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Carrion Black Pit - Necronomicon [Altar Of Waste - 2013]

“Necronomicon” is a two disc CDR set that offers up a selection of H.P. Lovecraft themed slices of HNW & ANW, with elements of moody synth texturing, samples & experimental mood making sound craft mixed in. Carrion Black Pit is walled noise & ambient wall noise project of São Paulo, Brazil based Elias (Sleep of Ages & EXU). This is the projects second Lovecaft themed release, after the truly excellent “Mythos” CDR release, which appeared in 2011 on Bored Bear Recordings.

I was really, really looking forward to hearing this release after being so taken by “Mythos”( which we rewarding five out of five kudos, and became the album of the month at M[m]). So is this as good, creative & rewarding as “Mythos”…well it does at times reach the near perfection of the  release “Mythos”, but on the whole I’d have to say the two disc set is fairly mixed in quality.

Starting off the set we have “Necronomicon Ex Mortis” which comes in at just under the twenty six minute mark, and is the longest track on the first CDR in this set of two. The track starts off in a fairly restrained manner with a jaunting yet malevolent mix of ritual bound mid-to-late 1980’s dark ambient/ industrial/ martial  synth/ electroincs; which rather brought to mind a more rudimentary take on the type of thing Endvra used to do. At around the three minute twenty mark we break for this accelerating roaring type texture before we are thrown head first into the first ‘wall’- this is built around a fairly fixed billowing/ roaring back drone, that has over the top of it an almost sludgy rhythmic line of jittering & juddering static. Around these main elements Elias burials all manner of shifting, moody & at times quite eerier sound elements like backwards & forwards demonic moans & wails, and all manner of creepy sound elements. Around the ten minute mark the sound effects pull back, & the ‘wall’ seems to become much more thicker & enclosing in it’s feel. By around the twelve minute mark Elias has added in this weird alien clunking ‘n’ dragging tone which really does sound like one of Lovecraft’s Great Old Ones baying & scraping at your door.  As the track progresses he subtle shifts the ‘wall’ through all manner of horror/ darkly psychedelic tinged active walled noise shifts. By around the nineteen minute mark the more seemingly random & unsettling sound textures have once more returned, & in it’s last few minutes the ‘wall’ dies down.  We’re left with just the creepy noises, and a bone chilling 1980’s pulse & dark darting industrial/ Martial synth textures, along with a load of creepy samples & dialogue samples from the second Evil Dead movie about the Necronomicoin legend. The tracks a  great start to the set and one of the highlights here.

Next up we have the just over eight minutes of “Anthropodermic Bibliopegy”, and this track smashers straight in with a bounding-then-pettering back roll of droning & eerier synth underlayed ‘wall’ texturing. As the track goes on it becomes less petering back yet it still never feels fully firm like something dark & timeless is  at the edge of the track. The ‘wall’  has a nice dark  psychedelic whipping ‘n’ baying feel to it, which rather brought to mind the Dean Stockwell led 1970’s film remake of The Dunwich Horror, and in particular when old ones appear on the screen in lashing & jarring psychedelic form.

Track three is entitled “Adepts Of The Occult”, and comes in at just shy of the twenty minute mark. The track slams straight in with a raging 'n' rushing storm of thick & unbroken walled noise which brews togeather a selection of tight & airless battering ‘n’ billowing noise tones. The tracks is ‘ok’ I guess, but for me it didn’t really go anywhere particularly interesting, and on the whole I felt it seemed to lack much of it’s original dark ‘n’ battering impact by the time it ended.

Lastly on disc one is “An Image Of The Law Of The Dead”, which is the shortest track on disc one at just under the six minute mark. The track starts out with a taut & dense ripping bass judder which pretty soon gets lashed by a sea of crusty & crisp sub-tones.  To start with these sub-tones edge & nudge around the sides on the bass tone, but fairly soon they start to deepen & take over as whiling/swaying  elements are added to create this almost seething mass of alien aquatic tonilty- as if a Shoggoth  is in front of you, cracked from his ice water tomb. Around the four minute mark Elias weaves in this mournful, blurred & throbbing synth melody into the wall, and just when you think you know where he’s going next he shatters the ‘wall’ into this bright ‘n’ blinding haze of distorted synth tone.


 

So onto disc number two, and opening this up is a track called “Preparation”. And this just under eight minute track is built around a throbbing & building mass of doomed walled noise that is tipping with slightly buzzing ‘n’ slightly skiping noise texture. The tracks ‘ok’, but to me it seemed like it’s missing a horrifying crescendo, or maybe an extra layer of texture to amp up the intense dread even more.

Next we have the title track which takes up the lion share of the second disc at the whopping 54.29 mark. The track starts out with a agitated,fairly thin, yet intense ‘wall’ that mixers together two fixed lines of buzzing & jittering white static tone- these elements create some nice stark & unsettling noise patterns with-in the ‘wall’, but sadly I found this early part of the track somehow lacking in both addictiveness & any sort of Lovecraft vibe really. Around the 10.19 mark this ringing sort of weird ritual tone can heard build & building with-in the ‘walls’ structure, and to start with this adds more interest into the track.  Sadly  Elias doesn’t really build on the odd & uneasy ritual  promise of this new element, but instead just lets it ring on & on like a taped, muffled & aged recording of an old telephone for the next 19 or so minutes. At the twenty one minute mark we get a brief moment of silence, before returning with a new 'wall'  that mixers together a descending yet slight off-angle grey static tone, with a selection of buried & disorientating tones that take in weird honks, rolling, burrow, scrape. As it nears it’s 35 minute  mark it seems like it will thin down into AWN, but instead this buzzing & throbbing melody builds with-in the ‘wall’ which gives the whole thing quite a golden cosmic/ spaced-out of type feel. By the forty two minute mark we’re just left with the circling golden like haze. But just when your thinking it’ll fade out  Elias adds in another thicker more murky ‘wall’, which still has the golden ring tone with-in it. Then we have one weird few seconds silence break in the track around the 49 minute mark before the ‘wall’ ends all together. On the whole this tracks structure seems too muddled for it’s own good, and sadly the dread filling cosmic horror of Lovecraft was only felt fleetingly here.

Next is the just over the minutes worth of "Invocation", which finds Elias taking a sample from the first Evil Dead movie of the doctor reading from Necronomicoin over a mixture of eerier radio tone swarming then roasting ANW- the tracks most effective & it’s a pity it couldn’t have been a little bit longer.

To finish off the second disc & the set we have the 8.36 of “Chaos Into Form”, which finds Elias creating this unsettlingly brutal ‘wall’ which mixers together intense fixed droning & roasting noise with these weird tumbling ‘n’ ripping descending sub-tones. At the minute forty mark these slow sways of on/off billowing ‘n’ grate high end noise harsh tones are added into the mix, and these give the whole track quite an enraged 1950’s sci-fi movie feel.  As the track carries on more waves of this sci—fi like harsh noise scaping is added into the mix, and these move from the more high end of the original sci-fi tones to the more meaty roast/ tumble/ rip of the main ‘wall’.  This is certainly another highlight of the set, and the most effective track on the second disc.


On the whole this two disc set is somewhat of a mixed bag- there are moments of greatness here where Elias perfectly nails the Lovecraft vibe, and also creates some great & creative HNW/ANW. But sadly there are also tracks here that seem to lack the right vibe, appealing structure or focus.  Certainty there is some great work here that equals some of the best work coming out of the scene at present, so this is well worth picking up, just don’t expect it all to be top notch.

Rating: 3 out of 5Rating: 3 out of 5Rating: 3 out of 5Rating: 3 out of 5Rating: 3 out of 5

Roger Batty
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