Opening on side A is the track 'Handcuffs', we begin with a voice sample which seems to be police testimony to the apprehension of a criminal - we can surmise that the criminal in question is Corrl. The wall that bursts forth from the sample is deliciously crunchy and crumbling, it breaks like a wave across the listeners brain, with glistening static spray in the atmosphere in all directions. As it progresses it seems to have a low, muted tone with a slow-lurching kind of pace that slides swathe after swathe of static noise into these wave-like formations, here and there a crinkle or crisp texture emerges ever-so-briefly to give the illusion of a slow undulation of that pace. Overall, the wall is stocky and uniform and not long into the 46'35min runtime the listener has come to terms with how perfectly meditative and immersive this wall is. The brain slowly wanders listening to this wall, every so often a noticeably out of place clunk or clatter breaks the hypnosis, only for an ever-pursuing unity to return and wrench you back in.

Following this, on side B, we have '27 Young Boys (At Least)', which is also introduced with a voice sample, this time clearly from a documentary monologue describing "the story of Dean Corrl in Houston, Texas" - the monologue tells us that Corll's victims were young boys and that the boys were sexually assaulted, then killed - before breaking against a tide of walled noise once again. This time, however, there is less crinkle and crisp battering taking place - still very much tidal, ebbing and swelling at an equally lethargic 'pace', there is less bite and less viscera from a lack of crackling high-end and an almost muffled sound. As a result, the wall is murkier and darker sounding and, personally, takes longer to grab hold of the listener in total immersion. The wall begins to take on a churning quality and starts to liken itself more to heavy machinery on a factory floor than to the natural phenomenon of oceanic waves.

After a while though, a resurgence occurs, and many highs and mids come blasting to the surface - the wall returns some qualities that had been diminished, making it more like the first side's - but now the mental image is already affected, the wave-like quality seems hard to distinguish and the heavy machinery quality remains but has now also become a molten soup of volcanic energy. It is impressive to see how two pieces of HNW that both reach the near-hour mark can hold so much for the listener as a result of such subtle and minimal manipulation.

Having been blown away by more recent releases involving the Big Hole project - specifically, the Painted/Wall set and The Ebony Tower collaboration release 'Aum Shinrikyo' on Altar of Waste and the Tsunn split on Australian HNW label Needle & Knife - this tape had quite a challenge of not paling in comparison to such large and breath-taking walls. I feel that in some ways it came very close to satisfying that need. I like to view the progression of HNW artists as something that can be very much definitively charted (although this doesn't always work out, with some discrepancies in which very early works manage to usurp very new ones and vice versa) - and here this works well, Corll Revisited does sound very much 'of the era' when listened to alongside other 2015 Big Hole releases like the amazing 'Terror Of Abrupt Entombment'. However, there is something about the 'true crime' nature of this releases thematics which hinders my interest in comparison to these other releases I have mentioned here - while the walls themselves stand up as perfectly representative of the projects calibre, there is something of a real personal predilection which prevents me from seeing this as one of the stand-out releases in the projects entire catalogue. That said, it is intriguingly subtle in its differences to other Big Hole walls that I have heard and this has filled me with a desire to explore more thoroughly all of the releases on said catalogue which are as yet unknown to me. In my humble opinion, there is little more a HNW artist can hope for in regards to how their listeners receive them than to be drawing them into the full body of their work in this way. I am very excited to see what the future of Big Hole holds for us all.