Motor 166 – Sell Your Soul To The One You Love Most (NJMP3-0116)

Motor 166 - Sell Your Soul To The One You Love Most

Pictured above is the highly erotic album art for Motor 166’s Sell Your Soul To The One You Love Most. Those lips… those eyes… that font… feeling so romantic right now!

Artist: Motor 166
Title: Sell Your Soul To The One You Love Most
Label: Noise-Joy
Cat#: NJMP3-0116
Keywords: Noise, Spoken Word, Krautrock, Avantgarde, Electro, Experimental
Reviewer: Alex Spalding

This is an album we received at Noise-Joy land from Motor 166 several years ago, who was a pretty cool guy and always sent us lots of great noise and obscure sounds! Very excited to re-present it to those of you who we call readers at YIKIS, for your listening pleasure. I shall tarry no longer upon the introduction; let the review commence!

First, we have ‘Storms Of War’… overdriven electric guitar notes are sustained over a background of frequency interference and what could be sequenced feedback or voices that are audibly indistinguishable from noise. Very psychedelic, very supra. Eventually climaxes in a harsh pile of destructive aggro fax machines ripping each other apart. It sounds like the printer is jammed… then, out of nowhere, a sort of mecha-noise rhythm happens, as well as some repetitive ambient drone tones. Electro-industrial-repetika. Ends with a sample, echoing, and a bunch of electronics going haywire.

‘Peace On Mars’ features extreme electronic feedback, almost familiar, like loading some dial up modem through a harsh-as-shit distortion pedal. This is probably what it sounds like just before your head explodes, particularly if you happen to be an android. I think I hear a toy harmonica in there someplace, or maybe a kazoo… there are some beeps, some boops, no bops but then that would be asking too much anyway. I love the arithmetic computational noises toward the last bit. Like a Speak & Spell on the fritz.

The third track is ‘Elevator Decending’, sounding like a beaten, abused piece of office machinery, metaphorically singing a number about how hard it is to do what you were made for when you’ve got people beating your lid all the time… run through a distortion effect, naturally. There are some real head-fucking noise tones that happen later, I hope I didn’t ruin the surprise!

Then it’s ‘Sparks’, like a battered soundwave run through a cheap amp and even cheaper distortion. The soundwave is tearing off it’s own theoretical flesh and chewing on it… noise meant for inhuman ears. Bitcrunched and horrid, in the best sense. Then, out of nowhere, we’re treated to some really intriguing, mystical synth noises!

‘Hallow’ sounds like an oompa rhythm taken to the nth level of sonic harshness and noisishness! Rhythmic noise in a creaky old funhouse carnival ride full of menacing clowns! Then the ride is ending and you realize you can’t escape. It sounds like a record is skipping at one point, kind of like listening to oldschool NON. A swarm of flies is making it’s way toward us.

In the next track, ‘Bitch Detector’, it is as if we have become the eponymous Detective Bitch, a character I’ve just made up for the purpose of reviewing the rest of this track, or more if need be. It is clear we have a mystery to solve… probably what is making this noise!? It is The Case Of The Bizarre Noises. I believe they’re coming from my speakers because I put on this track. Blasts of white noise, robot2robot dialogue, all very deranged. Blurbing videogame drugnoise bass lasers happen… then a scrambled signal…

… and then it’s ‘Reset Button’, which sounds like some rapid-fire machine gun electro noise. My brain is taking off, and then a deep noise explosion, like turrets! I’ve become cannon fodder, halp!.. or, wait, the noises seem to be drifting away now. I’m probably lucky to have survived that… but I can still hear them off in the distance, and… oh shit! Man down!

I’m just kidding, I’m still here. Got several more tracks to review on this album, beginning again with the one that follows on the last one’s footsteps. This one is actually a versus track… uh oh…


Chunk Chogan: Hey out there Chunkomaniacs! I got something to tell you brother and it’s that Motor 166 appears to be facing off against the mean, the lean… Radio Deaf Android!!! And brother, it looks like it could be a SMASHDOWN brother…

Alex: Hey, get outta here! This is my review! 😡

Chunk Chogan: Oh, sorry brother…

Alex: *sigh* It’s fine. Anyway, back to normal format for the time being…

… ‘Destroying The Killer Machine’ is Motor 166 Vs. Radio Deaf Android and begins with a low rush of mechanical errors, a series of screaming interruptions like a machine in it’s death-throes, a radio fucking up, and then a really nice abstract industrial / electro breaks groove type thing. I love the beats on this album, as rare as they are against the perpetual onslaught of cold electric distortion and mechanical noises. We hear some voice samples woven into the groove, very eclectic. There’s a nice rhythmic noisy section that comes up that’s just fantastic, reminds me of something you might have heard once at the Maschinenfest.

Next is a track by the name of ‘Lung Filter’… as a smoker, this frightens me. It at first sounds like another fax machine on steroids, but then a white-noise intensive rhythm breaks through, followed by a harsh noise barrage. Ends with a funny vocal clip!

Could a track titled ‘Shitfest’ be anything other? Apparently not, as a barrage of shit lands in our laps, followed by a simple bassy kick with light distortion, accompanied by clipping and other bitcrushed machineshits. Then an overly bright and white hot feedback pad scream drone comes in too. A festival of lights, a festival of shits. The thump continues while the feedback seems to modulate at random intervals. Ends with harsh, high-pitched static frequencies.

I don’t yet know what will come next, but I know it will be called ‘The Secret World Of The Addict’… when it starts playing, I hear an ear-bleed inducing bit of ultrasonic signal noise, which is followed by mostly more of the same sort of thing. A random sample clip is rhythmically introduced… it sounds like an electronic vocalization. Then a white-noise modulation occurs, followed by a bursting forth of distortion.

‘Every Day Ends’ has a sort of fucked-sounding tech/house groove, something sounding like a preset beat from an old rhythm box. It’s briefly interrupted with some noise, and then comes back along with an orchestral hit/laser, repeating. The machines are dancing now, won’t anybody stop them? On another note, does any day really end? Days, in the greater sense of a day as incorporating a period of day and night, are endless. It’s all relative, I suppose. There are some strange vocal samples, I forgot to mention. They come in repeatedly, and the track also ends with them… it’s like a distorted cut of giggling chatter.

‘Poison Gas’ is harsh! Noise and the turning pots on a synthesizer, adjusting modulations. Mostly sounds like feedback and angry mechanoids from another world telling you in their alien robot language that they’re going to eat you and make oil from your bones with which to fuel their spaceships. There’s a vocal clip at the end that reminds me of Muzzy, a language course for small children that I never actually owned or used but saw frequent commercial advertisements for on television growing up.

After that is ‘Sell Your Soul’, which sounds almost nice at first, but it’s more like dark ambient music… there’s a weird sample that sounds like someone whistling at another person or animal, or maybe it is an animal scratching at your window, or a zipper, or none of the above even! It’s a little unsettling.

Track fifteen is ‘January Seventeen’, which I believe is the track from this album that I used on the second Noise-Joy Compilation. It’s funny, looking back… it’s not the best piece of music on this album, nor is it what you might describe as a good example of the artist’s work, most of which is really good, but I believe I felt that it was so humourous that I needed to do what I could to make sure everybody else heard it, as I couldn’t just trust everyone to listen to fourteen tracks of noise, noise and noise to get to it. It’s like… this melodramatically depressive and absurdist spoken word piece with bizarre lofi violins. Then it breaks and goes into more of that almost rhythmic faxnoize, partially reminding me of TG’s ‘I.B.M.’ (though I could say that about a number of tracks on this album!) and then getting a layer of what sounds like a computer-flute. It’s incredibly silly and interesting, I’ll just leave it at that.

Afterward comes ‘Psychodelic Clown Death’! Very shrill, harsh bits of noise chomping away at what’s left of our ears. Then there’s a feel of maybe circuit-bent pulses, sequenced. Low, ambient space of mechanical errors and fuzz. It’s like a rhythm, broken and laying in a dump somewhere, covered in garbage. The loud, circuit-bent shit returns, driving your neighbors into a frenzy for your blood.

‘Lousing At The Game Of Life’ is next, sounding like someone running a feed of processed noise through a tube the shape of a slinky. The destructive noise damage gets heavy, sluggish on this track. Then we’re on a spaceship again, maybe we should don the cap and pipe of Detective Bitch once again to figure out how this happened? Forgot about him, did you? Probably for the best. 😛 white noise like a rainstorm bursts in for a sudden moment, then the music stops…

… and the next track, ‘Skull Crusher’, begins. You might have noticed that there are a lot of tracks on this album! Still several more to come! A throttling, choking, sputtering noise modulation/rhythm is happening now. It’s got an Esplendor Geométrico vibe at first, then gets into more rhythmically arranged circuit bending type of feels later.

‘Transporting To The Next Demention’ takes us into a wild territory of static and screwy broadcast frequencies. I think I heard an elevator bell tone for a second or two. Blast off!!!

Now we’ve been sucked into another world, ‘Lost, Alone’, which breaks through with a nice industrial noise electro rhythm. Threatening saw-shaped noises lurk in the dark. I hear a scraping sound… after awhile, the rhythm seems to reverse itself. There’s a clicking, like the hours of a day… maybe we’ve hit a time warp again? Then, harsh guitar feedback noise!!! Agh! Caught me off guard. The rhythmic interference at the end is nice. 😀

Highly abstract and percussive, it’s ‘Altered States Of The Unhuman Mind’… fast-paced, tight sequencing, tonal frequencies sliding around all over the place like a tuning knob being manipulated randomly. Then some electronoise…

… ‘Movements’ takes us on a splashy rhythmic noise escapade with an almost tribal mechanism. Then it starts to feel more like electro-bludgeoning with the rise of the bassy distorted synthtom/kicks. I hear a vacuum cleaner, I think… or maybe it’s a sound from the background of Metroid? I don’t know… but it’s like a drone, underneath all that chipbass.

‘Skeletion Dance’ is a short electro noise stomp. I could maybe imagine my re-animated corpse dancing to this in a mad scientist’s lab.

Then, ‘Blood Flow’ gets the veins pumping with it’s squishy electro modulations and buzzsaw synths. Harsh signals and a headrush of deep lasertoms later, and some sawshitsequences.

The last track is ‘Fake’. Low, ambient sound… whistling… church bells… a murmur of lofi recordings of voices rise in the mix. Very mental… feedback, harsh and shrill, comes in as well later. It escalates, then drops into a mesmerizing black hole of dark ambient sounds…

… and there you have it. Fun all the way through, and very enjoyable… not words you often hear describing what amounts to a noise album! But, it is true… there are enough surprises to keep your attention, some really nice rhythms. Post-experimentalism! Check it out at the link below, and enjoy:

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