First off it’s worth giving the CDR's packaging a bit of a mention- the CDR comes in a clear plastic DVD case, and this features three different four colour covers. Sadly my promo copy only featured one, but even from this I can see the thought & design that has gone into this release; so kudos to Cory Strand whose behind Altar of Waste- the relatively new HNW, dark ambient/drone label from Minneapolis that put this release out.

The CDR features two tracks that come in just under the fifteen minute mark, and both unitizes introductions made from samples of Ms Perry’s 2008 single “Hot n Cold”. First up we have the title track which starts out with the first minute or so of the “Hot ‘n’ Cold” track, but Mr Killick adds in an extra layer of juddering ‘n’ bass fluctuation harmonic noise texture that follows the songs structure. By around the one minute twenty mark the track sample has faded, and we just left with the juddering ‘n’ ripping noise texture. As the ‘wall’ goes on this main tone is surrounded by juddering & bass jittering sub-tones, and the ‘wall’ seems to start to smother you in it's jittering, juddering & glitch bound womb of sound. At the five minute mark a more rising ‘n’  buffeting slow-mo static feel starts to emerge in the ‘wall’, and this nicely intensifying the feel of ones head been slowly wrapped complete in rolls of slightly caught static. As the track moves towards the 8th minute the ‘wall’ starts to feel more like a slowed recording of a storm- with sluggish jitters, judders and rips of static tone  which a mass around you. In it’s last five of so minutes the ‘wall’ locks down into a descending conveyer of  more meaty ‘n’ crusty  single tone thick jitters, and this makes for a nice more locked  through almost sluggish groove bound end to the track.

Track two is entitled “Love Bipolar”, and the opening sample comes from a little latter in the “Hot ‘n’ cold”, when it’s build up to a more bridge pumping with-in  in the track. Once again Mr Killick adds in another noise texture that mimics the Perry track, and this time it’s a bass bothered mixture of caught billowing that’s weaved with more pronounced jittering static- pretty soon the sample fades & we're left with just the noise texture. And just like the first track with-in minutes he starts to add on to the left bare noise texture, and these elements feel  more agitated & detailed than the first track. By around the five minute mark the ‘wall’ starts to feel like it’s slowly breaking down as Killick skilful judders down the ‘walls’ textural building blocks, yet he just keeps in on the edge  of never fully let it breaking down or drifting toward more melted ANW texture.  Around the 10.15 mark he strips down to one maybe two layers of juddering ‘n’ jittering bass ripped wall matter, and like the end of the first track this has almost groove type feel to it, through this feels a lot more mangled & manic compared with the first tracks end.

“You’re No Good For Me” finds this uk HNW project in fine ‘n’ brutally vibrate form, Mr Killick really seems to be able to manipulate his ‘walls’ in such a divined & focused way now, and the almost groove like moments here are quite spectacular.  This is with-out doubt some of this projects best work, and one of this years HNW highlights.