Kadaver - Asphyxiation For The People [Cursed Earth - 2020]There's something intrinsically satisfying and comforting about a harsh noise release that takes in two ten-minute slabs of sound. Equally valid when- it comes to live performances in this field. Remember noise-sets? Then you should know that the ten-minute mark shines great in this context too. It's all it takes. If your craft can shift gears and alter gravity and/or possess some sort of threat to the all-encompassing time-continuum then TEN minutes/ 600 seconds is all you need..No more. And this C20 release from Kadaver is a prime example of this point.
Kadaver, the moniker of Israel's own Michael Zolotov, presents in conjunction with the Australian label Cursed Earth, a two-blast effort entitled Asphyxiation For The People. And let's get this straight: no time is wasted here, we get two ten minutes shots of noise that masterful blends and blurs together HNW, Industrial Orchestration, Harsh Noise and latter on moments of noise Plunderphonics
The first track “Uncontrollable Nymphomania Combined With Masochistic Tendencies”, begins in a quite mouthful manner. But fairly soon all signs of organized language, cognizance, the human form gets blasted by the hostility of drilling. The rest of the track is dusty, red-hot machinery at work, and an overwhelming sense of urgency. The electronics truly sing with an earthy tone, as if they were home-made. The wobbling and screeching tones interact graciously togeather. The electronics keep singing, bawling, chattering, combining forces as a choir would. The "live" feel of this track is outstanding, going way beyond the simply taking no hostages approach. YOU are the guest by proxy. The sonics blast the room. The room becomes dusty and drilled. The machines keep singing. The machines peak. And as they go, they mourn what just happened.
Second track “Killroom” finds the homemade electronics seemingly at duel-purposes. While before they emitted their voices, now they also seem to record the room. And the rumbling and monolithic tunnels of sound are their way of operate. Though this is a completely different room from the first track. Kadaver from Track #1- didn't show up to this track. No one showed up. The crumbling air and tones of rubble breathe heavily togeather, and underneath the plunderphonic roughness ebb & shift by. The track suddenly stops in a jarringly rewarding manner. As if the neighbours or a SWAT team have rendered the power useless.
Clearly, Kadaver is both a skilled & prolific noisemaker as with Asphyxiation For The People he crafts a great release. And the other wonderful thing about the project is its ability to morph/ shift with-in the wider noise genres- meaning you really don’t know what to expect next.Manuel Armida-Honner