• Bastard Noise / Sickness – Death’s Door

    Bastard Noise / Sickness – Death’s Door
    Released by: Relapse Records
    Released on: November 11th, 2016.
    Purchase From Amazon

    Noise acts Bastard Noise and Sickness collaborate on this new two track single from Relapse Records. Mellow this most certainly is not, but those who dig on noise and drone should definitely appreciate the texture and ‘wall of sound’ techniques employed by both acts on this release. Bastard Noise is Eric Wood and Sickness is Chris Goudreau.

    The title track is Death’s Door. This is a sixteen minute onslaught of feedback, reverb, sampling, blast beats and… noise. Just harsh, nasty, grinding, pummeling noise. Around the three minute mark it goes quite except for a constant high pitched hum – it’s like tinnitus, it’s piercing. An alarm goes off behind it and then there are some odd (and pretty much indecipherable) cookie monster vocals that give all of this an exceedingly creepy tone. This turns into hissing whispers, and it goes from creepy to genuinely scary. From there it stays quiet, the repetitive sound of an alarm going off and some industrial noises building slowly in the background. The levels go up and down a bit, the repetitive noises in the background change things up here and there. As it comes to a close, a wave of sound starts to crawl up from the quiet and it comes to a strange close.

    The second track is entitled Ever Downward and it runs just over fourteen minutes. It starts off fairly calm, a low pitched drone sort of wavering in the front with some feedback fits and starts jumping off of that backing. The pitch goes up and down, it varies in speed, and distortion creates a wild soundscape that sort of pushes you down and holds you there. There’s a bizarre suffocating quality to this track that washes over you like a monsoon. Around the nine minute mark it takes on a screeching quality that is unpleasant but also sort of hypnotic, the repetition provided by a simple bleeping in the background holding it all down. It finishes off with a series of sharp, staccato tweaks that blend into a slathering of thick distortion.

    The two tracks, both really more mood pieces than anything else, sort of blend together to create what is basically a half hour soundscape full of audible texture and strange, creative sounds. As unorthodox as some of this stuff might be, it’s pretty engrossing.

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