From October last year here, we have an HNW C51/ digital split- which brings together two dense and pummelling examples of wall-craft. Featured here are Arizona’s DNOC, and Submachine Gun- which was one of the projects from recently departed  Missouri-based noisemaker Emily/ Cory Aideen.

I’m reviewing the digital version of the split- but seemingly the physical release features a white-shelled tape, in a monochrome cover that takes in a drawing of death playing a bone violin. The tape was ltd to just five copies, and if you are quick you still might be able to get your hands on one here. 

First up we have the DNOC track, which is entitled “Black Bile IV”, and it slides in at the 25.30 mark. Seemingly this project started at some point in 2020- and has so far amassed an impressive thirty releases to its name- most of these are seemingly digital. The ‘wall’ is a very tense 'n' thick example of the genre. It’s built around a tightly pulled together mix of tarry rolling ‘n’ rubbing low-end, rattling though slightly worming mids, and a topping of jittering ‘n’ juddering static. The whole thing has a nice sludgy weight to its attack, and the way the textures are weaved together is done in an appealing, at points audio illusion-fed manner. As far as I can recall, this is the first time I’ve heard/ reviewed any of this project's work- and I must say I enjoyed what I've heard here.

The second track is from Submachine Gun, and is entitled “Barely Existing”- this runs at the 25.22 mark. This project also started in 2020-putting out thirteen releases( going by discogs), and sadly there will be no more from this or any of Emily/ Cory’s project, as she sadly took her own life a few weeks back. The ‘wall’ here is a mixture of rapid low-end batter ‘n’ rumble- this topped by a blend of thinner, slight skittering mids which have a decidedly hollow feel about them. It’s a ‘wall’ that certainly puts across a feeling of battering and barren intensity, and while the textures here may not be as creative as some of Ms Aideen's work- there does feel like there’s a real raw and emotional edge to proceeds- though of course, this may be coming from the artist recent sad passing- never the less it’s an effectively hope battering, yet entrancing example of the wall form.

So in summing up- this is a worthy split, bringing together two densely pummelling  & hope flattering examples of the wall noise form. With the first track being weighty and sludgy, and the second track being battering trip into hopeless-ness.