title: Private Contractor
keywords: drone, experimental, harsh noise, noise, industrial, power electronics, anti-music, free improvisation, harsh drone, industrial, minimal noise, HNW
‘Play loud at a loud volume’ writes the creator of a release named ‘Private Contractor’. And it’s advised to do just that as playing it soft on a soft volume is clearly something that a softy would do. We aren’t softies we are the loud crowd right? What? I can’t hear you! In fact this album is playing so loud it successfully crumbles all abilities to thinking. It’s not a bad thing, in fact it’s an exciting thing! Just sit as close to your speakers (or even closer by using a fierce set of headphones) and let the crunching rumble scrape the skull from dirt and puss from the inside out.
But don’t be too scared as the noise is perhaps self-inflicted louder than loud but it isn’t of an unpleasant kind. Don’t expect classical music or a jazz band but still for a heavy track of buzz and interesting scraping movements that seemingly fuzz around in that buzz like electronic shaving machines that not only remove hairs but also skin; isn’t unpleasant. Yes, getting deaf might be an option but see it from the bright side; it will reduce the risk of ever have to hear a Justin Bieber song out of the blue..
The release consists of two untitled tracks which the artist recorded digitally (contractor loves analogue, but hey modern abuse needs sometimes a different recording approach. My ears are still pretty much surrounded in the loud moving noise of the first lengthy track. There is music to be found but it’s deep in there (that explains why it has to be played loud on a loud volume; you can’t miss out!) .
I love how thing go forward, how the noise develops from fuzz to more industrial in tone. A feeling of rusting steel perforating he ears and then even outdoing itself by adding more noise enemas without flushing the established layers away. It scrapes and brawls it’s way through the recording as if there is some metal stuck in a machine and instead the device is being halted; it just gets louder and heavier in beeping and crushing sounds.
At times I forget how loud it is when playing it on such an extreme loud volume. In fact you want to hear every artifact, every sound move, every exchange of noise that I feel like opening the ears even wider to make sure not to miss any of these elements.
Before even realizing the second part has kicked in here at the reviewers headquarters of Yeah I Know It Sucks. A fine noise that makes me think of someone trying to strangle me with impressive impulses. Some metallic high sounds remove the pressure and the ears are subjected to the burning sensation of a listening session of loudness of a much louder volume.
At times you will feel like adjusting the volume to check if the speakers are broken or that it is indeed a case of ‘meant to be’. I can clearly write to you dear insane reader; it’s meant to be. The good side of such brutality of harsh noise is that it’s like an aggressor that gets the head cleaned free from thoughts and in differences. It is here in this second part that the noise session becomes more of an Anti-depressant and chill out medication than a chainsaw massacre.
The moving noise becomes one with thoughts as it keeps on blowing through and in the end there are no worries or pain and stress as they are all flushed away in a state of this private session provided by the Contraktor. It might be loud noise but I just feel that listening to this will save many people the costly trip to a shrink or a psychiatrist. Embrace and be one with the noise: