DATSUSTORA - OF FINAL

Of Final
Datsustora
1986

Review by Joey

Genre/s: Deathrock, Industrial, Post-Punk, Power Electronics, Death Industrial, Goth, Noise
For Fans Of: Mannequin Neurose, Grim, The Dead Relatives, Clair Obscur

Okay, so you're probably thinking "holy shit, that's a lot of genres, what could this even sound like?" so just sit tight and I'll do my best to explain. There are four tracks, two of them are industrial/noise tracks; and they are sandwiched in the middle of two deathrock tracks, which act as bookends of a sort. Each track is absolutely punishing, twisted, and truly dark in a different way, yet all four still form a whole.

Datsustora was the project of Elle (a.k.a. Achy) from LSD, the legendary Japanese hardcore punk band of ADK Records fame, and the less well known industrial project Criminal Party. This project, however, does not have nearly the level of notoriety of LSD, but I'd argue it's much better (and certainly much weirder and multifaceted). The rest of the lineup remains a mystery as far as I can tell -- aside from a brief run with Yoshimura Hideki, also of LSD fame, on guitar -- and was most likely a revolving door, quite possibly as multifarious as the music itself. Musically, this flexi is as I described (half deathrock, half industrial), but the varied nature of each track -- starting with bouncy dark punk, transitioning into two tracks of unsettling ambient, heavy electronics, and rhythmic industrial, and then closing with a track which feels like the joyful embracing of despondency through post-punk -- really adds to how strange this thing is. It's one of my favorites and there's a good reason for that.

This is a wild ride from start to finish, and I feel it should be essential listening for both industrial and post-punk fuckers. Highly, highly recommended.

Tracklisting:
1. Untitled (apparently there is a title, but it's in characters nobody can read)
2. Datsustora
3. Of Final
4. 幻夢円舞曲

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P.S. If anyone has a link to the split with Criminal Party and/or the Kyo-On compilation 7", please get in contact because I've been dying to hear those for a long time. And while I'm asking, if anyone has the Criminal Party split with Grim, please please get in contact with me.

PLASTIC

Plastic
Plastic
2017

Review by Joey

(Band Submission)

Genre/s: Synthpunk, Industrial, Post-Punk, Power Electronics, Dark Ambient, Art Punk, Noise Rock
For Fans Of: Nervous Gender, Clair Obscur, Trop Tard, Flipper

Plastic's 2.0 tape was, in my opinion, one of the best synthpunk releases to come out since Nervous Gender's Music From Hell LP; and also one of the few which I feel actually can be compared to Nervous Gender, based on their use of synth-based electronic noise (not to mention a healthy dose of influence from The Residents). Hell, I'd go as far as to say that Plastic is one of the best synthpunk bands since Nervous Gender, period.

On this newest offering from Chicago's weirdest, their heavier use of industrial/electronics, paired with a descent into much darker post-punk territory, results in a level of bleakness which is as suffocating as the band's music is irresistible. While its predecessor is ostensibly more aggressive musically, the crushing dirges and almost stark soundscaping on Plastic effectively conveys despair and disillusionment so overwhelming that it becomes mesmerizing, and absolutely conducive to disassociation. These songs bear a striking resemblance to those performed by Flipper, not just in the crawling pace, the use of chilling, ironic laughter, and snide, painful delivery, but also in the way that they sound the way depression feels -- although obviously the addition of synth creates a good deal of dissimilarity. The ability to fully capture that state of being, in my experience, is elusive to say the least. If I had to make a visualization of the sounds contained on this release, it would closely resemble the ominous, harsh background of a Dali painting. Needless to say, this release floored me, and I'm hoping they tour around my way again this year; and if they come anywhere near you, I highly recommend going to see them.

Download this, turn your lights off, and get bummed the fuck out. Nothing here is real.

Tracklist:
1. At The Gates
2. A Good Laugh
3. Mannequins
4. Untitled (Mark II)
5. A Call For Help
6. 731
7. The Garden

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Current 93 with Thomas Ligotti - In A Foreign Town, In A Foreign Land

'In A Foreign Town, In A Foreign Land'
Current 93 with Thomas Ligotti
1997

Review by Brayden Bagnall

Genre/s: Dark Ambient, Industrial, Spoken Word
For Fans Of: Lustmord, Boyd Rice, David Lynch, Edgar Allen Poe, seething bouts of paranoia

Hey there folks, day going well so far? Currently free of any niggling doubts, lurking worries or creeping anxieties? Yeah? Then please, by all means, read on...
What we have here is a collab between Industrial/Neo-Folk artist Current 93 (you should know them by now gosh) and horror writer Thomas Ligotti (famous recently for allegedly being plagiarized by True Detective writer Nic Pizzolatto). On In A Foreign Town... Current 93 provides haunting soundscapes and intermittent narration of Ligotti's short story of the same name in easily one of the most sinister recordings I've ever had the pleasure of listening to.
Dense drones, eerie chimes and other miscellaneous samples and sound effects pulse and seether underneath David Tibet's ethereal narration, delivered of course in Tibet's singsong English accent.
The track's progress in a dreamlike fashion, albeit a slow burning, nightmarish dream that's goes from quietly terrifying to soul crushing abandon throughout its duration. This release belongs firmly in the Stalaggh/Penderecki/Mariah Carey category of sonically/emotionally disturbing.
I've probably talked up this release enough - so it goes without saying that I think you should click that there download button below and see what I'm gabbing about. This is seriously top tier dark ambient, and I'm just itching to ruin your good mood with it.

TRACKLISTING:
1. His Shadow Will Rise To A Higher Place
2. The Bells Shall Sound Forever
3. A Soft Voice Whispers Nothing
4. When You Hear The Singing, You Will Know it is Time

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and hey you know what, have a PDF of the short story too - be sure to read it while listening to the album in a dreary, candlelit hotel room.

Spooky times ahead friendo

Xothist - Simulacrum (with split tracks!)

'Simulacrum'
Xothist
2014

Review by Joey

Genre/s: Ambient Black Metal, Atmospheric Black Metal, Raw Black Metal, Black Fucking Metal
For Fans Of: Darkspace, Ashdautas, Paysage D'Hiver, Skáphe

I was shocked that, when this LP dropped, nobody was really talking about it, considering the fact that everyone seemed very excited about the repress of their demo.  Well, if you liked the demo, you'll love this, because it takes everything about the demo that was awesome, and makes it a million times better.

For those of you not already familiar with the Denver, CO project known as Xothist, it is spaced the fuck out, raw, nasty, and almost Lovecraftian black metal which integrates ambient elements much like Darkspace. Except Xothist is much more horrifying than Darkspace (and they haven't let me down). The atmosphere Xothist creates is much more than the fuzz on the recording, it comes more from spacey, dissonant riffs similar to what one might hear coming from CA's Black Twilight Circle (Arizmenda, Volahn, Ashdautas, Tukaaria, etc). This -- to be clear in case some black metal nerd thinks I'm saying otherwise -- is not a Black Twilight project, and to my knowledge, Xothist has no affiliation with them.

Splitting the tracks wasn't too hard, but it took some time, especially since there are two tracks which are not listed anywhere. I highly recommend this, it's one of the best black metal releases of the year.

Tracklisting:
1. Intro
2. Assembly
3. A Dull Integration
4. Grief
5. Blossom
6. A Binding
7. Outro

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NOISE MEGAPOST

It's that time again

'The Harsh Weight Of Anxiety' - Eating Scabs For Protein
Certainly an inventive name, and pretty indicative of the raw, primal sounds that are about to be thrown at you. ESFP is self described 'rudimentary power electronics', though on this release it's entirely 'instrumental' noise, comprised of squealing feedback and gigantic static walls fighting for dominance in the background. This is the sort of noise that makes you want to curl up into a ball and chew your fingernails.
Bandcamp

'HATRED' -SBTDOH
Isolation and discontent with the work-centric world we live in are the basis of this release by SBTDOH. HATRED is comprised of two lengthy tracks that share stylistic similarities to HNW, but break the usual monotony with bursts of dynamic noise. It's an interesting combination of styles and sounds and definitely worth checking out.
Bandcamp 

'I Can Never Know You' - Wolf Cartography
I Can Never Know You is the new 42 minute long tape from Massachusetts based noise project, Wolf Cartography. The solo project takes its cues from the likes of artists such as Glenn Branca or Otomo Yoshihide and delivers harsh, improvised guitar based noise. While there's plenty of guitar feedback, you're also assaulted with string scratches, painful string bends and an assortment of distorted wails and chugs.
Bandcamp

'Vessels' - Rui. P Andrade
More guitar oriented noise, but this time from sound artist Rui P. Andrade. Vessels is composed from numerous sources: prepared guitar, synthesizers and field recordings, all of which intertwine to create a slow, haunting build up of ambient noise. The two tracks here are certainly lengthy, but rewarding in their own right - each layer of sound is so meticulously crafted that you have to listen.
Bandcamp

'Machine Death' - Frequency Killer
Coming at you from Florida, USA is this debut from Frequency Killer, Machine Death. 
Over thirty, short, violent tracks you are slammed with seething, bubbling noise via unrestrained feedback and chaotic distortion. Definitely an endurance test for the ears.
Bandcamp

'Bitch Status' - Stricture Divulsor
Traditional instrumentation, noise, sampling and field recording and an interesting interpretation of Tracy Chapman's 'Fast Car' all collide on this debut EP from Stricture Divulsor. Somewhere between musique concrete and avant-garde rock is where I'd place this, but there's elements of traditional noise and electronica as well. An incredibly well put together collage of genres and an intriguing listen for sure.
Bandcamp

Interview with Throes

Interview by Brayden Bagnall

Throes is one of a few projects by Brisbane based musician Nick Williams. Delivering disturbing power electronics/death industrial via synth tinged dark ambient,  Throes recalls some of the more recent work by IRM and Pharmakon while retaining a sound of its own. I interviewed the man behind the noise to talk more about the project.

FBN: First up, tell us about Throes and yourself. How long has the project been around, how did it come to fruition - all that jazz.

NICK: It came around roughly in 2008.  Previously I was playing in a hardcore band that fell apart and I started to loathe what that music was about and wanted to explore new realms so I began to experiment. Originally throes had two members, but Luke left to pursue "vore" (ex-gentlemen) and by the time it hit 2012 I was going through a heavy time so I began to lay down the foundations of what would be now Throes.

FBN: What other projects/bands are you involved or have been involved in the past?

NICK: Kumyunike Ka Ta (Communicator Can),  Stresswaves and a few others not worth mentioning. 

FBN: What attracted to you to the world of noise and industrial music?

NICK: The feeling of being in control and creating your own world and only doing things for yourself.

FBN: Are there certain artists or bands that have inspired the music and sounds behind Throes?

NICK: Atrax Morgue  Anenzephalia  Genocide Organ  Brighter Death Now  Masonna

FBN: What about lyrically? What subjects and themes do Throes explore?

NICK: Mental exhaustion / illness. Sometimes people, its mostly cathartic writings I've stored away from over the years stuff I have seen or envisioned, sometimes dreams.

FBN: What's the writing and composition process like for you? Does improvisation play a role at all? 

NICK: I generally get an idea in my head of what I want it to sound like, then I'll go into the studio and record it. It comes out slightly different then expected but I enjoy that process - I try to keep things super minimal.

FBN: Could you describe the noise/experimental 'scene' in Brisbane? And has that scene been supportive of your musical endeavors? 

NICK: Its very odd, each group has an inner circle some have been doing noise for almost ten years but now its become more or so an "arts grant project" to sustain their lifestyles which isn't a bad thing - they deserve it. Others are really friendly and build pedals and trade gear, I try to keep out of it...

FBN: Noise, to me at least, is supposed to be a complete rejection of musical norms and the tired stereotypes that seem to plague it - yet there seems to be an over reliance on certain stylistic conventions and a 'style over substance' mentality with many releases in the genre. For example a staple of power electronics has been a fixation on misogyny, fetishes, murder, rape and numerous other taboos. What are your thoughts regarding this?

NICK: I'm not into neither of those things, I found that shock factor worked for throbbing gristle but as for now I find it completely dumb in this day and age and sure there is noise elitists that stay true to noise / industrial scene and have fucked up artworks of rape / fetishes, but I find those people haven’t evolved and are rather primitive / repeating history.

 noise to me is a future of endless possibilities not repeating the same thing someone did thirty years ago but its there choice.

FBN: Are there any plans for future releases or live shows for Throes (or any other projects you are involved in)?

NICK: I co-run a record label with some close friends (second empire media) and just finished up an album for Stresswaves its currently in the process of being mastered in the states.

As for Throes, I'm currently working on a soundscape for the next EP but haven’t quite decided what the theme may be but something will come to mind soon. 

FBN: Finally, are there thank yous, shout outs or words of wisdom you wish to impart on the readers? 

NICK: Live or die but don’t poison everything – Anne Sexton

A big thank you to Nick for doing the interview.

Throes' first release Coronach is available on bandcamp for download. Additionally you may want to swing by the Second Empire Media website or Facebook page. 

Dressed In Wires - Puke Sculptures

'Puke Sculptures'
Dressed In Wires
2002 - 2012

Genre/s: Noise, Dark Ambient, Drone, Experimental

(Band Submission)

From what I could piece together from some rather obtuse bios and descriptions, Dressed In Wires is an experimental solo project that dabbles in the realm of laptop noise. This discography spans every possible genre and sub-genre within the experimental electronic category - with over an hour's worth of material you'll hear everything from bleeps, guitar drones, severely fucked up beats, harsh metallic noise and static walls. It's a very impressive collection of horrible sounds, and the range of textures and noises are mind boggling. Well worth your time, providing that you're willing to submit your ears to a bit of punishment.

TRACKLISTING:
(Presented as one continuous track)

1. This’ll Be Our Little Secret, If You Tell Anyone I’ll Rip Your Mouth Out
2. Dressed Um Wire, He Make Um Fire! Uuh! RUHH! .......nggNnggng! Uhg! UHHG! Um HEAD Um           Fire! NnnnUNG!!
3. Chopped Up In A Bath As Well, Which Is About Fucking Typical
4. Your Body Learns
5. And Every Car Was On Fire, Which Is Most Unlike You
6. Shock & Awe Motherfucker
7. It Brings The Out Yeast In Me
8. Whale Stomach
9. Play Nice
10. Ayalah
11. Captain, Shit!!! We've Hit A Noiseberg! It's A Bit Like An Iceberg, But It's Made Out Of Noise And         The Penguins On It Are Dead Grumpy
12. Paedophile Fence
13. Bodies Of Teenage Girls Cut From Car Wreckage
14. Blood Touching Glass
15. The Dead Swell
16. Zoo Begins Look Into Hearts Of Apes
17. Miscarriage, Where Were You?
18. Drool; Mewl, Too
19. I Will Survive And What Will Be Left Of Me

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