Absurd/Pantheon - Split 2002

Artist Absurd/Pantheon
Label Nebelfee Klangwerke
Year 2002
Genre(s) Symphonic Black Metal, NSBM

There are a lot of problems with the NSBM scene. Even when ignoring the outright stupidity of your average Neo-Nazi follower. Possibly one of the worst issues with the bands in the “scene” would be the valuation of aesthetic and ideal over talent. I want to get something out of the way here, early in their career Absurd were atrocious, barely competent and excessively childish. Pantheon aren’t much better. Unfortunately this split release gathers up some early Absurd tracks and Pantheon’s first LP.

Absurd deal out some standard “punky” black metal. Their collection of tracks ranges from the early “children playing evil” phase right up to some more competent and well-formed material. It’s always interesting to hear a band improve and grow; the only problem is that it’s usually a more rewarding experience if you’ve an interest in the band. This release mixes the different “periods” of Absurd up in the track order, as such there’s a sudden tonal switch from the enjoyable, if not somewhat bland, Böse to the terribly misguided mixture of silly raw vocals and hilariously misguided clean vocals on Der Grosse Tod. Triumph of Death shows a childish Absurd with hideously inane lyrics.

“Subhuman scum you must fear me
it's time to say goodbye
you have no reason to exist
it's time for you to die”

Combine this with the vocals being far too prominent in the mix and the rather generic playing style and the song becomes more of an amusing “how not to record black metal” display. Speaking on what to avoid when recording black metal, every band should listen to Colours of Autumn then promptly make sure they never create something so terrible. Annoying, misplaced clean vocals that sound like a Vaudeville performer juxtaposed with hideous “harsh” vocals that sound like a teenager trying too hard to sound aggressive do not a good song make. Death from the Forest suffers even more problems, the vocals are too fast causing them to sound strained and forced, not to mention the same juvenile lyrical content that plagues the majority of these tracks,

“I am demonic, I am so evil"

Son of Endless Night

Absurd wouldn’t be a terrible band if not for the vocals. Their musical content is enjoyable, if not clichéd. There certainly isn’t any new ground being broken. Absurd seem to be the primary band within the NSBM scene, whilst their newer material certainly shows improvement the question remains how a band that can record such sub-par, uninspired drivel could ever assume that mantle.

Pantheon create a mix of slightly more symphonic and rawer styles. Keyboard passage are liberally scattered throughout their contribution (Re-issue of their first EP) that really don’t gel with the guitar. Also worthy of note is the horrendous drum sound, cymbals that sound like a toy kit and a bass drum that sounds like cardboard. The one instrument that holds any merit is the guitar. Monolithos incorporates infectiously catchy riffs to get the song stuck in your head, unfortunately it’s hard to focus on when the bell of the cymbal is hit and it sounds like someone banging pots and pans together. This is a quality that carries through the entire half hour that Pantheon present. The good elements of the music are far overpowered by the alienating sections. The bass is also a matter of issue for me, occasionally in Det Rase Elig Hygiensk Kanon the bass will rise above the fray, play a few notes out of tune and then sink back into the mess, offering nothing but managing to detract from the whole. Pantheon vocals are on the whole more listenable and actually fit with this music, that’s not to say the lyrics are any better. The opening to The Atavism Into Ginnungagap features melodic repetition of “Heil, Sieg Heil” which sounds more like a teenager attempting to shock than it does a legitimate lyric. The best way I could think to describe Pantheon based on this release would have to be sloppy. The symphonic elements sound cheesy and the music sounds slightly competent at best.

There’s not much of value on this split. I suppose if you’re into the whole NS scene you’ll probably buy it anyway. One thing I’ve learned from NSBM fans is that the value ideal/aesthetic over ability (That said though, Xasthur sells so maybe it applies to all black metal). Whilst I don’t agree with the ideals of bands like Forest or Ad Hominem I can appreciate their music. Even the more symphonic side of things is covered by bands like Kristallnacht, Pantheon don’t do anything you can’t hear (better) elsewhere. Of course it’s always possible this review is just part of some ZOG conspiracy.

Barf Thoth - Peep Roky

Artist Barf Thoth
Label Fag Tapes
Year 2007?
Genre(s) Drone, Experimental Noise

Barf Thoth is yet another project of Fag Tapes label head Heath Moerland (Sick Llama et al.) Focussing on vocal based noise and drone compositions. Peep Roky is described by the label as:

“The elevator lights went out and the only other dude in there w/ me kept complaining about the silence. said at his crib 13 televisions and radios would be on all the time, 25/8, all set to different stations. he busted me this tape.”

It’s easy to dismiss label description in the noise scene, just have a quick gander at any number of hyperbolic love fests applied to Generic Skaters Release #17,054. For once though I can’t help but feel the label description has perfectly captured the essence of the tape I hold in my hands.

Peep Roky serves up two ten minute(ish) cuts of bubbly drone, corrupted speech and hazy atmospheres. Side A invokes oppressive atmospheres as treated speech crackles away, audible en yet completely obscured. Slowly others voices begin to build into the piece, lurking in the background. As the label descriptor points out it feels like a million different news reports, some rolling backwards, some moving too fast, all rolled into one. Like a panic attack in an electronics store when you’ve left your Xanax at home! The most impressive part of the A Side is the minimal use of electronics, the entire track is driven by the vocal samples and gathers most of its atmosphere from them. The electronics are primarily used to set the mood, oppressive, dank and creepy. Side B has a stronger focus on electronically generated noise. Crunchy drones rise beyond the vocal murk, percussive elements become part of the fray. As if every single TV and radio suddenly fell between stations, rough outlines of shows breaking through the static churn.

Apologies for the shit cover scan, I don’t have a working camera/scanner right now and it’s the best quality image available on the web. Let me just assure you that the packaging is indeed fantastic, sprayed tapes and a collaged cover.

Filthy Turd - The Witches Tit the Golden Dung

Artist Filthy Turd
Year 2010
Label Side-A Records
Genre(s) Harsh Noise, Sexy Noise

Filthy Turd is the English Noise/Power Electronics project of 'Filthy' Darren Wyngarde. Active since the early 2000s, with a puddle of releases on varying labels such as Hanson and Turgid Animal. Filthy Turd creates harsh soundscapes for sexual deviants. It's time to don the gimp mask and just into the stagnant waters of The Witches Tit The Golden Dung on Side-A.
Insane mumbling, clattering cymbals and dread inducing drones open the release. A slow build punctuated with the occasional burst of static. Almost like stumbling onto a ritual being held by that "town oddball" when walking home through the town centre. Quite unlike any Filthy Turd I've heard before but still just as menacing. Out of nowhere piercing feedback and distorted vocals cut through, absolutely punishing with occasional chanting carrying on. The vocals are low in the mix, almost to the point of inaudibility hidden as they are behind layered screams and static. When part of a lyrics does cut through the cacophony it creates intrigue. I found myself with my head right up at the speakers trying to decipher the lyrics. It didn't work, I also might have tinnitus. Still nothing ventured...

The releases lurches on, dripping bog water all over your carpet. The use of clean singing and chanting doesn't allow you to be at ease, like a house guest who's finished dinner but started to be incredibly nasty whist playing with his knife a tad too keenly, he could lurch forward and stab you at any moment. So to tension is created by Wyngarde, the alternation between all out sonic attacks and the calmer (but no more peaceful) chanting tracks. Worthy of note is the harmonica (??) that shows up midway through the release, creating a far more musical (yet still lacking melody) proceedings. Given the absurdity of the placement it's somewhat surrealistic and in a way quite funny. It lasts for all of 20 seconds before we're flung back into the audio equivalent of a burst sewage main in a psychoward. The percussion begins to sound as if it were played on burnt out car husks adding to the atmosphere.

Whilst Filthy Turd is primarily Harsh Noise there are definatly some Power Electronics elements to his sound and aesthetic. The use of high end on The Witches Tit... is very close in style to White Heterosexuals. Compared to all out Power Electronics thought, the same hyper-sexualised content is there, it's just conveyed in a far more captivating fashion. I advise everyone to pick this up, pour a glass of vino, close the curtains, look out the kleenex and wank yourself silly.

Now if you'll excuse me, I need a shower.