Title: Holy Shit
Label: Attenuation Circuit
Cat#: ACRS 1002
Keywords: Experimental, Drone, Electronic, Noise
Reviewer: Alex Spalding
Ah, Attenuation Circuit… I’ve recently come to know them as purveyors of excellent experimental quality noise and drone recordings. They’ve released music by Nocturnal Emissions, If, Bwana and others… like HUH, a Tokyo-based noise group who are blowing my mind away with this album!
My first reaction upon hearing it was… huh!? Holy shit!!! Yeah… I know… this is the second occurring of that lame joke already, time to move on.
The first track on this wild and crazy album is ‘1’, and I hear small traces of sound developing in a mostly silent sphere permeated only by a very lightly audible hum of recording. Whispers, bits of guitar string being manipulated, ride cymbals, clicking, bursts of tuning…
… and then it’s time for ‘2’, and we hear very odd audio shits… drums, some distorted screaming, extremely bizarre modulated vocal grunts, sharp guitar cuts. It intensifies… it sounds like someone is choking the guitar, like a bone is caught in it’s neck. This is becoming like highly technical and well-rehearsed “I don’t give a fuck” music, free noise experimentation, and very subdued and cosmic. At one point vocal sounds begin echoing as if run through tape delay and high-pitched feedback frequencies pierce the ears. It gets really hot toward the end, rocking assnoize.
Then, on ‘3’, we’re treated to more of the warming up style sounds, with some guttural shouting turning later to a sing-song type thing, lots of drums and guitar. Heavily distorted bass guitar, some more drum thrashing, speaking.
‘4’ is like a vocal track, with some interesting vocal stuff happening and more light and abstract drums, brief guitar.
‘5’ begins with some serious guitar noise!!! Aaaagh!!! Screams… probably the most severe sounding piece on the record so far. This is the kind of music that makes you want to wreck shit. The screaming in parts seems as if it’s undergoing some kind of strange digitization, frequency mutation. Loads of shrill feedback.
‘6’… starting off softly, with barely audible guitar, drums, vocals… garbled vocals, actually… eventually, it begins to sound like someone trying to squeeze out a shit while someone else frantically masturbates a guitar. There’s even a drum solo!
‘7’ (noticing a pattern here…) features more of the same. Some talking, random and quite sudden blasts of guitar and drum sound within a lengthy span of silence.
More of that on ‘8’, which picks up a lot more from the mostly inactive ‘7’. Guitar freakouts, drum banging, scrambled, occasional yelling. This one gets diverse, and at the end it sounds like a clock chime with guitar.
‘9’ gets off to a soft start, more gentle clamor of guitar and drums. Warped vocals, weird noises…
The last track, ’10’, gets heavy again, sounding like noise-rock, thrashing the ears.
A strange album, at times definitely in the Japanese noise-rock camp, but at others oddly low-key. Highly experimental and kind of a rollercoaster ride throughout, expert use of effect-treatments periodically used on certain sounds giving the ears lots of nice little surprises here and there. Oh, and holy shit, here’s the link!