Kylie Minoise — Sid Vicious Occult School of Motoring
Bleeding, crunchy, harshified synth blasts melt into bleeding, crunchy, harshified noise rock jams. The first 7 tracks clock in at around 20 seconds to 2 minutes a piece, and each focuses on a singular type of texture in conjunction with a funky blown-out "rock" segment. This covers a wide range from your typical HNW to subdued eerie sounds to synth warbles to what sounds like a gas
pipe leaking. Track 8 is 9 minutes, starting out as a smooth wave of ethereal atmospheric textures that slowly (VERY slowly) slide into a harsh wall, which then in turn very slowly slides the treble up and ends in a screech, possibly the sonic opposite of how the song started. The final track, 30 minutes long, essentially recaps everything you just heard, stretching it out and hitting the looper.
What makes or breaks it on this album is the play between the "noise" and the "musical" elements. The transitions from each said style to the other are clean and, sometimes, you don't even realize it's happening until after the fact. Loops abound, but hardly an album solely of loops. Which can make it a difficult experience, alienating the drone-hounds and the pedal-punchers, unless you happen to be keen
on both. A good listen if you're not sure what you're in the mood to listen to.