Bruital Orgasme - Untitled [Sincope - 2012]Here’s a tape from Bruital Orgasme, on sincope. Its packaged very smartly with a colour inlay and tape stickers; both of which depict a woman tied to a tree (the context being porn - not kidnapping). The first side is made up of eight short pieces, whilst the second has one long track; all amount to around half an hour of sounds. The first track, “In, out, error (8 pieces)”, is a series of short noisy sections which hit hard and fast. Some of these pieces are very short indeed, others stretch out a bit longer. The track opens with some serious low end throb, and from there on Bruital Orgasme use a “kitchen sink” approach to their tools and sounds. So, whilst there is a strong leaning on primitive electronic sounds, they also utilise field recordings, junk noise, loops, drones and tv/radio spew. These are all combined in somewhat lo-fi collages, sometimes with a reined-in clarity - the panning and “cleaner” lines of the first section, or the pounding footsteps over background tv of the fourth - and sometimes in an overwhelming boiling mass. The overall sound is lo-fi, but theres enough attention to high and low frequency precision to show that Bruital Orgasme aren’t “cheap” noise-as-skree merchants - some of the bass elements, in particular, are monolithic. The second side, “Reification”, is essentially a drawn-out, droning work using the same ingredients listed above. Its not static, though, rather its a shifting piece; made up of abrasive, dirty sections - but with a droning element constantly present. These sections are punctuated by bursts of voices (sourced from tv or radio), noisy field recordings and junk sounds. The overall tone is most definitely caustic, but without any sense of “assault” or violence. The sounds on both sides of this tape carry a sense of mystery, of obscured meaning. The low fidelity, collaged aspect (true for both tracks) suggests a meaning whilst also hiding it. The first side, in particular, implies a theme or process, but I remain none the wiser to it. On a more “tangible” level, the sources of sounds are also often well-hidden - is this a rhythmic electronic construction, or simply a lo-fi recording of a train? All in all, this is a tape of great depth - an odd mix of careful precision and looser, more chaotic arrangements. “In, out, error (8 pieces)” is especially interesting and a good template to work with    Martin P
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