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Rapace/godNOISEgod - Split [Death To Dynamics - 2022]

Here we have a wall noise split offering up over an hour and a half of raging ‘n’ baying wall-craft, with each contributor presenting a single around forty-six-minute track. Featured here are Italy’s Rapace, and Kansas City, Missouri based godNOISEgod.

This is a digital release that appeared on UK’s Death To Dynamics- it features a murky monochrome illustration of a resting or dead male body semi-covered with a sheet, it’s ok I guess, though not really sure if it connects with me to the two ‘walls’, other than there quite grimly raging- though both tracks hint at biblical themes, so I guess it does connect to that. The release can be found just here

So first up we have a track from Rapace- this project is from Piedmont, Italy, been active since 2019- releasing so far coming on for seventy releases. Apparently, it’s not an exclusively walled noise project, dabbing in general harsh noise too.  The track featured here is entitled “Chant of The Devourer”- it’s a thick, and constantly flowing ‘wall’- which is built around a rattling ‘n’ roaming low end, cluttering hiss, and a distant/ barely heard mid-to-high range metallic skittering ‘n’ batter. This last element really pulls you deeper and deeper into the track, as you try to fully define its shape/ flow- but you never wholly manage to do this. As the track progresses, I’m sure I can make out more subtle addition of these tones, and they all have quite a starkly rattling industrial feel to their attack, and in the last ten minutes I’m making out very low-key sweeps of harmony/ harmonic sound.     

Next, we of course have the godNOISEgod track- this project is from Kansas City, Missouri-been active from just this year, so far racking upcoming on for ten releases. Their track is entitled “God of Judas”- and this is more simplistic/ basic wall-crafting, as it’s built around a two/ three-layered jitter. We have a rapidly rattling, yet crisp static judder, a skittering mid-ranged shakes, and a few bouncing ‘n’ battering sub-tones. The whole things propelled along at a breakneck speed- and I have to say the first few times   I played it; I was very underwhelmed due to its rather cliched tonal uses. I’ve now played it a few more times, and the wall does have a little more pull to it- with the textures at points nicely creating some neat sonic tricky, though they're still fairly run of the mill, and in no way equal to the first ‘wall’.

In finishing I found this split very much a game of two halves- with the first ‘wall’ presenting a rewarding subtle industrial example of the genre, and the second is passable if fairly predictable wall making.  So, I’ve gone for a three-score, though if it was just for the second it would be a two.  

Rating: 3 out of 5Rating: 3 out of 5Rating: 3 out of 5Rating: 3 out of 5Rating: 3 out of 5

Roger Batty
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