The release features four tracks in all- first up you have “Eternity Through The Flesh”, and this takes up the lion share of the release with a running time of forty three minutes. The other three tracks are shorter ‘walls’ coming in at just under the ten minute mark, and each of these finds DBC collaborating with another well respected & known wall noise artist.
So first up we have “Eternity Through The Flesh”, and this ‘wall’ consists of a taut, rapid & unmoving low-end billowing ‘n’ battering base. This is topped off with tight weave of the following textures: A fixed violent wind rushing, a caustic pelting mid- range static lashing, and a few layers of fixed yet very taut ice like crackings. It literal feel like you are in the centred of a raging winter storm; that is engulf all your senses completely & utterly. All in all it’s a suitable extreme & intense ride, with the weaved web of textural extremes making this a rewarding & numbing ride.
Track two “When Dead Skin Corrodes” sees DBC teaming up with wall noise originator & harsh noise legend The Rita(aka Canadian Sam Mckinlay). And this track is based around truly imperturbable & extremely dense weave mid paced battering wind like tones- to start with it all feels very much focused around similar mid-range tonal setting, but as the track progress I seem to start making out more & more layers of very slight different roasting 'n' billow winding like tones. Whether these are really there, or are just a trick of the ‘wall’ I’m not sure, but it’s certainly a truly intense & all engulfing bit of ‘wall-craft’.
Track three comes in the form of “Her Eyes Closed Forever, I'm At Peace”, and this finds DBC teaming up with Werewolf Jerusalem- which is of course one of the most know projects of Texas noise legend Richard Ramirez. This ‘wall’ brings together three or possible four layers of galloping lower-to-mid ranged noise textures, which is ebbed with thinner fixed jittering static tonality. This track feels like one is been rode over by a unstopping rush of wild horses, yet the clever thing about it is that it continual feels like it’s slowing in down in it’s centre, yet it still seem to remain fixed in both it’s speed & textural make-up- all making an engrossing yet head screwing bit of wall craft.
Lastly we have “The Savoring Of Loneliness”, and this find DBC collaborating with the black bagged king of French walled noise Vomir. This track brings together a thinner & slightly hazed fixed billow, with two of three layers of rushing yet thinner noise grain. This track feels a little less dense than the other track, yet no less intense. Once again it has quite a storm bound vibe to it, but this time it feels like you are endless trudging through a hot & furnace blasting sand storm.
When the release original came out late last year in came in three editions: 1: A standard CD edition( which I’m reviewing), 2: special edition- which featured the CD additional tape coming in a wax-sealed "funeral" envelope( this had was ltd to ten copies). 3: Die Hard edition- with the CD coming in a black wooden box with an additional cassette and a little figurine( this was ltd to 5 copies). Both of the can still ltd edition are now out of print, but the standard edition( ltd to 100 copies is still available).
It’s always great to see less limited numbered releases like this appearing on the walled noise scene, as hopefully this kind of thing will expand both the scenes fans & bringing new artists into the scene too. All told this is a great introduction to the work of DBC, and the HNW scene in general.