Maxima Vulva C40 is out on Porn Noise Records!!
2 brutal and crunchy HNW tracks influenced by Lars von Trier's Nymphomaniac movies.
Artwork / Collage by Jan Warnke.
Limited to 50 copies.
The release runs in chronological order, and each track has a running time between the ten to twenty minute mark. First up we have on side A we have two tracks, and first of these is "Néant Gris"- this track originally appeared back in 2010 on French wall-noise label anarchofreaksproduction. The tracks a fairly typically, though rewardingly intense slice of fixed HNW- it brings together a deep buzzing roast, with a grimy & grim dense static grind, all to create a oppressive & densely seared wall. The second track on side A comes in the form of “Incomplete Fracture”- this originally appeared on Ireland’s Bored Bear recordings also in 2010. The track finds a deep churning & slightly industrial like worming drone, that is edged by a continual circling mass of chopping & slightly juddering noise tones.
Flipping over to side B, and first up we have the track "I'm Nothing", and once again this track appeared in 2010- this time on French power electronics/ Harsh Noise label Corrosive Art Records. The ‘wall’ is a boorish, muffled & crushing mix of deep, bone-grind & rapid bass rumble, and this skittered with a twisting & hazed maelstrom of billowing, cluttering & coarse grained noise matter. Second on side B we have “Her Nails Against My Skin”, and once again this is from 2010 & appeared on the SSIP PISS label. This track brings together a truly massive & punishing bass bound billow, and these is strewn with buried & muffled noise elements taking in ringing & moody semi harmonics, clamouring yet hazed judders, and pelting hammerings. The track is a great balance of truly battering intensity, and more moody/ buried undercarriage.
Moving onto tape two & side C, and first up we have "This Is The Hell That You Created For Me", which comes from 2012 & the British Quagga Curious Sounds label. This track is a bit of a departure from the projects normal overloaded; bass bound, and mainly fixed sound. As starts off been built around a mix of pared back rushing wind textures, and layers of building & growing billowing & juddering noise textures. over time the track builds up it’s density & depth, though it does still thin back, and through-out retains quite a atmospheric & seared emotional feel. Second on side C we have “I´d Fallen Before, But It Never Hurt Like This”- this track is from 2012, and appeared on Us noise label Violent Noise Atrocities. It brings together a thick constantly boiling bass of taut billow, with a thin haze of skittering ‘n’ spinning noise matter.
Flipping over to the last side, and we have three more tracks. First of these is "The World Is A Beautiful Place...", and this comes from 2012 & was the first track on SSIP PISS release I Have Such Sights to Show You. This track brutally melds of rattling ‘n’ rumble bass descent, with grating mid-ranged junk metal repetition. Second up we the other track from the I Have Such Sights to Show You, and this comes in the form of "...To Be Trapped Inside". This sees a thick & bothersome blend of two bass bound, murky, and blunt tones- we have a deep aquatic billowing & slightly crust bound juddering. Last up on side D we have "A Constellation Of Scars", and this originally appeared in 2012 on German label L White Records which mainly puts out power electronic releases. This ‘wall’ brings together a mid-paced churning ‘n’ juddering blunt bass base, with a cluttering ‘n’ grinding top layer of mid range static.
So in summing this is tape set is really a great bringing together of some the shorter releases from this most highly prolific & mostly extreme brutal walled noise project. Sure it’s not the most varied sounding of releases, but there is enough variation from track to track to make it worthy, and it’s great to have these tracks all in one place, and in a rather neat looking box set.
This release appeared way back in 2013 in CDR & digital format, and our copy has recently reappeared at M[m] HQ after a sort-out/ clear-up. And as it’s still available in digital format ( via DBC’s bandcamp)- I thought it was worthy of a review.
The single track is built around a bothersome & brutal machine like bass judder- this is tautly wrapped by layers of buffeting, battering, and billowing sub-tones. The whole thing brings to mind been endless churned round & round inside a vast & aged industrial wash machine, or dryer. The bass juddering is satisfyingly brutalizing in it’s endless raging mass, while the sub-tones create a entrancing yet intense continual spiral.
With this release DBC mangers to create an intense & endless ranging vortex like storm of a ‘wall that mangers to suck you in while creating a great feeling of taut intensity. As this release dates back to 2013, I’m afraid it’s very unlikely you’ll be able to source a physical copy of the cdr, but it’s still available as digital download- so head over to here to get hold of a copy.
“SLC Engine Decima MAS” is the offering from The Rita. It begins with an odd, warbling tone; which largely lies murkily buried, under grainy crackle, with moments where it concentrates and rises forth. After a short while, this cuts to staccato chunks of rough, skipping textures; before opening out again into an agitated wall with many layers. Its an engaging end to an engaging piece. Five minutes is really not a long time, for HNW, but The Rita’s track makes very good use of it. Flipping over to Dead Body Collection’s “Morte, Amore, Morte”, we have an equally fine piece of work. It begins with stuttering, scuffing textures, split between the speakers; with one more kinetic than the other. After a few minutes, the more measured channel explodes into grittier life, before breaking even further open; by which point, the opposing speaker is concentrating on a limping, lurching, low-end crawl. Its not the usual rush and blast that we might expect from Dead Body Collection, but its a very effective, even creepy, wall.
I must admit to having mixed feelings on HNW seven-inches - I’ve always liked the format itself, but the restricted duration would seem to be incongruent with some of the virtues of a wall. However, both artists sturdily dispel such thoughts, here; with pieces that make no concessions, but display the best qualities of HNW. Indeed, one of the “pleasures” of a seven-inch is constantly flipping it over and over, replaying it and that very act, here, concentrates the listeners mind very well on the decisions that the two projects have made. It promotes a notion of active engagement with HNW, rather than a more detached “zoning-out”. So, given the visible availability of this release, its pretty much to be considered compulsory purchasing…
As the releases title & artwork suggest this release is themed around witch burning, and each side opens up with a brief minute or so dialogue sample taking from an old witch hunter movie.
First up on side A we have “May Your Body Be Consumed By Eternal Fire!”, & after the brief sample we kick into the ‘wall’ . It mixes together a taut & slightly muffled weave of distant descending roaring rumble, which has a layer of jittering ‘n’ juddering semi-crisp texturing warped around it. The rumble/ roar produces a nice stark & searing feel, while the jittering & juddering element creates this sonic allusion that the whole thing is slowing & bunching-up together; but in reality the ‘wall’ is firm & fixed.
Flipping over to side B we have “Whore, Strumpet, Hypocrite!”. This track is built around a rushing, deep & distant billowing, which is wrapped in alternating layers of tumbling juddering- these sit in a fair narrow lower-to-mid range bracket. The billow creates a nice stark & windswept barren-ness, while the layers of juddering create this sonic allusion of slowing or dragged-out breaking texturing, which is most compelling. This ‘wall’ very much conjures up vivid images of a flesh slowly cooking, melting & roasting in a mass of uncontrolled flame.
All in all this is another rewarding & entrancing collection of fixed walled noise brutality from DBC. With both ‘walls’ summoning up a worthy mix of searing intensity, and bleak starkness which nicely fits the witch torturing theme of the release very well.
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.