather than simply creating horrific walls of static or friendly drone dirges, Nighttime in the Abyss creates sonic templates designed to create anxiety and uncertainty with each shift in sound. This album in particular is a self-described "[o]dyssey into the world of the undead, as seen by the undead." While many poetic and evocative descriptions come to mind, this is a rather appropriate way of explaining the sounds contained in this album.  There's seldom an outright moment of overwhelming horror here, but there is a constant sense of dread and uneasiness. From the swirling voices and whispers of "After Life, Life is Pain," to the seemingly disintegrating guitar tones of "Spectral Imaginings," this album comes across as the soundtrack to one's fearful thoughts late at night, when all sources of comfort are as distant as the sunlight.

If you're into scaring yourself and imagining the horrible ambiance of the world's end, do yourself a favor and download this stellar release. Nighttime in the Abyss is gearing up to release another album in early 2013 on badGod music, so consider this free download an opportunity to prepare yourself for the next transmission from this promising artist.

Music Review: Enbilulugugal/Gnashing of Teeth split CD

Today's review comes courtesy of two painfully harsh bands from the wastelands of central California. To call these groups blackened noise would be a simplification, as the brand of wretchedness and filth portrayed by each entity is unique and should not be so easily marked with a label. I can say that the music presented by these two terrifying groups is more likely to appeal to open-minded fans of noise than traditional black metal purists, but that should neither deter nor discourage folks who are here for metal. There are certainly enough horrific elements of metal to keep most fans of raw black metal quite content.

Enbilulugugal, whose name is as challenging as their music, occupy the first six tracks of this split, opening and closing with two pieces that are thematically linked in title, if not in sound. "His Ascent From Hell" lurches into existence with the sounds of some fearsome creature awakening from eons of slumber, preparing to climb out from the depths to destroy all life on this planet. While it does not reach the scathing extremes of Enbilulugugal's other tracks here, this is one of the best introductory pieces I've heard in quite some time. The following tracks make the eerie atmosphere of "His Ascent From Hell" sound almost friendly, with sirens blaring, screams echoing throughout, and murky guitars barely walking the line between distant melody and pure, unfiltered dissonant noise. If Enbilulugugal is attempting to capture the sounds of some ancient terror making its way to the earth and bringing about the end of the world, this is a fitting soundtrack. These six songs are more about feeling than "rocking out" or finding a noticeable hook, but if you've been following my blog this far, you'll know to expect that by now. If you're willing to sample the true intensity presented here, brace yourself and give the violent "Ruler of the Gnarled Woods" a thorough listen. It's hardly a pretty endeavor, but it's a worthwhile listen nonetheless. As a denouement and companion of sorts to the opening track, Enbilulugugal bring their destruction to a close with the appropriately hellish "His Descent Into Armageddon." If things opened in a slower and friendlier fashion, then Enbilulugugal is sure to end it in the most violent way possible. This collection of atrocities is the farthest thing from a song possible and is a great way to segue into Gnashing of Teeth's contributions to this split album.

Following the six track description of the world's end is Gnashing of Teeth's aggressive noise assault. The production is denser, the feedback is turned up to 11, and each song sounds like two songs layered on top of each other: one a distant black drone song, the other a harsh noise piece. With the chaos presented here, it's impossible to finish off these four final tracks without some sense of anxiety or discomfort. In fact, discomfort and uneasiness are where Gnashing of Teeth's sole member seems to find his true peace, as if he were at the eye of some hideous storm, conducting the madness from the only safe haven in the chaos. Fully immersing himself in the music, you can almost hear the sanity of the creator slipping away somewhere in the fractured chords and walls of static presented in my personal favorite, "Sea of Broken Children." There are elements of tonality and beauty hidden in the filth here, but it requires a dedication and commitment as a listener that most people don't have and can't develop. Perhaps that's why I'm drawn to music like this: it's impossible to passively listen to this. You either make a conscious effort to digest what's being presented and truly appreciate it, or you'll stand no chance of understanding what you hear. At first listen the music is hardly music, it's just a collection of scratching noise and tortured howls, but after deep inspection, there is so much beauty and passion poured into this music that it's impossible to deny.

If you're interested in purchasing this stellar split, both bands can be contacted through their facebook pages, linked above, or you can enjoy it as a download from Enbilulugugal's bandcamp page. These bands are both dedicated to supporting other musicians in the black noise underground and deserve your attention. Even if this overwhelms your personal tastes, share this filth with your friends. You never know who may benefit from this slab of terror.

Free Music Friday: Florida Noise Ordinance Fest 2012 Sampler

This week's Free Music Friday is a tribute to an event I wanted to attend but will be missing due to car troubles. Featuring a lengthy list of artists both new and familiar to me, this compilation is much more than simply a noise-related release. Despite its name, there's a bit of everything noisy here, and not just of the noise genre. From the opening aural nightmare created by BMAB favorites Crowhurst to the strange cut and paste anti-club music of DJ Fucked UP to the swirling static textures of Nature Abhors Normality that closes out the release, this is a chaotic compilation to say the least.

Since I'm not going to list every single artist with a description, I'll give the simple explanation that almost every song here appeals to me in some way, yet very few of these artists sound like each other. If you aren't into one, you may be into another. While I've never been to Miami or Daytona, if this is an accurate depiction of their current musical climate, I can honestly say I'd love to head out that way for a show, as they've got an intense and productive little community.

If you're in Southeast Florida and find yourself wanting a truly cathartic (and ear-punishing) alternative to the Black Friday insanity that plagues our society, make your way out to this music festival and find your new favorite bands. Buy some merch, have a great time, and be sure to give Jay from Crowhurst and Mike from GRIT high-fives for me, since I can't be there to do it myself. If you're not already stoked on this compilation, just visit the bandcamp page and download it for whatever price you see fit. Throw them a couple bucks if you can or just enjoy a sampler of some excellent bands.

Music Review: Venowl- "Gnawed Gristle and Bone" EP

Welcome back to another Black Metal and Brews review of a new Venowl release. In addition to being an incredibly enjoyable group for me, they've got an obscene amount of releases for me to cover. While there are sections of their back catalog I'm still attempting to gather and share with you all, today's review focuses on a brand new EP, which is currently up for pre-order (and will be released on November 25th) on Ominous Silence. That's right, this is the first pre-release review and it's a fitting one. While the previously featured "Patterns of Failure" was an absolute nightmare of an album, with dense production only adding to the horror Venowl created, Gnawed Gristle and Bone has a clarity that shows the listener just how chaotic the music can get.

This one song album opens with humming feedback and a glistening ambiance. This album was mixed by Garry Brents from Cara Neir and mastered by Mories from Gnaw Their Tongues, and it definitely shows. If you've ever heard the aural violence of Gnaw Their Tongues or the intensity of Cara Neir, you need only imagine how insane their involvement makes this album sound. As always, Venowl create some of the slowest, most violent music I've ever heard. The shrieks of anguish are no longer buried in the mud. They're now at the forefront of the music, creating an agonizing sense of terror. Every time the song starts to form a listenable pattern or some sort of groove, the band intentionally takes the song out of what could become a comfortable territory and steers it into a new variety of noise. The guitars churn at some of the lowest frequencies possible, providing more of a grinding sound atmosphere more than a collection of riffs. There are no melodies here for you to hum with, there is no hope of escape. Halfway through this twenty-three minute long torture ritual, some sort of keyboard or choral atmosphere creeps into the background. Instead of providing a sense of comfort, it only adds another smothering layer to the discomfort Venowl revel in.

This album's title and sound evoke the sensation of being a live animal on some sort of factory farm, being forcefed into machinery to be packaged and sold as meat to others. You can hear your own heart beat heavily with anxiety. Your breath becomes deep and slow. It almost feels like being hunted. As always, Venowl are the sort of band who are best described in sensations rather than familiar musical terms. Any attempts at giving this a proper categorization will only give the listener a preconceived understanding that will inevitably fall short.

If you like music that might cause your bowels to evacuate, give this a listen. This is definitely a more developed work than some of the material I've heard from Venowl in the past, although it is no more sterile or safe than anything else they've created. If anything, this is the sound of a band who is becoming an incredibly efficient killing machine. This is by far the most unsettling release I've heard all year and I expect it to be even more gripping when it's released in physical format. There will be 75 grey cassettes released, each    with a burgundy/maroon o-card sleeve with letter-pressed artwork, and given this label's commitment to high quality small run releases, I anticipate it will sound incredible.

Free Music Friday: Rectal Hygienics- "Even the Flies Won't Touch You"

This week's cheap and filthy download comes courtesy of my boredom. I rarely take the time to scroll through my facebook feed, as I know a few people who tend to post everything that seems to come to mind. However, last week I must have been awfully bored, because I was cruising around and an acquaintance had posted a link for purchasing this album on cassette. The name and the artwork were intriguing, so I meandered on over to the Rectal Hygienics bandcamp page, where I was presented with this putrid assembly of aggressive, noisy music.

With the name and the hideous artwork, I initially expected this to be a harsh noise artist, but my assumptions were quite far off mark. Instead, Rectal Hygienics create the noisiest, angriest music I've heard in quite a while. The lyrics are blunt and violent, the music is all jagged edges and static, and feedback reigns supreme here. I can imagine these guys playing with bands like Unsane or Today is the Day, yet I think they'd still manage to make the audience uncomfortable. While many bands I review here seem like nice enough fellows, these guys create music that sounds like they'd rob you for drug money. I'm into the swelling and dangerous take on noise rock they've presented here, and the fact that it's streaming free online means you, the readers, have no excuse for not listening to this. The rants and horrific atmosphere remind me of a more desperate version of early Swans, which is high praise if you know me.

It's rare that something this unsettling yet addictive comes my way, but I'm willing to embrace it regardless. If you missed the link to the bandcamp up above, click here for a "name your price" download. If you dig it, be sure to order the tape from the Depravity Label store. You'll be sure to scare the living hell out of anybody who gets close enough to you on the road when you're playing this one.

Free Music Friday: "Four Fanatic Years" mp3 compilation

Today's Free Music Friday comes courtesy of a blog that has helped me greatly in learning about subcategories of noise and extreme sound experimentation. The Static Fanatic shares noise of all varieties and has been a regular read of mine for the past few months. To celebrate four years of blogging and supporting the noise community, The Static Fanatic called upon a few of their friends to contribute tracks for a free noise compilation. Four artists contributed one track each, approximately four minutes in length, leaving us with a perfect glimpse into the many directions noise can travel.

Opening track, "le quartier des spectacles en ruines" by GRKZGL sounds like the inner workings of a great machine, designed to smash or otherwise destroy other machines. There are lots of winding noises and static layered upon each other, with just enough empty space in between to create a tension and sense of anticipation. It's the first I've heard from this artist, but it's definitely a promising introduction. chefkirk follows with "the roger h smith track," which is named after the man behind chefkirk. It's a hybrid of organic sounds and clipping high frequencies, that blend together to create what is apparently a representation of Roger H Smith. I like the shifts in tone presented here, although some of the denser and higher frequencies may be overwhelming to those who haven't yet delved into noise. I've heard a few tracks from chefkirk before, and I definitely recommend checking out more from him, as it's a compelling and unique collage of sounds. Justin Marc Lloyd's track. "touch, teach and hug each other," is much friendlier than the previous two, providing a soothing and chirping soundscape to contrast the harsher frequencies presented earlier in the compilation. I've never heard from him before, but this minimalist noise paired with light melodies in the background works really well for me. It may be the best introduction on this compilation for folks used to friendlier sounds. Closing out this brief but wonderful compilation is Carl Kruger's track, "glacial decay (edit)," which features some excellent background noise paired with the hum of dozens of separate tracks of glitchy electronics. I haven't yet developed the proper vocabulary for explaining noise, as I don't know how to create it myself, but this song is incredibly busy, yet it doesn't have the overwhelming intensity of the GRKZGL track. Instead, I feel as though this song is a glimpse into the future, perhaps when all life ceases to be and machines are left to fend for themselves. Another excellent tune and a perfect way to wrap up this compilation.

In case you missed the link above, click here for the download and be sure to pay The Static Fanatic a visit. You may just find your morbid curiosity gives way to actual enjoyment. Be sure to visit each of the artists' sites as well, as each of them seems to be quite prolific and may have your new favorite album just waiting at the click of a button. Thanks for reading and enjoy the static.

Music Review: Venowl- "Patterns of Failure" CD-r

Venowl are a band who present a major issue for me as a writer. I love music, especially harsh and chaotic music, the kind that often eludes definition. My problem as a writer is that no matter how peculiar and challenging an album or artist is, it's my duty to put abstract sounds and feelings into words. The restrictions of the English language put me in a rough position when writing about music like this. In other words, Venowl have created something so hideously compelling that it cannot be described.

Patterns of Failure is not Venowl's newest release, but has recently been reissued by the band. This material differs from the tune I previously reviewed on their 4-way split. This album was written by Venowl as a 3-piece with the aid of a guest vocalist, creating an oddly structured spiral of noisy terror. The album starts at the pace of a funeral march and simply builds upon itself until it becomes a towering monument to wretchedness. The vocals howl from every direction as if carried by the wind.  The production retains a level of clarity that surprises me given how murky this music is. If this is to be called black metal, it's primarily in spirit, as these songs sound like the most horrifying take on sludge I've ever heard, if it can even be labeled as such. The tuning is low, the pace is slow, yet the music fits no classification. It's not a problem for anybody other than myself, as I wish so desperately to describe this music yet struggle to do so.  If anything, the nameless filth that Venowl creates deserves its own subcategory. If somebody came up to me looking for new black metal, I would not instantly think of Venowl. If somebody came up to me looking for new sludge or noise, I would not instantly think of Venowl. If somebody came up to me and asked for something ugly and new, Venowl would be one of the first bands I could recommend. I don't think a band has confused my vocabulary and senses in such a way since I first was introduced to the overwhelming sounds of Nurse With Wound so many years ago.

In no way is my lack of words meant to signify disapproval of this band. In fact, I find it refreshing to hear something that brings so many visuals to mind, yet so few musical terms. As I've been attending a music class in college lately, I've been thinking in terms of melody, harmony, and structure so frequently that I have almost forgotten how nice it can be to enjoy music that simply bleeds itself all over the listener and requires no other basis for enjoyment. I seldom find myself this energized by music so slow, but there's a violent intensity here that knows no pace. If you're at all intrigued by this ugly and dirge-like music, you can give it a listen on Venowl's bandcamp or buy it directly from the band, thereby funding future sonic torment from these talented individuals. They've only got 50 copies of the album created for this run, so hurry up if you want a piece of this mess for yourself. For a beer pairing, the band themselves have recommended Victory's Storm King Imperial Stout, and I couldn't agree more. It's dark, bitter, and complex. Much like Venowl, it's description makes it sound unappealing, but it's worthwhile if you're a patient sipper (or listener).

Free Music Friday: Crowhurst's "No Life to Live"

This is the first installment of a new "series" I plan on running each week. I'm not sure if future occurrences will feature full-length reviews or if they'll be a collection of some of my weekly bandcamp discoveries/legally shared files. We'll see, depending on how creative I am. This week I am sharing an album that can be obtained for free or purchased either on cassette or a 4xLP set. This album, "No Life to Live," is currently available for the price of your choosing on Crowhurst's bandcamp page, and is worth the two hours of your life it will consume.

First, I must say that this is not a metal release in any sense of the word. This is a display of extreme sound manipulation, an experiment in atmosphere. Opening track "I Saw the Sky" gradually leads the listener on a descent into darkness and anxiety. Following the name, I can't help but envision the sky being obscured by black clouds as the world slowly crumbles beneath. About three minutes in, the rumbling wall of terror gives way to haunting bells, an eerie aftermath to the song's prior chaos. Rather than being a repetition of the aural nightmare presented before it, "Pleading for the White Light" showcases a blurry sort of beauty and melody, reminding me of foggy mornings on the rocky Pacific coastline. Although the song builds to a dissonant hum, it's still an experience I find soothing.

The dichotomy of sounds instantly presented challenges and excites me as a listener. It's enjoyable to have an album take on many faces rather than present eight to twelve tracks of sameness. If I'm kept on my toes, it's more likely that each song will leave an impression, and that's exactly how this album works. According to commentary from Crowhurst's main figure, Jay Gambit, this record is meant to be an epic collage of songs, in the vein of masterpieces such as Swans' "Soundtracks for the Blind" or Today is the Day's "Sadness Will Prevail." While it's quite different from both of those albums in style, this album feels like it comes from a similar sort of place. All three albums have intense, introspective, and painful moments. All three albums are more patchwork than seamless pieces meant to flow together. In this regard, Crowhurst has certainly put together a beast worthy of its influences.

While the album is generally a collection of noise and drone works, there is enough variety to keep me entertained and interested. Some of the strongest points on this album are the longer songs, where Crowhurst is really able to let an atmosphere stretch out and consume the listener. Songs like "How to Burn a Book" and the title track may be intimidating in length at the first glance, but have proven to be some of my favorite moments on this album. Other highlights are the glitchy fuzz of "Coma Vision," the abrasive and unexpected ritualistic jam of "Run For Your Life," and the brief yet stunning crackling radiance of "The Sun is Like a Bacteria." While I'd normally try to link one or two songs that represent this release as a whole, it just isn't possible. Each song is equally song on its own or as a part of the complete album experience.

If you're interested in purchasing this/contributing to its release, please visit the ordering page to select either the 4xLP or cassette package and help this amazing album see the light of day. Also, it was recently announced that all orders of this album will come with a copy of Crowhurst's split tape with Rosy Palms for no extra cost, so that's just one more great reason to consider purchasing this after giving it a listen or two.