Dead Body Collection - The Rostov Ripper [Sweet Solitude - 2012]“The Rostov Ripper” is the third release in Sweet Solitude’s 'Shades of Grey' series- each title in this series finds a HNW artist theme their release around a famous murder case or murders. This release is themed around the case of Russian serial killer Andrei Chikatilo.
Chikatilo killed between the late 70’s & 1990 when he was caught. He was a prolific sex-killer who was charged in the with 50 + murders &, but claimed to have killed another 50+ people. He murdered children & teenagers, the victims were strangled or stabbed, then often cannibalism or necrophilia would take place. The case shocked Russian to it core when it happened, due to the amount of victims & the long period of time Chikatilo carried on with his crimes.
Serbian Dead body Collection offers up two ‘walls’ on this CDR. And though they are expectedly brutal slices of HNNW DBC mangers to conjure up two taut yet creative bits of wall-making, which are somewhat of a departure from this project usual thick often bass ripped & unrelenting take on the HNW form.
First up we have “I Am A Mistake Of Nature, A Mad Beast...”, and this starts out with a rather creepy sample of a man talking to a little girl about another little girl whose died & gone to heaven, and when she looks down from heaven no one seems be to crying or caring at her funeral. The man’s voice sounds very like that of great English actor Malcolm McDowell( Clock Work orange, If, & many other films), through I can’t place which movie the sample comes from. The samples a very chilling & effective to start this track, and of course it nicely links in with the Chikatilo case. When the ‘Wall’ brutally rams at just after the minute mark in its an incredible dense, taut & tightly pack mass of noise making. It’s built around two or three short & extremely tense juddering textures, these are forced together into this really nasty & totally constricting ‘wall’. The ‘wall’ mixers together a selection of mostly fairly close ranged textures that go from low to mids, with DBC keeping a very tight & constricting control on each element. There are a few occasions, though-out the track, when you get subtle tone shifts or very subtle textural changes, but for the most part this is a very fixed & deeply constricting bit of walled noise.
The second track is rather lengthily entitled “What I Did Was Not For Sexual Pleasure. Rather It Brought Me Some Peace Of Mind”. And this track once again starts with a sample from I'm guessing the same movie as the first track, this time the man’s talking to the little girl about meeting his friend who grows…yep very creepy & disturbing stuff!. The ‘wall’ comes in around the two minute mark, and I’d guess you’d call it progressive ‘wall-making’. It’s mixers together a taut juddering ‘n’ rolling textured noise element, with theses very small sections of tense jittering almost harmonic electro mid to lower higher pitched tones. Around the six minute mark the juddering ‘n’ rolling texture becomes more meaty & violent in its feel, yet it’s still controlled on a knife edge by DBC. As the track continues it seems to some how feel like it’s starting to get close & close to you, and wrapping it’s taut & uneasy presence around you….giving one the feel of slowly been wrapped & bounded in something. Around the 15 minute mark the electro tones drop-out, and the main juddering/ rolling textures becomes like tense & machine fed juddering ‘n’ jittering static rain- this makes for a nice ice cold turn of events. As this element carries on over the rest of the track, the ‘wall’ seems to start to slow & drag it self out in a wonderfully slo-mo yet tense manner. Simple put this is a very clever yet tense & uneasy bit of wall making.
“The Rostov Ripper” is a wonderfully conceived, and executed bit of taut, knife edge atmospheric yet brutal bit of ‘wall-making’. With out a doubt this is some of the best work this project has ever produced, it just such a pity it was ltd to just 12 copies!!. So beg, steal, or even kill to get hold of a copy of this masterpiece.Roger Batty