Various HNW Artists — Murdered & Raped...Touched Again
The two pro CDRs come in a half size & slim DVD box. The boxes outside presents digital printed colour artwork of suitable grim collage work that features a grimly photo-shop image of a women’s face covered in cuts, bandagers & showing her teeth through one side of her ripped open face. The release also comes with digital printed colour inlay that lists the compilations contributors weblinks.
The first CDR starts with a track from Philadelphia based Griz+zlor, the tracks entitled “Razors And Ropes”, and this comes in at the just over the fifteen minute mark. The tracks ‘wall’ is built around consistent ‘n’ bleak pummelling mid-paced crusty tone- this is underfed by billowing drone stretchers. From time to time other elements are briefly added to the ‘wall’ like: crinkling ‘n’ crusty sub-tones, thin grey static jittering like wings of tone, and fields of longer crisp judders - these elements seem to cause the illusion of the ‘wall’ slowing then speeding up in places, but I think possible in reality the pace is fairly constant & unmoving.
Track number two is an “Untitled” track from the French master of unmoving ‘n’ crude HNW Vomir. This track comes in at just over the fourteen & a half minute mark, and the ‘wall’ on offer here is a fairly rapid mixture of droning yet slightly churning noise back tone that’s fed over continual circling crisper static tonality. It’s pretty much what you’d expect from Vomir, through I do quite like the almost ‘washed-out’ feel to the production…almost like it’s recoded from a distant or in another room.
Track three & four are taken up by two tracks from German walled noise project Die Reitenden Leichen. First up we have the spot on ten minutes of “Kill The Priests, Rape The Nuns (Dedicated To The Rita)”. This ‘wall’ starts out with a thin but constant line of juddering ‘n’ jittering static tone, pretty soon this is joined by a fixed higher pitched tone that seems to move from one stereo channel to another. By the three & a half minute mark the main noise tone seems to have thickened up, and become more billow ‘n’ furnace like roasting in it’s vibe. Also a jittering grainy ‘n’ slightly caught sub-tone has joined the ‘wall’, and this nicely adds another edge to the ‘wall’. By the 7th minute the ‘wall’ is once more thinned down again with just the sustained yet stereo channel jumping pitch in place. This is one of my favourite moments here, as there's a nice sense of control, yet a feeling a brutal almost clinically detachment too. The second track from Die Reitenden Leichen is entitled “Gruft Is In The Heart”, and this 5.20 track is an active yet oppressive mixture of: taut electro billowing ‘n’ buffeting, thin lines of jittering static, mid-tone hissers, and thin lines of interference ‘n’ feed back buzzers.
The last track on CDR one is from Batajnica, Serbia based HNW project Sturmgeschütz. This track is entitled “Hanging Hitchers And Switchblade Smiles”, and it comes in at just over the ten and a half minute mark. On offer here is a very nasty ‘n’ searing slice of walled noise- it mixers together brutalized rolling ‘n’ fixed billowing bass bound noise undercarriage, with a slowly clashing static grain mesh. It’s a nice ‘n’ suffocating example of Baltic wall-making.
Over onto disc two, and this is opened up by two tracks from Texas based walled noise project Last Rape- which of course is one of the many projects of Noise couple Richard Ramirez & Sean E Matzus. The first track is entitled “The Virgin Spring Pt.1 “, and this comes in at just shy of the eleven minute mark. This tracks ‘wall’ is a brutal mass of thick ‘n’ persistent billowing noise that’s razor tipped with jittering thin grained static. The second track is entitled “The Virgin Spring Pt 2”, and this comes in at just over the six minute twenty mark. This track deepens the billowing of the first track, and mixers it with an active static tray of jittering on top.
Next up we have nineteen & a half minute track from Italian HNW project Terminal Erection entitled “Forced Entry”. This ‘wall’ is built around a very meaty ‘n’ thick judder- which has running under it: a sustained buzzing throb, a jittering locked mass of mid tone static, and ripped ‘n’ jittering caustic crispiness. The track is a very taut, oppressive & suffocating excise in airless walled noise, and it’s vibe perfect fits the tracks title & the compilations theme.
The fourth track on disc two is taken up by another Italian walled noise act in the form of Indch Libertine. Their track is entitled “Wonderland”, and it comes in just over the seventeen minute mark. This ‘wall’ starts off been built around a constant hissing stream of mid-range noise that is underfed by a distant churning machine like repletion. It gives one the feeling of been strapped to some elderly water run torture machine that’s slowly stretching your body out, but for some reason you just seem to be zoning out instead of panicking ‘n’ struggling. At just before the 7th minute the ‘wall’ thickens up with an injection of churning ’n’ boring bass bound noise tone, this is played over the top by skipping yet locked thinned toned static tone. Later the track seems to slide into almost machine fed churning ‘wall’ groove- which is very effective. Again this is another highlight of the compilation, as I love the way the ‘wall’ suddenly turns more intense/ pummelling after the draining yet trancing start.
So onto the last track, and we have a seventeen minute & thirty second track from Serbian based Dead Body Collection. The tracks charmingly entitled “...But I Think I'll Just Rape You And Kill You Instead”, and it's a battering ‘n’ brutal mixture of rapid juddering bass bound noise that’s ebbed with jittering & semi machine like descending texture. It feels like your been buzzed ‘n’ buffeted through some vast noisy machine that’s both hypnotic & brutlizing. The jittering/ machine like descend element has this great hovering to rapidly spinning edge to it, which gives the track this great feeling of gear shifting dense walled noise making. All told it’s a great end to this comp, and it shows DBC in fine battering yet entrancing form
So to sum-up this is fairly consistent compilation with quite a few rewarding moments through-out it’s just over two hours running time. So if your into dense, nasty & brutal HNW that has a fair bit of creative flair & variation from track to track- this is well worth tracking down.