Demons That Drove – Demons That Drove

In stark, high-contrast black and white, we see the image of a figure's face, obscured... by a hat, possibly, or maybe it's a black cat, perched on their head. I do not know. But, this is the cover of Demons That Drove's self-titled work, and N-J debut.

In stark, high-contrast black and white, we see the image of a figure’s face, obscured… by a hat, possibly, or maybe it’s a black cat, perched on their head. I do not know. But, this is the cover of Demons That Drove’s self-titled work, and N-J debut.

Artist: Demons That Drove
Title: Demons That Drove
Label: Noise-Joy
Cat#: NJMP3-0186
Keywords: Industrial, Power Electronics, Noise, Experimental
Reviewer: Alex Spalding

You know, there are times I’ll sit here staring at the screen, trying to come up with an introduction that fits. It doesn’t always work out, and there are many occasions on which I’ll just sit here and type things like this out, seeing where it leads, until either an idea pops into my head or I give up, and delete all of the text.

But, not this time!

I’m leaving it.

I’ll just start telling you about this awesome album, now. This was Demons That Drove’s debut at Noise-Joy, and it’s an excellent noise album. Seriously.

It begins with ‘Pretty Much Fukk Off’, and sounds immediately like a detuned piano run through distortion. This soon gets eaten up in the mandibles of a thousand insects, and we can hear all this crunching… it’s a disturbing, loud piece, with flickers of a voice underneath, like something straight out of Silent Hill, or maybe hell. The rhythmic chopping suggests a martial war beat. In my mind, I imagine reapers riding a wave of death across a countryside. There are some strange, liquid murmurs, a tide pool of blood, pestilence, locusts. It ends like a buzzsaw.

‘Pig & The Saw, Nurse & The Sick’ immediately screams with feedback, boring a hole in our head like one of those flying silver drill balls from Phantasm. There are shrieking vocals over the top. This is great! Very heavy, disturbing, cerebral and intense. It’s like we’re being ground up in a machine with no safety valve. As it moves into the final several seconds, it feels more dark ambient, still very noisy, but psychological…

… next up is ‘Order Of The 36’. Big granular feedback, like a shimmering sea of steel… all other sound seems beneath its surface, banging against a wall, until the noise breaks through and surrounds us in a menacing swarm. There is some kind of rhythmic distortion blast… vocals, a sharp sting of feedback. Later, the vocals become mechanized, phasing slightly. A howl of stale, crypt air blowing through our souls, while the voice speaks to us.

The next track is ‘Wasteland’, at first it is like a breeze of noise, into which blow fierce feedback and the voice… the voice of death. A strange sequential moment of tones, and we’re hoisted onto a pale horse to usher in the noise apocalypse. Quieter now, just a disease-ridden feedback and more vocal mutterings… then, a return to the harsh blasts.

‘S.O.I.H.T.’ is like a horror movie, with sharp feedback tones and then a barrage of guttural voices in an alleyway of doom and pummeling fists of bass-intense percussive noise. Sputtering for breath in this murk, we come to a glimmering soundscape of feedback before we’re drop kicked to oblivion. The destruction of sound on this track is immense. It spins out into a flutter of feedback, and ends like a reel of tape being run.

Then, ‘And I Can See’ comes on, sounding like rain and desolation. Shrieks of banshee-like feedback, voices murmuring from beyond a rusting grate, like a soul in chains. The harmonics are like sorrow and pain, there is a play with atmosphere and volume. Sizzling sonics, a crumbling away of textures. Pure demonic moods!

‘Enslaved In Turmoil’ takes us on a trip through murderous vortexes of noise, breaking our heads open with a very obscure harsh frequency tonal meltdown. It’s like an IBM fax machine come to life with a knife.

Last, is ‘The Thingmaker’. Steel grates struck, amplified against the abyss. Screams, and then an elimination of all sound. Brief silence, but it returns, like a mad buzzing hornet, angry, bloody, vengeful. There’s a nightmare on Elm St, or worse, it’s all real, and we’re hearing it now, creeping forward through a metal portal, claws clink upon every surface, expelling multifarious sparks sucked backward into the jaws of Hades. It’s pretty amazing. This is what a private, inward journey into the dark recesses of the mind could sound like. A choir of cold radiator hums distort the environment of the sound space.

The link below will take you to the place you can hear and download this fantastic noise record… so, please check it out! Demons That Drove is some of my favorite noise music ever.

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