Cementimental - Molecramp [Jeshimoth Entertainment - 2010]Cementimental is not especially aggressive or violent noise, nor is it particularly structured or intellectual... I would describe it as 'curious' noise that does not quite become 'playful'. Texturally, it remains mostly within the confines of typical harsh noise. The "Molecramp" minidisk contains three easily distinguishable pieces:
First track "Module Oakery, Module Foci" is synthy, sci-fi abrasion accompanied by the sonic debris produced through microphone abuse and overload. It's not a dense collage... Two or three different layers will alternately sound out harshly, then remain silent for a few second as the other layers do the same at different intervals. It sounds like a group of extraterrestrials trying to drag a large object while bellowing and arguing with each other on low fidelity microphones and headsets. There are some nice analog distortions and modulations, but really it's kinda like something you'd find 10 to 20 disks into the Merzbox. Not too exciting a thing to do in 2009...
"Ping Titan Wolves" is a short track but possibly the most memorable on the minidisk, though mostly just for the absolutely unlistenable pure high frequency feedback tone found at the end of the track, which will have you reaching for the volume knob. This track is full on harsh noise, much denser than the previous and better for it. It has a nice, crunchy midrange... there's a cassette tape feel to it reminscent of the old Scott Burns produced death metal records of the early 90's. It's not powerful or enveloping (it would need some more distortion and reverb for that) but it is texturally satisfying. I think if it had been longer it would have gotten boring.
"PIGUM" (with '55 Blues') is about twice as chaotic and hostile as the other two tracks. It appears the group jam dynamic brings out some much needed rowdiness in Cementimental. By this point in the album, it's too late, though... this is certainly a track for a different mood than the rest of the disk, which could have nearly passed as exercises in texture if this 9 minute ear destroyer wasn't here. When this track comes on, depending on the mood of the listening it will either make the first two seem weak and repetitive by comparison, or feel unnecessarily raucous. It's really hard to pick any individual tasty sound or instrument out of the mayhem. After the overwhelming and claustrophic first 5 minutes, there's a nice atmospheric, drone-oriented section that fits the music on the rest of the disk a little more. The minidisk ends on a grimey, stoned note with textures that recall doom metal guitars.
After this minidisk ends, I'm still unsure really what the overall feeling of this material is meant to be, or what I should listen for. I would guess this album was created with a very subconscious improvisational process, likely quite rewarding for the artist, and that no conceptual ideas or particular emotions were meant to be conveyed. For such ambiguous albums such as this, I think it's very important than the sounds themselves have some originality or depth. In this department, the album is a mild success, providing some depth, though little originality. While listening, really I'm neither bored nor impressedJosh Landry