Released in 2013 on Darker Days Ahead imprint, Bleeder is presented on a black-bottomed, hand-stamped CD-R. Through 6 tracks we have 2 long form songs and 4 short experimental interludes. He does manage to wade into several genres associated with noise on this album: harsh noise, HNW, power electronics, drone, and electro-acoustic to create a fetid stew of electronic mirth and mayhem. The album starts with “Holding Hands,” one of the many short pieces on the disc that feels more like a short experiment than a fully formed track. The 2:41 piece offers a slow rolling, dense drone mixed with some distant electro-acoustic, junk metal meandering. It works as a good intro to the longest track on the disc “From Empty Cradle.” This nearly 10 minute track really demonstrates what I love about this project, namely, weaving together many different sounds and genres into a surprisingly cohesive piece. Gurgling synth tones collide with rising and falling, sci-fi sounds. Moments of bustling static and bending electronic oddities meld with angrily spoken vocals that sound cold and distant. By far the strongest statement on this release.

Two more short tracks make up the disc’s mid-section. “When We Prey” is 2+ minutes of vigorously shifting static and low end frequencies, ramming and colliding. Whereas “It’s...It’s...Them!” takes a different tract with lots of eerily unfolding high-end frequencies.The other epic track on Bleeder is “Glossolalia.” Stressed buzzing, shifting static, and electronics that sound like a computer freaking out, make up the bulk of this track, mixed with Elias’ signature vocal stylings. The album concludes with “To Remain Exactly Where We Are,” a quieter piece, made of resonating electro-acoustic manipulations, running in repetitive circular patterns.

Bleeder, while not my favorite release by this prolific act, is certainly a solid entry in the Sleep of Ages cannon. I didn’t find any references to swords and sandals on this outing, only some bad vibes (in the best possible way).