Untitled is the second release from this Florida based wall noise project. It comes in the form of a double three inch CDR package, which presents up to the listener two twenty minute examples of HNW sonic barbarism.

Behind This Is What I Hear When You Talk started up early this year, and behind it is Dan Fox, who's been active within the wider Florida noise scene since the early 2000¡¯s- linked to projects such as FAIL, IF, FFI Digital and Glaive. Dan also runs the rather prolific noise/ experimental label Inner Demons, which put this double-disc set out.

The two black inked stamped mini CDR¡¯s come in a clear plastic sleeve- this takes in a black & white single sided cover, with a tracing paper inlay taking in the track listing- there¡¯s also a second inlay- a red piece of paper with download codes on for both ¡®walls¡¯- this release appeared in a edition of 42 copies in mid Sept of this year, and as of present there are still copies left.

Disc one takes in "PARTICLE_SMASHER_+->_MARIO->_PS-3->_AFTERNEATH->_GEARS->_TM300->_FX86->_DD100¡Ö21" this just under twenty-one minute track sees a taut & urgent blend of continually ripping & pouring meaty judder, which is webbed by the following smaller sub-tones- thinner spoke snaps, spiralling grit, and cluttering hacks. The whole thing is certainly a very encasing & world blocking in its feel, and the blend of the blunt & bothersome low-end, and subtle shifting sub-tone make for a satisfyingly enough wall- though personally, I felt there wasn¡¯t really enough distinctive textures to make it stand out from the crowd.

The second disc is taken up by "PARTICLE_SMASHER_+->_MARIO-_PS-3->_AFTERNEATH->_GEARS->_FILTHY_PITCH_SHIFTER->_TM300->_DD100¡Ö21",  and this spot on twenty-one-minute track was to my ears the better & more distinctive of the two walls here. We find a blend of rapidly hacking low-end texturing, that¡¯s surrounded by thinner & chalky cage of juddering & jittering tones. The low-end has a nice grinding cable type feel about it, and the thinner textures bring an effective feel of barren-ness to the proceedings. It may not be as dense as the first wall, but it certainly makes up for it in the mix of blunt grind & splintering teeth hacking.

The issue with HNW/ static noise as a genre is that it¡¯s very subjective- one person may love a wall, the other person may hate the same wall. So in conclusion, while the textural blend on the first didn¡¯t light up my world- the track was worthy enough but ultimate under whelmed. While the second was most impressive in its mix of unrelenting pelting & clutter.