Mademoiselle Marchand — Mademoiselle Marchand

Here’s a three-inch self-titled CDR that offers up three tracks worth of noise craft- which sits on the gasp of receptively shearing ‘n’ shredding textured noise, and walled noise.

Mademoiselle Marchand is an anonymous project from South America. It’s unclear when exactly they started- but going from their Bandcamp they have just two releases to their name. This release is Ltd to forty-two number copies and can be found here 

First, out of the bag, we have “Passion In Nature” which runs at just over six minutes. It pares together a loose buffeting bay, and this sort of hiccupping/ bucking looped rip. There is almost a sluggish groove to the whole thing. We get a nicely crude and nasty feel to the production and the textures- at points it feels like it may grind to a stop, but it never does as it keeps buck & baying away.

Next, we have “To The Buried That Repose Around Us”- which once more hits at just over the six-minute mark. This time we get a flowing steam of constant zig-zagging static- this is fed through with a focused line of steady skating pull. This track is ok, though personally, I found the texture a little too numbing in the short/ fix repetition, meaning I just couldn't lock in the tracks patterns in the same way I did with the first track.

Lastly, we have “That Of Which The Ultimate Is Composed” this is the longest of the three tracks here, and I’d say the most formal walled noise one of the trio. It’s built around a constant/ urgent galloping feel- which brings together a looped and crudely ripped judder, a cluttering static haze undercarriage, and a grainy rushing subtone- with these slicing elements appearing towards the track resolve. Like the first track I managed to get nicely locked into it, and to be honest I would have dug a track double this length.

In conclusion, this isn’t a bad three-inch release, and I’d say if you like where locked shredding noise meets wall, then I reckon you enjoy what we have here. I just felt the middle track was not as engaging/ entrancing as the other two tracks. I wanted to give this two & a half mark, but as we only do whole marks here I’ve gone for a two.