Another split release from Dumpsterscore. Regosphere’s first piece, ‘Martyr’, somewhat caught me off guard, as his work that I recall has not been this…song-like?…it is still quite densely textural and amorphous, but there is a backbone of rhythm and a repeating tonal synth pattern, with screamed and distorted-to-destruction vocals. This kickoff piece is still very death-industrial-noise-psych, but has a slightly more structured / “musical” early-mid Industrial Music generation feeling to it that reminds me of recordings among the early catalogs of Front Line Assembly or–moreso–Decree. The sparse rhythm’s ingredients include what seems to be a sampled field recording of metal, and a minor 3rd pattern of dark synth along with it comprises the spine of the piece. The guts are of swirling cataclysmic noises and ghostly tones that float in and out of the frame, at times replaced with other disconcerting textures, sounds of things being broken / banged around / flung / slammed, and sparse rhythmic synth blasts. The distorted-beyond-recognition voice offers comment throughout.
The piece ends with a very satisfying deep resounding metal klang, invoking a vision of a giant metal warehouse (or dungeon in “hell”) door sealing shut. There is a vivid sound-narrative of dark, angry feelings here even if this piece lacked vocals, but with the vocals there is an angle and intensity which makes it more distinctly human and relatable, conveying a sense of rage and perhaps, helplessness, or raging against feelings of helplessness… Knowing what I do of his past work, and projecting myself into the work as most anyone does with art, I am of course feeling through my own takeaway here, but there is a relatable aura of deep anger and resentment coming through. I am not Sherlock Holmes, but like other material I’ve heard from Regosphere, this piece comes across as a cathartic protest against the stupidity, prejudice, insipid violence, and the general materialistically destructive and inhumane madness of our present era. In the notes for this release this suspicion is at least partially confirmed in its being “dedicated to trans friends and family.”
The second piece, ‘Pathetic (Dead Fascist Pig)’ fits well with my previous Regosphere experience; it is a dense, swirling, psychedelic death-industrial noise piece overflowing with blown-out noise and synth textures. Highly stereo-active (as was the first piece), it is a brief, visceral noise-vignette loaded with toxic radioactive electronics over a bed of abrasive mechanical looping noise-tone.
The second side consists of a 15 minute piece by Ligature Impression called “It’s Easy to Die”. It begins with a female voice saying “We met Michelle 10 days before her death, but the thought of discussing it with her was disturbing.” Ligature Impression is based in Minnesota, and seems to be a solo project with 8 or so releases dating back to 2013. The same creator goes by the name Body Carve, with 7 or so releases dating back to 2016, all also seeming to be in dark, caustic noise territory. This piece seems to thoroughly work over a low rumbling loop of what might be an explosion or a slowed-down impact of some kind. A repeating rumble of dark noise is filtered in many subtle ways, with various subtle crinklings moving amidst the rumbling, sounding at times like paper being torn, fondled and crumpled. There’s an interesting foreground and background that occurs, with the rumbling taking up more space as it goes on, becoming more spacious (reverb / echo) and more high frequencies are set loose. Many subtle articulations take place as the loop(s) and–what seem to be lo-fi field recordings–are filtered and manipulated. Maybe we’ve got a micro cassette or hand held cassette player sent through an effects chain, here, which is always lovely. Tape speeds are slowed and increased, filters, reverbs and delays are gently adjusted. This is a very heady piece of noise work. It sticks to an almost scientifically-minded sense of exploration while maintaining its darkly expressive feeling. Poetic, yet cold and calculating in its subtle brevity.
This release is still available @ DumpsterScore Home Recordings as of 8/25/2021