The Curve Of The Blade is a recent three-track release from Worship. The decidedly mysterious wall noise/ drone project, which themes all of its work on praising the female form, in a non-smutty/ sleazy manner.

This is a self-released digital album- the cover art features a retro monochrome picture of a topless woman standing with a large curved sword, headdress, and beads. I’m guessing it’s from the 1940’s.

First up is the nearing twenty-three minutes of  “Caress Me”. This starts off with a gentle fading in bubbling water tone, which, as it grows, shifts into blunt churning drone craft. I’d say it sounds akin to when you put your head underwater in a bath, as it fills up. So, as a result, you feel like you're set between relaxation & sight panic- at points you make out more distant/ rapid bubbling tones- which suggest the bath is about to overflow. Though towards the end of proceedings it sounds like the whole thing has had it bass tones turned up/ slowed down, which I guess does imply the water is now flowing over the bath edge.

Next is  “Double-Edged Sword” which hits at dead on the twenty-three-minute mark. Once again, it sounds like water rushing/ filling sounds have been used.  By about the six-minute mark, these tones have been distorted & blunted to create a battering storm noise wall. As the track continues on, there’s more distortion, but it also feels like the pace has been steadily slowed/ pulled out with an almost blurred industrial quality coming into play.

Finally, we have “Light Tease With Shinny Edge”- which is the longest track here at just over thirty-two minutes. It starts off being built around a two or three layers of steadily roasting bass gallop- as this progresses, we get crackling & baying subtone detail added, as the whole thing seemingly starts to hollow out.

The Curve Of The Blade is a rewarding enough crossbreed between drone and wall, though at points, particularly on the first two tracks, similar textures feel a tad overused. It can be found here.