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 Review archive:  # a b c d e f g h i j k l m n o p q r s t u v w x y z

Necrotik Fissure - Vomit Jet Cutter Dossier [The Level Of Vulnerability - 2018]

Hungarian experimental sounds are rather sparingly represented in the worldwide music scene. Necrotik Fissure is perhaps the most famous Hungarian project in the Harsh noise /Harsh Noise Wall genre. It was founded by Daniel K in 2012, but after releasing four albums and a split with French iconic HNW project Vomir, Necrotik Fissure was silent for 4 years. But, in 2016, the project resumed its activities and became one of the most productive HNW projects in recent years. It is also worth noting that Daniel K has a fairly large number of other projects, the most famous of which, in addition to the Necrotik Fissure, is Halalnihil. Also, Daniel is the founder of the fairly successful DIY label The Level Of Vulnerability, which has released an large number of albums from all of his projects, as well as many famous and talented projects working in styles of extremely experimental music.

The Necrotik Fissure's album, entitled Vomit Jet Cutter Dossier, was released on The Level of Vulnerability as a pro-duplicated 4CDR box set, in a very limited edition of just five copies, and in digital form. At the moment you can still order this edition on the labels Bandcamp.

The album cover is a very blurred photo of a kind of mucous substance of dirty yellow, orange and green colours. Judging by the name of the album, we can guess what kind of substance this is. The name of the project and the album's title are not listed on the cover. I must say I'm not a big fan of album covers showing anatomical details or waste products from living beings. But, because the photo is blurry, the cover doesn't look repulsive. Rather, it looks like some sort of organic texture.

So, the album consists of four tracks, each of which occupies one CDR. The total duration of the album is just under four hours.

The first track "Vomit Jet Cutter Dossier (Part One)", lasts almost fifty-seven minutes and a half minutes. And Immediately it ’s noticeable this is not a trivial or easy approach to sound-making, as high frequencies prevalent in the wall. There are practically no low frequencies, or they are so weak that they can hardly be made-out. However, the textured layers are clearly pronounced, & despite the lack of stereo. We can hear the higher frequency focused hissing texture, behind which we can distinguish the buzzing of even higher frequencies. Then the attention of the listener is switched to lower frequencies. They play a supporting role, nevertheless having their own textural make-up. In conclusion,  I really liked the balance of frequencies on this track. As I mentioned, the stereo is not really here, but we can hear every layer, which creates an effective sense of volume.

The name of the second track repeats the album title, but now with the addition of Part Two. The duration of the track just over fifty-one minutes. Here again, we can hear an abundance of high frequencies. At first, the sound seemed to me too blurred and devoid of texture. But, as is often the case with HNW, after a while of listening, the sound revealed all its layers. High frequencies here have slightly reduced in intensity compared to the first track, and  are slightly softened in texture, however, the high-frequency buzzing has become more audible. Lower frequencies also became more blurred, and becoming a textured buzz. Bass elements, as with the first track is once again missing.

Next of course is Part Three. This lasts just over one hour and three half minutes. This track is very different from the previous two- it's slower if you can say that about static noise. The textures are more avant-garde and torn, slightly reminiscent of the work of the Swedish HNW project Rien. This track is  once again without easily defined bass, but the high frequencies are not so noticeable. Frequencies close to lows create a hum, against which we can hear medium frequencies textures, and occasionally squeaks very similar to electrical shocks.

Part four brings us back to the main sound of the album. The textures here are once again high frequencies, and these buzz on the verge of ultrasound-  plus  the low-end frequencies are not very noticeable. This track, which lasted almost one hour and four minutes, seemed to be a bit intrusive because of the annoying ultrasonic buzz, that at times turns into a whistle.

So, in the end, we have a fairly strong album, with a successful attempt to bring originality into the wall noise sound, by rejecting low frequencies and amplifying high frequencies. In general, the sound reminded me of some works by Richard Ramirez. But the Necrotik Fissure sound is more dry and electric. I Just want to praise the good sound balance again. I repeat that with no stereo, but I could hear all the layers of sound. The only disadvantage of this album, in my opinion, is the final track, which brought me a little discomfort while listening. But, most likely, that was intentional. I'd say this album is not really suitable for those not familiar with HNW genre. This is an album for HNW-artists and knowledgeable fans, for a small audience who, let's say, knows the subtleties of sound and its processing.

Rating: 4 out of 5Rating: 4 out of 5Rating: 4 out of 5Rating: 4 out of 5Rating: 4 out of 5

Sergey Pakhomov
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