A crisp cuff round the cortex from two major Stentorians. Beginning with Facial Mess (that’s Kenny Sanderson, a British dude from Serpentis upon Anvix that fucked-off to Nippon in the 90’s to join the Japanoise joust), who roll forth three hulks of progressive metal-work antiphonics & quality electronics. Variation, space, frequency, post-session editing & what would appear to be no compulsion to simply churn out restrictively aggressive destruction (he has done enough of that) results in this extremely tired genres enlarged & reinvigorated horizon. By the shape of substance, it’s apparent that a lot of thought & deliberation has been allocated to the formation of these pieces. Non-harsh & low-frequency Noise & electronics (some with an industrial attitude) are also integrated, with great effect, creating second-sector atmospherics & excellent use of supporting ambience. Running out of road, Harsh Noise seems to be a district that’s dried-out with almost everyone repeating the same sentence to less & less effect. These tracks opt to expand existing themes with careful stretching & modest invention, all whilst refusing to relinquish wrecking-ball n’ face-scald.
Nyctalops (with two trax here). Basically the best Harsh Noise about if you ask me. Fast, spastic, high-quality – the winning formulas ejected with absolute aplomb by Russian village nut Stanislav Andreev. This guy does it so well, with all the screaming kinetics & hysterical palpitations, abrupt double-overs & fractional U-turn dislocation you would demand. Expert deployment of distortions, brilliant use of samples & post-play editing. As with other speed-veined titans such as Spain’s Hinyouki, Japan’s Sewage & Italy’s Digital Noise Distortion (when his material is in this temperament), the Harsh speed-hysteria-quality approach remains, for me personally unbeatable when done this well. The Nyctalops apex of playful, astatic, rapidly convulsing wreak is crop-of-cream.
Self released by Nyctalops as a x300 run digi-pack CD.
Label-self released/no label