Thursday, September 12, 2019
VA - (2016) LI$003 CS
low income $quad – 003
Tracklist:A1 –Tlim Shug Honesty 4:43
A2 –Ron Wilson Cloud 361 6:14
A3 –Willrijk Clearing In The Woods 4:56
A4 –Octo Octa Granite House 5:08
A5 –Saki coconut grove 5:25
A6 –Fort Madeline CC1994 2:53
B1 –Suspect Int. Downtown (Basement Mix) 3:55
B2 –DJ Ford Foster Regulate These Pricks 5:04
B3 –Steve Summers Saccadic Masking 4:55
B4 –Moní Moní Waters 7:58
B5 –Photonz Oceanic Night 2:50
B6 –Strahinja Arbutina x SZCH Suk My Dik 4:17
B7 –Riohv Can U 5:00
VA - (2019) Korpsånd 2xLP
Nattetale – none
Tracklist:A1 –Ærekær I
A2 –Jordslået Blod Klarer
A3 –Jordslået Ilddåb
A4 –Afkald Evighedens Hul
A5 –Afkald Når Lyset Rammer Mig
B1 –Blot & Bod Grav
B2 –Blot & Bod Dodfodte Kæmper
B3 –Fanebærer Afgået
B4 –Fanebærer Vriidt
B5 –Seiðr Curse Of Life
B6 –Seiðr Oblique Terrain
B7 –Ærekær II
C1 –Ærekær III
C2 –Gabestok Fri Os Fra Det
C3 –Gabestok Midt Om Natten
C4 –Grifla da la Secta Marlash
C5 –Grifla da la Secta Min Dod
D1 –Hollow Hand White Eyes Wide
D2 –Hollow Hand Slip Inside You
D3 –Lesion Exitus
D4 –Lesion Serpents In Heat
D5 –Vaabnet En Gavl Af Guld
D6 –Vaabnet I Sejrens Pragt
D7 –Ærekær IIII
VA - (2018) Imperial Conditioning II CS
Total Black – 109
Tracklist:A1 –Death Kneel Disposal Methodology
A2 –Ciarra Black Mediate Reality
B1 –V. Sinclair Another Life
B2 –Opiate Bath Golden Triangle
Slaughtering The Weak - 2019 - ST CS
Self Released – none
Slaughtering the Weak begins with a face already being erased.
The cover is built from a photograph reduced to severe black and white, its middle tones burned away until skin, clothing and background become a single field of ruptured ink. A figure appears caught in a moment of distress, the head thrown slightly backward, mouth open, one arm folded across the body while another dark shape presses into the scene. It may be a struggle, an attack or an instant of panic extracted from a larger sequence. The reproduction refuses enough information to make certainty possible.
What remains is the physical shape of alarm.
The face is still recognizable, but individuality has begun to disappear. Eyes become black marks. Hair merges with the background. The open mouth is reduced to an irregular hole surrounded by white paper. The image no longer functions as a portrait of a particular person. It has become an emblem of vulnerability, a body overwhelmed by forces extending beyond the frame.
A thin black border contains the photograph inside a large, almost immaculate white field. The surrounding emptiness makes the central violence appear smaller and more isolated, as though the image has been filed, mounted or presented as an exhibit. There is no title printed across it, no logo establishing genre and no text explaining who is being shown. The silence of the page leaves the photograph alone with its damage.
The cassette does something similar with sound.
Side A begins immediately, without an introduction or gradual accumulation. A dense low-frequency mass occupies nearly the entire field, surrounded by a rough grain of distortion that seems fused to it rather than layered on top. There is no discernible room around the noise. The sound has already filled the available space before the listener can establish where its edges might be.
The volume is not merely high. It feels structurally compressed, every component forced against the next until the recording behaves like one enormous object under pressure.
Within that object, movement occurs slowly but unmistakably. The first several minutes hold to a broad, grinding roar whose center sits in the lower and middle frequencies. Beneath the surface, individual pulses rub against one another, producing small vibrations and irregular surges. The mass does not remain completely static, but its changes happen through shifts in density rather than conventional development.
A heavier low tone eventually enters and changes the apparent dimensions of the piece. The upper grit thins, the floor drops, and the noise suddenly feels deeper. It is less like a wall being added to than a wall rotating to reveal another side.
These transformations repeat across Side A. Sections become brighter, then collapse toward bass. High frequencies rise into a dry electrical rasp before being pulled back beneath thicker layers. At several points the recording appears to divide into distinct horizontal bands, with a low mechanical churn carrying a more brittle sheet of noise above it.
Nothing resolves. One pressure replaces another.
The piece is too active to become pure static, but too resistant to rhythm to offer ordinary forward motion. It creates the sensation of machinery continually changing load while remaining fixed in place. Motors strain, gears catch, vents open, and internal systems redirect their force without allowing the larger apparatus to stop.
This is where the title becomes more than a piece of violent language.
Slaughtering the Weak describes an arrangement of power. Something capable of applying enormous force encounters something with no equivalent means of resistance. The phrase is ugly because it removes even the false dignity of combat. Slaughter is not a contest. It is a process performed upon bodies already controlled.
The sound reproduces that imbalance. The listener is not invited to negotiate with it. There is no melody to follow, pulse to anticipate or lyric to interpret. The recording simply occupies the room at a scale larger than the person hearing it.
Yet the cassette does not make domination feel triumphant. There is no heroic rise, clean impact or victorious conclusion. The noise sounds burdened by its own weight. Its power is exhausting, repetitive and without destination. Whatever mechanism is doing the slaughtering appears trapped inside the process as completely as whatever lies beneath it.
That distinction keeps the tape from becoming simple celebration.
The cover also resists a clean division between aggressor and victim. The visible figure appears vulnerable, but the surrounding shapes are too degraded to identify. There may be another body in the image, or the dark forms may be clothing, shadow and reproductive damage. The photograph gives the viewer enough to recognize terror while denying the narrative that would explain it.
This absence of context is ethically uneasy. The figure becomes useful because the original identity and circumstances have been stripped away. A moment of distress is transformed into visual shorthand for extremity. The person disappears while the sensation remains available.
The music performs a related reduction. Whatever sources produced these sounds have been processed beyond recognition. There may have been amplifiers, contact microphones, electronics, feedback, distorted recordings or mechanical objects at the beginning, but the final cassette does not preserve their identities. Cause has been replaced by effect.
Everything becomes pressure.
Side B is even more physically concentrated. Where the first side repeatedly changes its internal architecture, the second settles into a deeper and more continuous low-end grind. A thick bass band runs through nearly the entire piece, so forceful and persistent that the higher noise appears to grow from its surface.
The result is less jagged than Side A but more suffocating.
Side A sometimes allows the illusion of distance when its upper frequencies thin or its layers separate. Side B removes that space. Its roar remains close to the body, broad and almost tactile. The low frequencies do not strike like individual blows. They maintain a constant occupation.
Small variations continue inside the mass. The texture briefly roughens, narrow tones become more exposed, and pockets of higher distortion flare before sinking back into the central rumble. Around the middle of the side, the bass seems to tighten into a more focused vibration, creating the impression that the entire recording has moved closer without becoming louder.
The changes are subtle enough that attention begins operating differently. Instead of waiting for events, the listener starts examining the surface. A slight alteration in grain becomes significant. A tremor that would disappear inside a conventional song becomes the main source of motion.
Harsh noise wall often turns endurance into a form of perception. Repetition removes the ordinary hierarchy between major and minor events. When nothing arrives as a dramatic interruption, the ear begins noticing the microscopic instability of what appears fixed.
Slaughtering the Weak uses that condition without becoming completely motionless. Both sides are constructed as sustained blocks, but each contains slow collapses, tonal migrations and changes in weight. The walls breathe, although nothing about that breathing feels healthy.
The image on the cover acquires another meaning beside Side B. The open mouth may suggest a scream, but no human voice survives anywhere in the recording. If a scream exists within this environment, it has already been absorbed into the larger volume.
The absence is more effective than the addition of an obvious vocal sample would have been. A scream could create theater, directing the listener toward one dramatic point. Here distress has spread across the entire frequency field. The recording does not illustrate violence with a voice. It makes the environment itself violent.
The enormous white margin around the cover photograph creates a visual equivalent to this silence. The figure is surrounded by blankness but not protected by it. Empty space does not provide escape. It only isolates the event and makes the lack of intervention more visible.
That isolation is one of the tape’s most disturbing qualities.
There are no witnesses inside the music, no commentary and no sign of help approaching. The two sides begin, persist and end according to their own impersonal timing. Each lasts a little over ten minutes, long enough for the sound to stop resembling an outburst and become a condition.
An outburst can be survived by waiting for it to pass. A condition reorganizes the space around it.
Cassette is an especially severe container for this material. Each side is a single uninterrupted span of magnetic tape. There is no track selection and no easy internal marker. The listener enters at one end and remains inside until the mechanism clicks or is manually stopped.
The format makes duration physical. Tape moves while the noise appears not to. The reels slowly exchange their weight, proving that time is passing even when the sound refuses conventional progress.
This contradiction sits at the center of Slaughtering the Weak. The music is constantly occurring but never seems to arrive anywhere. Its layers move, yet the larger structure remains immovable. The cassette advances while producing the sensation of being pinned in place.
The cover photograph captures the same paradox. The figure is frozen, but every visible part of the body suggests movement, resistance or recoil. The printed image cannot continue, so the moment of panic becomes permanent.
Both image and sound convert action into captivity.
The recording’s extremity does not come from speed, complexity or a parade of shocking gestures. It comes from refusing relief. The noise is already present, already saturated and already larger than the listener when each side begins. Its internal changes do not lead outward. They reveal further rooms within the same enclosure.
Side A grinds through several configurations of pressure.
Side B seals them into one deeper mass.
Together they form a cassette that does not describe weakness as a personal flaw. Weakness is produced by circumstance, by being placed beneath a force with no interest in recognition or reciprocity. The weaker body is not inherently weak. It has been made powerless by the scale and organization of what surrounds it.
The title names the action from the position of power, but the cover and music remain with the experience of being overwhelmed.
Nothing here feels victorious.
The final impression is not of a predator standing proudly over a defeated victim. It is of a machine that has forgotten every purpose except continuing to operate, reducing whatever enters it to the same black-and-white residue.
The photograph has lost its middle tones.
The sound has lost its empty space.
The person has become an image.
The sources have become noise.
What survives is the shape of force after nearly everything human has been compressed out of it.
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