Jackson-Pratt - 2019 - Showgirls 2xCS

Originally posted Nov 29, 2019 7:55PM

Dead Gods ‎– 045  301.67MB FLAC

Four pieces, each roughly ten minutes long, make up Showgirls. The format matters. Jackson-Pratt is not stretching one composition across two cassettes; each side establishes its own balance of low vibration, rough midrange activity, abrasion and silence, then spends ten minutes changing that balance. Together they make just under forty-one minutes of noise that is unusually easy to distinguish side from side once their different shapes become familiar.
“The Crave Club,” about 10:20, begins with the lowest center of gravity on the set. During the opening seconds almost all of the recording’s energy is concentrated deep in the bass, with a low mechanical vibration carrying small amounts of rougher sound above it. Over the first few minutes more midrange material gradually enters. The piece gets thicker without simply getting louder. What starts as a large dark foundation begins revealing grinding, scraping and buzzing movement inside it.
The middle is much less stable. Between roughly four and seven minutes, the proportions keep changing quickly. At one moment the low vibration controls nearly everything; seconds later, a rougher band through the middle pushes forward and makes the piece feel much narrower. Around six minutes these changes become particularly abrupt. The bass can suddenly swell into an enormous block and then partially give way to harsher material above it. It sounds less like one wall changing color than several layers being switched forward and backward.
After seven minutes, “The Crave Club” settles somewhat. The most violent changes stop, and the recording again becomes heavily weighted toward the bottom. The final several minutes are comparatively restrained, still rough but less volatile than the center. The side gradually loses strength near the end rather than finishing with one last impact.
“The Cheetah,” about 10:11, begins from almost the opposite position. There is much less overwhelming bass at the entrance. Most of the action sits in the middle frequencies: grinding, buzzing electronic sound with a smaller low component underneath. For the first three minutes this gives the piece a more exposed and abrasive character than “The Crave Club.” The sound is substantial, but its mass is carried higher.
Then the recording begins sinking. Around three and a half minutes the low frequencies become more important, and shortly after four minutes the overall level drops noticeably. That reduction creates a strange middle section where the piece is quieter but proportionally darker. Instead of simply fading, it seems to shed some of the abrasive material while retaining a lower underlying motion.
From about five minutes onward, “The Cheetah” rebuilds. The bass becomes increasingly dominant, especially through the seventh, eighth and ninth minutes. The piece that began largely in the middle register ends with considerably more of its weight underneath. Near the final minute, brighter material begins to return, so the side never settles into pure low-frequency drone. It finishes with both regions audible, but in very different proportions than they occupied at the beginning.
“Naturally Talented Dancer,” another 10:20 piece, is the most consistent of the four. It starts low and largely stays low. The opening already contains a heavy bass foundation, with rougher sounds riding above it, but unlike “The Crave Club” there is no extended middle section where the entire frequency balance keeps flipping back and forth.
Instead, small changes accumulate across a stable underlying state. The first few minutes allow somewhat more midrange abrasion through. Around four and a half minutes, the bottom becomes especially dominant. From there through much of the second half, the recording keeps returning to deep, sustained pressure. There are fluctuations in texture, moments when the middle frequencies briefly become clearer, and changes in the shape of the low vibration itself, but the piece rarely abandons its basic physical position.
That makes “Naturally Talented Dancer” unusually patient for this set. The other sides often use subtraction or sudden changes of register to announce structure. This one asks the listener to notice differences occurring inside continuity. A low mass can stay present for ten minutes without remaining exactly the same object. Around six and seven minutes it thickens; later it becomes smoother and more concentrated; near the end it begins losing strength. The side finally recedes rather than breaking open.
“The Stardust,” about 10:01, is the outlier. It starts extremely quietly. For nearly the first minute there is only a faint low presence and small amounts of distant electronic activity. Compared with the preceding thirty minutes, the reduction is startling. Nothing else on the set gives the ear this much empty space at the beginning.
The first real increase begins around one minute. Midrange material starts appearing, still at relatively low level. Around two minutes the piece finally begins to establish substantial weight. From there it grows in stages. A stronger low component appears, then rougher material above it, then another increase in overall level. By three to four minutes, the quiet opening has been replaced by a dense, active field.
The second half of “The Stardust” is the loudest and most aggressive stretch of the entire double cassette. Around five minutes the sound is heavily concentrated in the middle frequencies, with abrasion and grinding activity occupying much more space than during the opening. The level continues rising through six and seven minutes. Instead of beginning huge and gradually revealing its contents, as “The Crave Club” does, “The Stardust” makes the listener hear the entire structure being assembled.
During the final two minutes the balance moves downward again. Bass becomes increasingly prominent beneath the abrasive middle, giving the ending a heavier body without reducing its overall force. The piece does not return to the near-silence from which it began. It finishes as something enormous that did not exist ten minutes earlier.
That difference gives the two cassettes a satisfying internal architecture without requiring a narrative from the titles. “The Crave Club” begins buried in low sound and becomes unstable through its center. “The Cheetah” begins higher and gradually acquires a heavier underside. “Naturally Talented Dancer” holds one low-centered condition and works inside it. “The Stardust” begins almost empty and constructs the largest event on the release.
The Showgirls references are unmistakable, but the audio does not behave like a literal soundtrack to scenes from the movie. The titles provide a frame; the recordings provide their own structure. The Crave Club, the Cheetah and the Stardust are actual locations in the film, while Jackson-Pratt turns those names into four long pieces concerned with very different distributions of weight, activity and space.
The physical presentation reinforces the connection without needing much text. Across the double-cassette package, photographic imagery of women and performance is reproduced through a harsh black-and-white treatment, accompanied by the stark Dead Gods presentation. The images are recognizable but degraded enough to function as graphic material as much as documentation. The two clear cassettes carry that same severe economy into the object itself.
Compared with Concrete Tunnel, Showgirls feels less compressed. Concrete Tunnel makes its impacts, scrapes and confinement happen inside two short pieces. Here Jackson-Pratt has four ten-minute surfaces to work with, and he uses that extra duration differently each time. The important events are often not individual noises at all. They are wholesale changes in what part of the spectrum is allowed to carry the piece.
One side begins underground.
One side slowly moves underground.
One stays there.
The last starts with almost nothing and builds the entire structure in front of you.
—ChatGPT

Cost - 2018 - Highway Walker CS

Originally posted July 27, 2018 1:13PM

Dead Gods ‎– 024

Two untitled sides, but they are far from interchangeable. Side A runs about 11:32 and spends more than half of that time carrying an enormous amount of low-frequency weight. Side B is shorter at about 7:05 and makes a more compressed version of a related transformation. In both pieces, COST builds around repetition, but the important changes happen when whole frequency ranges suddenly disappear or return.
Side A begins already in motion. A repeating mechanical figure sits inside a deep, heavy foundation, with rougher material scraping across the top. The bass is so dominant during the opening minutes that the smaller sounds can feel almost embedded inside it. There is movement, but not in the sense of a steadily developing melody or a conventional rhythmic progression. The same basic machinery keeps cycling while its surface changes.
For roughly the first three minutes the low foundation remains extremely stable. Small fluctuations occur above it, sharper edges briefly become more noticeable, and the central repeating pattern changes texture, but the piece does not abandon its original weight. Around three minutes more middle-range material begins pushing forward. The recording becomes rougher and less bottom-heavy, although the deep pulse still carries most of the mass.
That balance continues changing through the next few minutes. By five minutes, the low end and the rougher midrange are much closer to equal partners. The original foundation is still audible, but it no longer completely swallows the sounds above it. This makes the repetition easier to examine. What initially registered as one dense moving block begins separating into individual layers.
Then, at roughly six minutes, the floor drops out.
The change is dramatic. Most of the enormous bass presence disappears and a much narrower repeating sound is left exposed in the middle frequencies. Because the first half has trained the ear to expect so much weight underneath everything, the reduction makes the recording suddenly feel smaller and more naked. The pattern itself has not vanished. What changes is the amount of physical support beneath it.
For the next minute and a half, Side A remains unusually lean. The sound is concentrated through the middle, with comparatively little very deep bass and little of the dense upper abrasion heard earlier. Instead of replacing the opening material with something entirely new, COST seems to have removed the parts that were hiding this smaller mechanism all along.
Around eight minutes the low frequencies begin returning. They do not immediately restore the first half. Bass reappears in patches while brighter and rougher material becomes more active above it. The result is busier than either of the previous states. The opening was dominated by weight. The six-minute section was dominated by the exposed repeating figure. Now both areas begin competing for space.
The last several minutes continue in that mixed condition. There are stretches of heavier low movement, then moments when the middle range comes forward again. The upper frequencies are also more present here than during much of the opening. The side gradually becomes broader and more abrasive, reaching one of its fullest states around nine to ten minutes before beginning to loosen again toward the end.
What makes Side A interesting is how much of its structure comes from subtraction. The most dramatic event is not an explosion or an increase in volume. It is the moment when something that has been present for six minutes suddenly stops carrying the recording. The ear discovers how much of the piece was being concealed by its own bass.
Side B opens in almost the opposite condition. The first seconds are dominated by a dry, narrow midrange repetition with very little deep weight beneath it. The sound is immediately recognizable as belonging to the same cassette, but its proportions are different. The low end begins arriving during the first minute, slowly at first and then much more decisively.
By roughly a minute and a half, the piece has become substantially heavier. From there the bass continues expanding until it dominates nearly everything. Around two to five minutes, Side B occupies its most massive state. The low frequencies become so strong that the repeated middle-range material seems to ride on top of them rather than coexist equally. This is the heaviest continuous section on the cassette.
There is still movement inside that block. The amount of midrange abrasion changes, individual pulses briefly become clearer, and the low sound itself shifts in density. But compared with Side A, which takes six minutes to reveal its major reduction, Side B compresses the process. It establishes a thin beginning, grows into a huge central body, holds that state for several minutes, and then removes it.
The removal happens just after five minutes.
The deepest material falls away quickly and the whole recording rises into the middle and upper frequencies. Suddenly the repeating pattern that had been sitting on top of the bass is exposed again. The difference is even more pronounced than at the beginning because the ear has spent several minutes inside such a heavy low-frequency environment.
The final two minutes stay there. COST does not restore the massive center section before the tape ends. The sound remains thinner, brighter and more abrasive, with the bass reduced to a minor presence. Side B therefore finishes with the underlying mechanism visible rather than buried.
Across the cassette, repetition is less a destination than a fixed object that keeps being viewed under different amounts of weight. The recurring figures do not have to change dramatically because everything surrounding them does. A pattern can sound oppressive when buried under a huge bass field, exposed when that field disappears, or unstable when several layers begin competing around it.
The physical cassette follows the same severe economy. The packaging is dominated by high-contrast black-and-white imagery, with the photographs reproduced in a way that removes much of their ordinary photographic softness. The clear shell and simple presentation leave the object feeling functional rather than decorative. There is no elaborate visual explanation for what “Highway Walker” is supposed to mean.
That is probably for the best. The title suggests movement, but the recordings themselves do not require a road narrative to work. Their actual movement is structural. Weight arrives. Weight stays. Weight disappears. The same repeated material changes character depending on what is allowed to surround it.
Side A spends six minutes hiding a mechanism, then exposes it.
Side B exposes the mechanism first, buries it, then leaves it exposed again.
The repetition remains.
Everything around it moves.
—ChatGPT

Cienfuegos - 2018 - Fallen Angel Back Tattoo CS

Originally posted Jan 12, 2019 5:23PM

Dead Gods ‎– 027

Six tracks make up about thirty-two minutes of Cienfuegos, and each one has enough rhythmic identity to be heard as an individual piece rather than simply another section of two continuous cassette sides. The common language is electronic and heavily repetitive, with low-frequency pulses, clipped percussion-like sounds, hiss and distortion repeatedly being added, removed or shifted in prominence. What changes from track to track is the speed, the amount of space around those sounds and how much of the recording is being carried by the bass.
“Right Hand Anarchy” is the shortest track on Side A at about 3:49, and it is also the fastest-feeling piece on the cassette. A rapid repeating pulse gives it an immediate forward motion while a very large amount of the sound sits in the low frequencies. The opening minute and a half is forceful and dense, then the level noticeably drops. For roughly the next minute, the deeper foundation remains but more of the rougher upper material becomes exposed. Around the two-and-a-half-minute point the weight comes back sharply. The final section is again bass-heavy, but darker and less crowded above than the opening. Rather than building continuously, the track moves through a loud opening, a partially stripped middle and a return of the low-end force.
“El Último Círculo,” around 7:02, changes the pace dramatically. Its pulse feels approximately half as fast as the opener, and the first minute is comparatively restrained. The piece then gains weight quickly. From roughly one minute onward, the low frequencies dominate almost continuously, creating a slow, heavy repeated motion that persists for most of the track. What changes is the material sitting above it. At several points, especially through the middle, brighter and rougher electronic sounds become more prominent without displacing the deep foundation. Late in the track the upper material recedes again and the final minute becomes particularly bottom-heavy. It is the longest track on the cassette, and much of its character comes from holding that slow underlying motion in place while altering what surrounds it.
“Light A Candle,” about 5:48, is much busier rhythmically. It begins at a lower level, but within the first minute the track has filled out considerably. Fast repeated attacks and bright electronic material sit above a strong bass pulse, giving the recording a sharper and more active surface than “El Último Círculo.” The first half keeps accumulating layers rather than remaining static. Around the middle, the frequency balance suddenly shifts downward and the piece becomes more concentrated in the bass and lower middle range. It then opens back up, regaining the brighter activity heard earlier. The last two minutes continue alternating between those two areas, heavy low pulses underneath and sharper repeating sounds above, without settling completely into either one.
The flip begins with “Left Hand Forgiveness,” approximately 5:26. Despite the obvious pairing of its title with “Right Hand Anarchy,” the two recordings do not simply mirror one another. This track is quieter overall and begins with much less deep bass. Most of its early weight sits in the lower middle range, giving the repeated pattern a more contained sound. Then, over several minutes, the frequency balance steadily moves upward. The bass becomes less important while increasingly bright, thin and abrasive material takes over. By the fourth and fifth minutes, the track is at its most exposed, with much of the energy concentrated well above where it began. Only near the ending does some lower material return. The clearest movement here is therefore not a rise in volume but a gradual removal of the bottom.
“Camino Real,” almost exactly six minutes, has one of the most obvious dynamic builds on the cassette. It begins relatively quietly, already containing deep rhythmic movement but leaving considerably more room around it. During the first minute the level rises, and by about ninety seconds the track has developed a stronger lower-middle body around the bass. It remains rhythmically consistent while the density keeps changing. Around the halfway point there is a slight reduction before the second half begins another sustained increase. From roughly three-and-a-half minutes through five minutes, “Camino Real” becomes one of the loudest stretches on the tape. The low pulse is still central, but enough midrange and brighter electronic information has accumulated around it that the sound feels substantially fuller than the opening. The final minute eases back without completely dismantling that structure.
“Bomba,” about 4:02, has the clearest transformation of the six tracks. It opens very quietly with mostly high-frequency hiss and small, sharply defined repeating sounds. There is bass present, but initially it occupies far less of the recording than the bright material above it. During the first minute a deeper pulse gradually enters and the track begins gaining volume. By roughly ninety seconds the relationship has completely reversed: the low end has become the dominant element. From there through most of the remaining track, the piece stays strongly bass-heavy while the brighter noises heard at the beginning continue as a much smaller layer above it. What begins almost weightless becomes one of the deepest pieces on the cassette.
Taken together, the six tracks have more rhythmic organization than many of the noise tapes around them in the Dead Gods catalog. There are recurring pulses that can be followed for long stretches, substantial bass movement, and recognizable changes that function almost like breaks, reductions and returns. At the same time, the tracks never become clean techno constructions. Their surfaces remain rough. The repeated elements are surrounded by hiss, distortion and irregular electronic sounds that keep the machinery from becoming polished or predictable.
The cassette also avoids repeating one structural trick six times. “Right Hand Anarchy” starts heavy and temporarily strips itself down. “El Último Círculo” establishes a slower low-frequency foundation and holds it for most of seven minutes. “Light A Candle” is busier and more layered. “Left Hand Forgiveness” gradually loses its bottom end. “Camino Real” grows progressively larger through its second half. “Bomba” performs the clearest reversal, beginning in hiss and high frequencies before a bass pulse takes possession of the track.
That variety is what gives the cassette its identity. The same basic materials keep returning, rhythm, bass, distortion, repetition, but Cienfuegos changes their proportions enough that every track occupies a different shape. Nothing requires the song titles to explain what the sounds are doing. The recordings already distinguish themselves.
—ChatGPT

Shredded Nerve - 2019 - Attempting An Exit 2xCS

Originally posted May 13, 2019 1:13PM

Dead Gods – 036

The first cassette keeps dividing the problem into smaller rooms. “Devoid Of All Belief,” “Pulling A Thread,” “Narrowing Passage / Without Skin,” “Blocked Receptors,” “Imprisoned In The Inner Sanctum,” “Emanations Of Spiritual Death.” Six titles spread across nearly fifty-five minutes, all describing some variation on restriction, stripping away, blockage or enclosure. Then the second cassette changes the grammar completely. There are only two pieces left: “Finding An Exit” and “You Were There.” After all those named obstructions, Shredded Nerve suddenly gives himself much more time and far fewer words.
The first side takes a surprisingly long time to show its strength. Its opening minutes are comparatively remote, rough motions repeating in the middle of the recording without much physical weight underneath them. Then the bottom begins arriving. Around three minutes the transformation becomes impossible to miss, and by four or five minutes the tape has grown into a huge low-moving thing. Repetition is still audible inside it, but now the repetitions are being dragged by something much heavier. The opening has not been replaced so much as engulfed.
That condition does not last. Around eight minutes the cassette begins climbing out of the low end and exposing a rougher, more abrasive center. Over the next several minutes the sound keeps moving upward. What had felt buried becomes wiry, scraped and increasingly agitated. By eleven to seventeen minutes there is very little of the enormous bass dominance heard earlier. The tape is now all friction, loops rubbing out of alignment and coarse electronic matter repeating until its edges change.
Then the bottom begins returning in pieces. Around eighteen minutes a deeper movement appears again, but it does not restore the earlier recording. Everything has already been damaged by the middle stretch. The last third repeatedly changes footing: a heavy passage arrives, weakens abruptly, leaves something exposed, then gathers enough force to continue. Around twenty-one minutes there is a particularly deep drop, followed by a section that feels almost depleted. The remaining minutes rebuild only partially. By the end, the side sounds less as though it has reached a destination than as though several attempts to establish one have failed.
Side B starts much closer to the floor. A low dragging motion occupies the opening immediately, but this side is less interested in one long transformation. It keeps interrupting itself. During the first seven minutes the sound gradually acquires more abrasive activity while maintaining that large underlying movement. Then, around eight minutes, almost everything falls away.
The interruption lasts long enough to matter.
For close to a minute the cassette is reduced to near-empty tape and faint remnants, an actual gap inside a release otherwise obsessed with continual recurrence. When the sound returns, it does not simply resume where it left off. The next section starts rebuilding from a darker, heavier position. Around ten to fifteen minutes the piece repeatedly thickens, loosens and thickens again, as though each attempt at reconstruction has to discover its own shape.
The strangest movement arrives later. Around sixteen minutes the tape drops deeply downward again; then near twenty minutes it suddenly throws much of that weight away and becomes startlingly bright and exposed. For a couple of minutes the harsher material seems almost detached from the bass-heavy world surrounding it. It is one of the few places across the entire double cassette where the change feels less like erosion and more like a door being kicked open.
It closes again.
Around twenty-two minutes the low movement comes rushing back. The remaining stretch keeps switching between heavy and exposed states, refusing to decide which one should survive. Even during the last few minutes there are flashes of sharp electronic material above a large dragging bottom. Cassette one therefore ends without solving any of the conditions described by its six titles. Pull a thread and another obstruction appears. Narrow the passage and something fills it. Block one receptor and another signal gets through.
Then comes “Finding An Exit.”
Side C is seventeen and a half minutes on the transfer, although the actual recording ends several minutes before the tape file does. It begins almost modestly, with a persistent middle-range movement rather than a huge blast. During the first few minutes, deeper sound gathers underneath it until the piece becomes considerably larger. There is something almost methodical about the build: more weight, more abrasion, more material occupying the same recurring motions.
Around six minutes the structure abruptly loses part of itself. The deeper layer retreats and the sound becomes thinner and more exposed. It is not silence, but after the heavy first third it feels like air entering the recording. Then the process begins again. Through seven, eight and nine minutes the piece rebuilds, only this time the destination is lower.
By ten minutes, “Finding An Exit” has begun sinking hard. The next several minutes are dominated by an enormous low movement, much simpler in outline than the busier material heard earlier. What seemed to be searching through multiple overlapping routes has arrived at one large repeated condition. The sound becomes almost stubbornly elemental. It stays there until roughly fourteen and a half minutes, then stops.
And the tape keeps going.
Several minutes of essentially blank cassette remain after the program. On most releases that might feel incidental, but here it is difficult not to notice. After more than an hour of Shredded Nerve filling every available route with loops, obstruction and interference, the first piece explicitly called “Finding An Exit” actually leaves empty tape behind it. Nothing announces that as a conceptual gesture, and it may simply be unused cassette, but the physical experience is perfect: the noise exits before the side does.
“You Were There” begins by throwing the listener back underground. The opening minute is almost entirely low vibration, and the next several minutes enlarge it. There is very little high abrasive material compared with much of cassette one. Instead, this enormous dark movement keeps repeating and slowly roughening, gathering enough middle-range grit to keep it from becoming pure drone. For about five minutes it feels like the final destination of everything that preceded it.
Then something gives way.
Around five minutes the huge bottom suddenly begins disappearing. Within another minute the recording has lost most of its force. What remains is astonishingly small compared with the opening: faint repeated motion, thin residual electronics and long stretches where the cassette surface itself seems almost as present as the composition.
Shredded Nerve does not rebuild.
That is what makes the final side so effective. Nearly every earlier collapse across these four sides was followed by another accumulation. Something went missing and eventually another ugly structure appeared in its place. Here the collapse happens with more than half the side still remaining, and the piece simply accepts the reduced condition. Seven minutes, eight minutes, nine minutes pass with only faint remnants continuing. Small motions recur. A weak signal hangs around. Occasionally something seems ready to gather enough strength to become substantial again, but it never does.
The exit, if there is one, does not sound triumphant.
The packaging makes the whole thing even stranger. Two cassettes sit inside the tall double case beneath an ambiguous, tightly cropped black-and-white image, while the track information is presented with almost clinical plainness. The cassette labels themselves are abstract enough that the objects do not immediately explain their own sequence. You have a title about attempting to leave, a list full of blocked passages and inner chambers, and two physical tapes that make you work slightly harder than usual just to orient yourself.
That feels appropriate for a Shredded Nerve release this long. Milking The Predator Nest made repetition sound like machinery being worked until it failed. Thinning Veil condensed accumulation and disappearance into a few minutes per side. Here Justin Lakes gives those processes enough time to become spatial. Eighty-plus minutes begin to feel like moving through a structure whose rooms keep rearranging behind you.
The first cassette names the obstacles.
“Finding An Exit” finally finds empty space.
“You Were There” begins with one last enormous obstruction, destroys it five minutes in, and spends the rest of the tape standing in what remains.
The exit is not a blast of freedom.
It is the point where nothing comes back.
–ChatGPT

Slit Throats - 2019 - Finishers CS

Originally posted Nov 3, 2019 6:36PM

Dead Gods ‎– 041

Finishers lasts only a little over fifteen minutes, but the two untitled sides use that time in almost opposite ways. The first wins through sustained pressure. The second sets something up, hits hard, and then leaves the remains behind. The title starts feeling appropriate before there is any need to decide exactly what kind of “finisher” Roman Leyva had in mind.

Side A is about 7:35 and wastes almost no time establishing its weight. A deep repeated movement sits underneath the entire opening, accompanied by rough electronic abrasion that keeps moving around it without dislodging it. The bass is not simply an occasional accent. It is the floor of the piece. Everything else has to happen on top of it.

For the first couple of minutes that floor becomes even heavier. The sound acquires more body while the upper material remains comparatively restrained, producing something more crushing than shrill. There are harsher edges, but they feel welded to a large central object rather than spraying freely around the room. The piece keeps grinding forward with remarkably little fluctuation in overall strength.

That consistency makes the smaller disturbances matter. A rougher buzz becomes temporarily exposed. Something sharper appears along one edge. The low movement changes shape slightly and suddenly the entire mass seems to lean in another direction. Around two and a half minutes the bottom is particularly enormous, yet the recording never settles into a static wall. Little fractures keep appearing across the surface.

What is unusual is how unwilling Side A is to perform a conventional dramatic arc. It does not spend seven minutes marching toward one giant climax. Most of the side is already operating at the condition it wants. Leyva keeps changing the contents without substantially changing the amount of force. The attack is persistence.

Only during the last couple of minutes does the relationship begin shifting more noticeably. The deepest part of the recording starts losing some territory while rougher middle-range material becomes easier to hear. By the final minute, brighter abrasion is pushing forward more aggressively than it did at the beginning. The side has not become weak, but the enormous foundation underneath it has begun showing cracks.

Then it stops.

Side B, about 7:41, approaches the same vocabulary from almost the opposite direction. Its opening is thinner, quieter and much brighter. There is low sound present, but for the first minute it does not dominate the way it did on Side A. The recording feels exposed, all scrape and electrical irritation, with considerably more space around the ugliness.

That state lasts long enough to establish itself before the track begins putting on weight. Somewhere between a minute and a half and two minutes, the low end starts arriving in earnest. The increase is dramatic. What had sounded wiry suddenly develops a body, and within another minute the piece has become much larger than its opening suggested.

By roughly four minutes, Side B is at its heaviest. The low movement is now enormous, harsher electronics are riding across it, and the track has reached a brutal middle state where neither end of the spectrum is willing to surrender. It stays there for a surprisingly long stretch. Instead of the first side’s steady pressure from the outset, this side makes you hear the pressure being assembled.

The strongest stretch comes through the middle and into the sixth minute. The bottom keeps surging while rougher sounds scratch across it, and the whole recording seems to have reached maximum physical size. There is almost a feeling of arrival, as though the first half has been preparing this one condition.

Then Leyva starts taking it apart.

Around six minutes the bass begins dropping away. Not instantly, but decisively enough that the remaining sound suddenly feels exposed. The piece becomes brighter and thinner while the overall level also falls. All the harsh material that had been riding on top of the enormous low foundation is left without support.

The final minute is therefore the exact opposite of the middle. Instead of a huge combined mass, there is increasingly brittle electronic residue. High abrasion remains while the body underneath it keeps disappearing. By the last thirty seconds the recording sounds almost flayed, the larger machinery gone and only sharper fragments continuing.

That is what gives the cassette its shape.

Side A starts with the body and gradually exposes the edges.

Side B starts with the edges, builds a body underneath them, then removes that body again.

The physical presentation stays appropriately severe. Black-and-white photographic material is reproduced with enough contrast and degradation that details become difficult to hold onto, while the cassette itself remains blunt and functional. Nothing on the object tries to make the noise prettier or more mysterious than it is. The images feel caught in the same treatment as the audio: recognizable information subjected to enough pressure that its original clarity starts breaking down.

Hearing this close to the Plague Mother tapes is useful because the relationship is obvious without the projects becoming interchangeable. Plague Mother often feels concerned with sustained states, bodily unease and slowly altered electronic environments. Slit Throats is more openly combative here. The sound has an attack stance. Even the long sustained passages feel less like immersion than pressure being deliberately maintained.

Finishers does not need thirty minutes to demonstrate that.

The first side holds you down.

The second side lets you up just long enough to hit again.

—ChatGPT

Plague Mother - 2012 - Carve CS

Originally posted April 12, 2017 11:30PM

Depravity Label ‎– DL-002

Six years before No Balm In Gilead, Carve already contains something recognizable as Plague Mother, but the method is much starker. Two untitled pieces occupy roughly ten minutes each and seem almost designed to attack hearing from opposite directions. The first side is all exposed edge. The second begins as an enormous low vibration with almost nothing above it. Played consecutively, they feel less like companion pieces than two halves of the audible world being separated and examined one at a time.
Side A arrives as a sheet of intensely bright abrasion. During the opening seconds there is remarkably little low-end support, so the sound feels suspended directly in front of the ear rather than anchored underneath it. It sprays, hisses and tears without immediately revealing much body. Then deeper movement starts appearing beneath that surface. Around the first minute, the piece suddenly has more weight than it did at the entrance. For a while the two extremes coexist: a rough low churn underneath and a much sharper field burning across the top. Neither completely wins. The recording keeps changing which one you notice first.
That contest continues for most of the side. There are stretches where the bottom swells and temporarily makes the whole piece feel broader, followed by passages where the low material seems almost completely cut away and the abrasive upper layer is left exposed again. Around four to five minutes the recording becomes noticeably thinner, then rebuilds. Around five and a half minutes another deep movement pushes through. Later, near seven minutes, the character changes again and the harshest top-end material finally begins losing some of its dominance. By the last couple of minutes the piece has become rougher through the middle, less like pure electronic glare and more like several damaged surfaces being dragged across one another.
What makes the side work is the refusal to simply escalate. It keeps carving material away and putting different material back. The title becomes useful at the level of process. The recording does not sound constructed by accumulation alone. It repeatedly seems to remove parts of itself, leaving a new contour behind.
Then Side B starts, and almost the entire upper half of the world disappears.
For roughly its first three minutes, the second side is dominated by an extraordinarily low sustained vibration. There is almost no high-frequency activity at all. Compared with Side A, the effect is extreme enough to feel like someone has changed the playback system. The sound is not silent or minimal in physical terms. It is huge, but huge in a place the first side barely allowed itself to remain. Instead of scraping against the ear, it pushes against the room.
Very slowly, other material begins contaminating that low tone. Around three minutes, rougher middle frequencies start appearing. By three and a half or four minutes, the formerly near-pure vibration has acquired a dirty electronic crust. The transformation is gradual enough that the first appearance of these new sounds can be hard to locate afterward. What had seemed like one enormous fundamental starts breaking into a more complicated object. The low sound remains, but it now has machinery growing out of it.
Around five minutes the piece pulls downward again. For several minutes the huge bass presence regains control, although it never becomes as bare as it was at the beginning. By this point the recording has accumulated residue. Buzzing edges and distorted overtones remain attached to the vibration even when the lowest sound dominates. The final third gets steadily rougher. More midrange activity appears around seven minutes, increases through eight and nine, and by the end the seemingly elemental opening has been thoroughly dirtied.
That gives Carve a beautifully simple two-sided construction. Side A starts with too much edge and keeps revealing body underneath it. Side B starts almost entirely as body and gradually develops an edge. They do not meet neatly in the middle, but each seems to be approaching territory occupied by the other. Twenty minutes become a slow exchange of properties.
The physical object is considerably more austere than the later Plague Mother cassette we looked at. The black shell and monochrome artwork feel dense and severe, with the photographic imagery partially consumed by darkness rather than laid out for easy inspection. There is not much decorative distance between the object and the sound. The tape looks closed off. The recording spends twenty minutes cutting openings into it.
Hearing this beside No Balm In Gilead also makes the six-year distance interesting. The later tape is busier in its internal organization and more willing to let multiple layers coexist at once. Carve feels more primitive in the useful sense of the word: fewer gestures, longer commitments, harder contrasts. Plague Mother does not need many materials yet because the placement of those materials is already enough.
One side cuts from the top down.
The other cuts from the bottom up.
What remains between them is Plague Mother.
—ChatGPT

Blind Date - 2019 - Cowpoke 2xCS

Originally posted Nov 29, 2019 8:05PM

Dead Gods ‎– 044  301.30MB FLAC

The first cassette feels impatient. Two sides, barely fifteen minutes combined, and Blind Date keeps the sound moving as though there is not enough tape available to let anything settle. Side A begins already occupied, with a heavy repeating underside and a rough electronic mass pushing against it. There is no long approach. During the opening couple of minutes the lower movement grows increasingly dominant, but sharper activity keeps appearing above it, sometimes only for seconds before another layer wipes across it. Around the three-minute area the recording briefly opens up and becomes harsher and more exposed, then folds back into its heavier form. Similar changes keep happening without behaving like neat edits. Something gives way, another part becomes visible, and the piece continues from the new configuration.
What distinguishes the side is how bodily the repetition becomes. The underlying movements are regular enough that the ear starts predicting their return, but never clean enough to become rhythm in any comfortable sense. Each cycle arrives carrying distortion, extra grit, some small difference in shape. Late in the side, especially around the final minute, the sound becomes more agitated again. The large low body loosens just enough for harsher edges to push through before everything stops. Seven and a half minutes feels almost breathless.
Side B initially appears to step away from that force. The opening is unusually subdued, with a low signal sitting far back and very little surrounding it. For a few seconds it is possible to wonder whether the second side is going to remain nearly empty. Then, within the first minute, the recording abruptly acquires weight. The difference is dramatic because Blind Date does not slowly fade the piece in. Something catches and suddenly the mechanism is operating.
From there, Side B is more erratic than the first. It moves between deep repeated motion and brighter, much harsher passages, with several stretches where the upper abrasion seems to tear loose from whatever was holding it down. Around two to four minutes the recording is particularly restless. The deepest material repeatedly withdraws, leaving a sharper grind exposed, then returns underneath it. By the latter half, the sound has become increasingly splintered. Instead of Side A’s sense of one large body being continually reshaped, this side feels as though individual pieces are fighting over what the foreground is supposed to be.
That first cassette could almost stand alone: one side arrives fully formed, the other has to switch itself on. Then the second cassette changes the scale of the project completely.
Side C lasts thirteen minutes and begins closer to nothing than anything heard so far. The first minute is genuinely restrained. A faint electronic presence hangs in the background, then slowly gains substance. During the second minute the increase becomes obvious, and by about three minutes the track has grown into a huge low-moving structure. Because Blind Date takes several minutes to arrive there, the eventual weight feels earned rather than simply imposed.
The long middle section behaves almost like a series of tides. A deep mass takes over, weakens, exposes rougher material above it and then returns. Around four and a half minutes there is a substantial thinning, followed by another rebuilding. Six minutes brings another shift. Eight minutes finds the lower movement enormous again. These are not arbitrary changes pasted together. The piece seems to keep testing how much can be removed before the listener stops hearing the same object, then putting enough back to make the connection recognizable again.
By ten minutes, the balance has begun changing more noticeably. Harsher material becomes increasingly visible through the lower movement, particularly during the final couple of minutes. The side that began almost empty and became massive does not simply end at maximum size. It gradually exposes its internal components again. Thirteen minutes gives Blind Date enough time to make those returns feel like memory. Something heard several minutes earlier reappears and sounds familiar even though its surroundings have completely changed.
Side D begins without Side C’s long awakening. There is already substantial motion, with deep activity underneath a harsher surface, and for the first several minutes it feels like the most self-assured part of the set. Different layers keep shifting position, but the overall mechanism seems capable of maintaining itself.
Then at roughly five minutes it nearly disappears.
The drop is startling. Much of the force drains out over a very short period, leaving a weak, exposed stretch where the recording seems suddenly deprived of whatever had been driving it. After forty minutes of repeatedly hearing noise survive transformation, this feels different. For a moment it sounds genuinely interrupted.
Around six minutes the system returns.
The recovery is immediate enough to make the gap feel structural rather than accidental, but what follows does not simply resume the first half. The rebuilt version is heavier and increasingly committed to its lower movement. Through seven, eight, nine and ten minutes, the side regains substantial force while continually shifting downward. By the final several minutes, the bass has become overwhelming. The harsher material that previously competed for attention is still present, but it increasingly rides on top of a huge slow foundation. Near the end, that foundation becomes almost absurdly dominant, as though the entire forty-minute set has finally settled into the deepest thing it could find.
Then it runs out.
The unequal cassettes are what make the whole set interesting. The first gives Blind Date no time for patience, so every transformation feels compressed and combative. The second allows the same basic vocabulary to stretch, disappear, return and change meaning over much longer spans. A three-second reduction on cassette one feels like an edit. A minute of reduction on cassette two feels like a place.
The physical set reinforces that expansion simply by existing as two objects. There are multiple panels, photographs and cassette surfaces rather than one image pretending to summarize forty minutes of sound. You finish the short first tape, remove it, and then discover that the second object is going to ask for a completely different amount of time. The interruption between the cassettes becomes useful. It separates urgency from duration.
Compared with the earlier Blind Date tape in this Dead Gods group, this feels far less interested in maintaining one concentrated attack. The raw materials are recognizable, but here Tyler Keen lets them occupy radically different amounts of time. The second cassette especially points toward the dynamic quality later descriptions of Blind Date emphasize: heavy walls continually interrupted by static, feedback and abrupt changes rather than treated as immovable objects.
The first cassette fights the clock.
The second forgets the clock is there.
By the final side, everything has sunk below it.
—ChatGPT

Scant - 2018 - Circumstance & Discovery CS

Originally posted June 2, 2019 10:37PM

Dead Gods ‎– 022

The first side spends almost nine minutes proving how much can change while apparently staying still. It begins with a sustained electronic mass already in place, low enough to give the recording weight but roughened by a rasping band above it. There is no dramatic opening gesture and almost no obvious change in loudness. Instead Scant keeps altering the balance inside the sound. During the first couple of minutes the lower vibration becomes increasingly dominant, while thin abrasive activity continues working across its surface. The strange part is that the recording simultaneously feels heavier and more irritated. More of the bottom accumulates, but little streaks of harsher sound keep becoming easier to notice rather than being buried.
By three or four minutes, the piece has developed a deep continuous floor that seems almost immovable. Above it, narrower electronic tones and rough static-like edges come and go without establishing themselves as separate events. The whole side behaves less like a sequence than one condition being slowly adjusted. A tiny change in the character of the buzz suddenly matters because nothing around it has announced a new section. Something sharper appears. The underlying vibration shifts slightly. A patch of roughness becomes more prominent. The ear starts measuring differences that would disappear inside a busier recording.
The transformation becomes clearest late in the side. Around seven minutes the recording has grown notably more severe at both ends: the low foundation is stronger than at the beginning, but the abrasive edge above it has also become more pronounced. It is an odd combination, as though the sound is simultaneously sinking and becoming more exposed. During the final minute, the bottom grows especially large before the piece finally loses strength. There is no climax in the usual sense. What Scant has spent nine minutes altering simply stops being maintained.
The second side arrives much louder and much deeper. The opening is almost entirely governed by a huge low presence, immediately giving the cassette a different physical scale. For the first minute or two it feels less complicated than Side A, but only because the foundation is so dominant. Smaller sounds are there, pressed against it, yet the bass keeps deciding how everything else is perceived. Then that certainty begins to erode.
Around two minutes the side starts shedding some of its deepest weight. Rougher material through the middle of the recording becomes increasingly exposed, and by four minutes the balance has shifted dramatically. What began as a low, almost bodily vibration has become a dense midrange grind. Unlike the first side, where the change is so gradual that it becomes difficult to locate, this one makes the transition much easier to feel. The large thing underneath starts disappearing and suddenly all the material that had been leaning on it has to stand by itself.
The middle of Side B is probably the cassette’s most abrasive stretch. For several minutes the sound seems compressed into a narrower band, with fewer extremes and more continual rubbing, buzzing and electronic friction. Then, somewhere after five and a half minutes, the recording begins losing force. The reduction is substantial enough to change how the remaining sounds behave. They seem farther away, less protected by sheer volume, and increasingly isolated from one another. By the final third, deeper vibration has begun creeping back into the picture, but it returns inside a recording that is now noticeably weaker than the one that started the side.
That gives the cassette a peculiar symmetry. Side A begins moderately and spends nearly its entire duration quietly becoming larger. Side B begins larger than anything on Side A, then dismantles itself. One discovers how much can accumulate without changing the apparent outline. The other discovers how different the same materials feel once their support is removed. The title’s pairing of “circumstance” and “discovery” works beautifully against that structure without needing a literal interpretation. Circumstance is the condition you are placed inside. Discovery is noticing that the condition has been changing while you were living in it.
The photographs and physical presentation fit that restraint. Nothing on the package provides a grand explanation for what the two words are supposed to signify. Images are reproduced, cropped and partially obscured; the clear cassette presents itself plainly while the artwork gives only enough information to establish an atmosphere. That withholding suits the audio. Scant does not keep pointing toward moments you are supposed to notice. The important changes are often the ones you realize happened several minutes ago.
Compared with the much shorter Shivers, this feels less interested in presenting contrasting miniature environments and more interested in duration itself. Nearly eighteen minutes are spent making very few large gestures. That patience changes the way the cassette is heard. You stop waiting for something to happen and begin noticing that it already has.
Circumstance first.
Discovery afterward.
—ChatGPT

VA - 2018 - Beyond A Single Breeding Cycle 3xCS

Originally posted July 27, 2018 1:12PM

Dead Gods ‎– 025

Three cassettes and six sides make this feel less like a compilation than three adjacent studies. Scant gets one tape, Pleasure Island gets the long center section, and Shredded Nerve gets the final cassette. Each artist has enough uninterrupted space to establish a method instead of contributing one isolated track to a sampler. Across roughly fifty-five minutes, those methods turn out to be remarkably different. Scant separates things. Pleasure Island holds things in suspension. Shredded Nerve puts things back into motion and keeps worrying at them until whatever stability remains begins to fray.
Scant opens with “Segregation,” about seven and a half minutes, and for much of the piece the sound seems to have an enormous underside. A blunt low movement carries the first several minutes while rougher electronic activity works above it, occasionally becoming sharp enough to pull attention away before the deeper motion drags everything back down. The piece does not stay there. As it continues, more of the upper material begins surviving instead of immediately disappearing into the bottom. By the final third, the recording feels considerably more exposed and abrasive than it did at the beginning. “Segregation” earns its name in a purely sonic sense: elements that initially seem fused together gradually become easier to distinguish. What sounded like one object starts separating into parts.
“Distancing,” almost exactly the same length, removes much of the physical support that made the first piece feel so heavy. It begins high, dry and exposed and stays there with remarkable commitment. Thin static, sustained electronic abrasion and narrow squealing tones occupy a space with very little underneath to cushion them. After “Segregation,” the difference is immediate. The first piece gave the ear somewhere to stand; this one seems to remove the floor. There are changes, but they happen inside that stripped condition rather than through a dramatic transformation. Particular bands of hiss become more aggressive, another tone pushes through, a rough buzz gains strength and recedes. The effect is less about movement toward a destination than maintaining separation. The two Scant sides therefore make a neat pair without sounding alike: one begins fused and pulls apart, the other begins apart and refuses reunion.
Pleasure Island changes the sense of time completely. Four pieces occupy the middle two sides, and they move with much greater patience. “Hall Of Columns” begins so quietly that the first minute feels almost architectural, less like being presented with sound than entering a large space and slowly realizing something is vibrating inside it. The piece gains strength gradually. A low presence thickens while smaller tones appear around it, and by the latter half the room that seemed nearly empty at the beginning has acquired considerable weight. Nothing rushes. The title is unusually apt because the sound seems to depend on scale and interval, large supports with open space between them, until those spaces slowly begin filling.
“Preserved In Paraffin” follows without imitating that build. It begins with more material already present, but as the piece continues the sound seems to become increasingly sealed inside one deep sustained condition. The lower vibration eventually grows so dominant that smaller activity starts feeling embedded in it rather than placed above it. The title changes the way that persistence is heard. Paraffin preserves by surrounding. Here the central sound seems to do the same thing, enclosing whatever details remain until they can still be detected but no longer move freely. By the latter portion, the piece has become extraordinarily bottom-heavy, almost as though everything introduced earlier has sunk into the substance holding it.
“Laying In State” begins the next side with the opposite trajectory. Its opening has more exposed activity in the middle and upper parts of the recording, with rougher tones moving visibly against one another. Over nearly eight minutes those features gradually lose their independence. The piece keeps settling downward. What initially feels comparatively open becomes heavier and more fixed as the lower material gains authority. There is no single moment where the transformation happens. The procession simply gets slower until the sound seems to have stopped traveling altogether. The title does not need to be illustrated with samples or ritual gestures. The track itself moves from activity toward repose.
“Surrounded By Flowers” is the most submerged Pleasure Island piece of the four. Almost immediately, a huge low vibration dominates, and the track spends nearly five minutes living inside it. Smaller changes occur around the edges, but they rarely threaten the central mass. After the gradual descent of “Laying In State,” arriving here feels like reaching the room at the end of the procession. There is something almost perversely calm about it. The sound is not gentle, but it has stopped struggling to become something else. The four Pleasure Island pieces together create a sequence without needing an explicit narrative: architecture, preservation, presentation, enclosure. They are the still center of the set.
Shredded Nerve breaks that stillness immediately. “Severe Deficiency,” about nine and a half minutes, begins relatively modestly, with recurring rough movements that feel assembled from damaged loops or objects being repeatedly worked against one another. Unlike Pleasure Island, the track does not want to preserve anything. It keeps testing its own materials. A figure returns changed. Another repetition arrives slightly louder. Something that had been buried begins scraping its way forward. The longer the piece runs, the more forceful it becomes. Its final third is substantially more aggressive than the beginning, with brighter abrasion accumulating around the repeated motions until the track seems to be compensating for the “deficiency” named in the title by producing too much of everything else.
“Extensive Research Yields No Result” is a perfect final title because the piece is full of activity that never resolves into discovery. It is shorter, about six and a half minutes, but immediately more restless. Repetitions appear, get interrupted, reappear wearing different damage and are replaced by another problem before any of them can settle. There is substantial low movement underneath, but harsher material keeps pulling attention upward, especially as the piece proceeds. The whole thing has the nervous behavior of investigation without conclusion. Something is continually being tested, compared, discarded and tested again. Even when the recording gathers considerable force, it never produces the satisfying sensation that the search has reached its object. Motion itself becomes the result.
That makes the three-cassette format important. If these artists had been shuffled track by track, much of the distinction would disappear. Instead you physically remain with one method long enough to learn it before moving to the next cassette. Scant gives you separation. Pleasure Island slows everything down until sound feels stored, preserved or displayed. Shredded Nerve reintroduces action, repetition and failure. Flipping and replacing the tapes becomes part of resetting the ear between those approaches.
The physical set reinforces that organization. Each cassette has its own imagery and labeled sides, but the muted green-blue reproduction and related photographic treatment keep the three objects visibly connected. It feels like opening a collection of separate specimens from the same file rather than three unrelated releases bundled together. The typography and track titles strengthen that impression. “Segregation,” “Preserved In Paraffin,” “Laying In State,” “Severe Deficiency,” “Extensive Research Yields No Result”: these could almost be headings in notes documenting a biological or medical process. Yet the music never becomes a literal soundtrack to science. The language simply gives the sounds another way to rub against one another.
What holds the whole set together is persistence through alteration. A sound survives long enough to separate from its surroundings. Another is held until it seems preserved inside the recording. Another repeats until the repetition itself begins malfunctioning. Nothing simply reproduces itself unchanged. Every recurrence carries evidence of what happened during the previous one.
Scant isolates the specimen.
Pleasure Island preserves it.
Shredded Nerve keeps testing it after preservation has failed.
By the sixth side, there is plenty of evidence and still no final result.
—ChatGPT

Coteries - 2020 - Oris Circumcisio CS

Originally posted May 5, 2020 10:57PM

Dead Gods ‎– 046

The first side begins in the mouth. Not metaphorically in the sense of voices or speech, but physically: the sound lives in the part of hearing that seems to catch behind the teeth. For several minutes Coteries holds an intensely bright electronic field almost completely above the weightier part of the spectrum. It hisses, burns and needles forward with very little underneath to soften it. The remarkable thing is how long that condition lasts. There is no need to immediately demonstrate range. The recording simply stays there until the ear has adjusted to an environment that initially feels almost uninhabitable.
Then it starts descending. The change is slow enough that it would be difficult to mark the exact point where the first state stops existing. Five or six minutes in, deeper material is becoming easier to notice beneath the glare. By eight minutes, the balance has unmistakably shifted. The harsh upper layer is still present, but the recording has acquired a body underneath it, and from there the migration continues. The abrasive surface loses more and more of its authority while lower vibrations take its place. Somewhere in the middle of this long transition, the piece seems to pass through almost every intermediate state between hiss and rumble.
That movement becomes especially dramatic after ten minutes. The sound keeps sinking. What had initially occupied the head begins to feel increasingly located in the room and then in the body. By twelve or thirteen minutes, very little remains of the opening brightness. Deep sustained vibration has taken control, and the final third becomes almost entirely subterranean. The volume also begins recovering after having gradually weakened through the middle, so the low sound does not merely replace the high sound. It grows.
By fifteen minutes, Side A has effectively become another piece without ever having changed pieces. The last several minutes are dominated by a huge low presence, astonishingly distant from the abrasive opening. It feels less as though Coteries introduced a second sound than as though the first sound has been stretched downward until it became this one. The side ends with substantial physical force in a part of the spectrum that was barely participating twenty minutes earlier.
Flip the cassette and Side B begins exactly where Side A spent so long arriving. The low vibration is immediately enormous. For the opening minutes there is very little ambiguity about where the center of the recording is located. A deep tone presses continuously underneath everything else, sometimes close to a single sustained fundamental, sometimes roughened by smaller movements around its edges. Instead of beginning with irritation and acquiring a body, Side B begins as body.
For nearly ten minutes Coteries remains remarkably committed to this condition. There are alterations inside it, but the great low presence barely loosens its grip. The sensation is closer to being held inside sustained vibration than listening to a sequence of events. Because the sound is so stable, tiny changes become strangely conspicuous. A slightly brighter edge appears. The vibration gains a roughness it did not have before. Another overtone becomes briefly audible and then slips back inside the larger hum. Time stretches because almost nothing offers itself as conventional punctuation.
Then, around eleven minutes, the floor suddenly gives.
The recording becomes noticeably quieter and the massive low foundation loses a surprising amount of its authority. After spending the first half of the side almost completely submerged, the ear is abruptly allowed upward. What follows is not a return to Side A’s opening all at once. The climb happens gradually. Rougher middle-range activity becomes increasingly visible; then thinner and sharper material begins appearing above it. Each minute seems to move the recording a little farther away from the giant fundamental tone that dominated the beginning.
The final several minutes complete enough of that ascent to make the architecture of the whole cassette clear. Side A travels from abrasion toward vibration. Side B begins as vibration and works back toward abrasion. They do not trace perfectly identical paths, and that is important. This is not a symmetrical electronic exercise. The return journey has been altered by where the cassette has already been. The sound does not come home unchanged.
That makes the title particularly effective. Oris Circumcisio roughly translates as a cutting or circumcision of the mouth. The phrase is bodily, procedural and uncomfortable, and the recording spends nearly forty minutes relocating sensation around the listener’s body. Side A begins where harsh sound almost seems to touch the teeth and gradually sinks toward the chest and gut. Side B starts inside that bodily vibration and slowly exposes the sharper edges again.
The images on the physical cassette add to that atmosphere without providing an explanatory key. The body is treated as something that can be photographed, cropped, reproduced, obscured and subjected to procedure. The package does not turn the title into a simple story, and the audio does not illustrate the photographs. They share a colder relationship: the sense that something physical is being examined while simultaneously being altered.
Coteries was already making what Richmond coverage described as “enveloping atmospheric noise,” but this recording takes the enveloping part unusually literally. It does not merely surround the listener with noise. It moves the apparent location of that noise over time. Nearly forty minutes become one extremely slow relocation.
Side A goes down.
Side B comes back up.
What returns still has the cut on it.
—ChatGPT

Form Hunter - 2019 - Mercy Killing CS

 Originally posted Jan 23, 2022 10:20PM

Dead Gods – GODS39

Part One takes almost ten minutes to make instability feel ordinary. It begins cautiously, with relatively little occupying the recording, then starts collecting material around itself. During the first minute the sound gains considerable size without making a theatrical entrance. What was initially distant becomes persistent. A repeated electronic movement establishes itself, roughens, gets crowded by another layer, and continues anyway. The piece seems less interested in introducing new objects than in seeing how long the existing ones can remain recognizable while being continually interfered with.
By roughly two minutes the recording has found its working condition. Several motions coexist without ever fitting together comfortably. Something repeats low underneath; rougher activity passes across it; another element occasionally rises far enough to redirect attention before sinking back into the machinery. Nothing behaves cleanly enough to become a beat, yet there is continual recurrence. The ear begins anticipating returns even though each return arrives slightly damaged.
One of the stronger changes comes around the two-minute mark, when the earlier stability is briefly disturbed and the piece seems to reassemble itself. Afterward the sound becomes more stubborn. For several minutes it maintains an almost industrial continuity, but the individual parts keep trading importance. A buried motion suddenly becomes obvious. Something raspier moves over it. The underlying cycle persists while its surroundings keep being replaced.
Around four and a half minutes the recording changes complexion again. There is less sense of one large mechanism and more of several smaller activities rubbing against one another. That does not last either. By five and a half minutes another stronger form has gathered, and the second half proceeds through repeated episodes of expansion and partial collapse. The interesting movement is not from quiet to loud. It is from coherence to confusion and back again.
Late in Part One, around eight minutes, the machinery seems briefly weakened. The surrounding material becomes thinner and individual elements are easier to separate. Then the track gathers itself again for one final stretch. What remains near the end feels rougher and less secure than the version heard several minutes earlier. The system has survived its own duration, but it does not sound unchanged by the experience. The last seconds finally withdraw rather than delivering a grand finish.
Part Two begins with far less hesitation. The recording is already occupied, and for its opening several minutes it behaves with greater confidence than Part One initially did. Repeated motion, low electrical movement and rougher sounds above it coexist almost immediately. Because the piece does not need to build its environment from nothing, attention moves straight toward the relationships between the parts: what interrupts what, what disappears behind what, what keeps returning despite everything around it.
Around three minutes there is a noticeable disturbance. The balance shifts, briefly making the piece feel as though one part of the mechanism has been removed while everything else continues operating around the vacancy. The sound recovers, but the interruption matters because it makes the previously dependable repetition seem vulnerable. From that point onward, the track feels capable of failing.
The largest rupture arrives later, around five and a half to six minutes. For a moment the whole construction seems to buckle. What had been moving with considerable consistency becomes thinner, stranger and less anchored. Then the recording returns with renewed force during the following minutes, but the return is not a reset. The parts come back carrying the damage with them. Repetition becomes harsher, more agitated, and less convincing as evidence that the system is actually stable.
That makes the final third particularly effective. The recording keeps operating while sounding increasingly spent. Familiar shapes recur, but they no longer carry the confidence they had at the beginning. The last minute especially feels like attrition. Material begins falling away, the larger motion loses strength, and by the end there is a genuine sense of something reaching the limit of how long it can continue.
Across both parts, the most interesting quality is endurance. Sounds repeat not because repetition provides comfort or order, but because repetition gives them something to survive. Every return offers another opportunity for alteration. A cycle continues long enough to become recognizable, then long enough to become damaged, then long enough that the damage itself begins feeling normal.
The cassette transfer preserves that process well. Neither file shows obvious digital clipping, and there are no long accidental dropouts breaking the continuity. The roughness belongs to the recording rather than presenting itself as a damaged rip. That matters here because so much of the piece depends on being able to hear deterioration as part of the performance rather than mistaking it for a failing transfer.
The single photographed object gives very little explanatory help, which is probably preferable. There is no need for the package to tell the listener what all this machinery represents. The audio is already specific enough. Two approximately ten-minute parts establish systems, injure them, restore them imperfectly, and keep going.
Part One learns how to continue.
Part Two discovers that continuing has consequences.
—ChatGPT