Earthenwomb - Blue Velvet: Volume Two [Altar Of Waste - 2014]On Minneapolis based Altar Of Waste here's the second volume of noise/drone releases that are themed around David Lynch’s 1986 movie Blue Velvet. Each part of this series sees a underground sound artist putting their own take on Lynch’s disturbing yet haunting tale of small town USA evil 'n' oddness. For this volume Springfield, Oregon based Earthenwomb offers up two nearing half an hour slices of walled noise, which mix together searing wall-craft with some slightly atmospheric & harmonic undertones.
As with all the releases in this series- the CDR comes in a paper slip sleeve, which comes inside a double sided printed A5 folded sleeve. On the front cover of this volume we get a coloured drawing of one of the films main characters- troubled night club singer Dorothy Vallens- she singing, & in front of her is a white picket fence & severed ear( both of these items play a big part in the film). The reverse takes in the films title set against a glittering blue curtain fabric.
First up we have “Shipless Oceans Dream Of Me Dreaming Of You”, and this comes in at the 28.53 mark. The track is centred around an amassed weave of jittering, juddering & churning static- sliding through & under this we get sways of sudden off pattern sweeps/judders of slightly higher pitch noise matter, other subtle layer deviations, and a very deeply buried harmonic textures( possible these are samples of the soundtrack, but it’s difficult to fully define them, as it’s all so over loaded). The main central mass of static textures remain (mostly) fixed through-out, with the other sub elements marking out some most rewarding sonic detail.
The second track is called “Neoteny”, and this track comes in at the 28.17 mark. And this track brings together a rumbling ‘n’ hovering low-end texture, several layers of churning ‘n’ feasting static, and this wavering melted vibe/ siren like harmonic pattern. Once again the main mass of the track is fairly firm in it’s intense-ness, but you get a lot of subtle movement & detail shifting through the tracks length. Added to this you get the harmonic element which rises ever so often out of the overloaded & dense mesh of sound.
All told both tracks here are most rewarding examples of layer active yet very dense, and unforgiving walled noise. As of writing AOW still have copies of this left, and it’s well worth picking up if you enjoyed thick yet layer active walled noise that has subtle harmonic/ atmospheric undertones.