Skip to main content

Wet Nurse – V A S E S


Canadian noise/dark electronics project Wet Nurse just released V A S E S, and it’s making me uneasy in the best kind of way. I hadn’t felt this unnerved since the Noisefest last year, and it’s all thanks to the masterful mix of sound manipulations and creepy vocals present here.
Disturbed lyrics speaking of drugs, sex, depression and depravity are common in the noise genres, but they’re not so “in your face” as say Whitehouse or other power electronics groups would present them. Instead they feel composed, deliberate, and they mesh well with the disturbances underneath. Alabama poet Matt Finney is responsible for these words, and he knows how to get me going when it comes to grime and filthy ambiance.
The album seems to get more intense as it goes in, with V A S E S being so calm it almost doesn’t fit in with the others. There’s almost a duality going on with the soft-spoken vocals during the first track and the distorted anger in the second half of the last song. The music itself actually has more structure than a noise piece would, as the deliberate vocals would imply, as there are beats throughout the record. They’re distorted and reverbed, but they’re there, and they give you something to hang on to while trying to figure out where the song’s going.
The textures were varied and dynamic, and very obviously worked upon. The fizzes, hisses, filthy basses and ominous progressions all added up to create some anxiety-inducing moments, and the use of actual notes and chords was welcome. Wet Nurse knows how to keep a song interesting and unpredictable while maintaining musicality and structure, which isn’t something many can do. This obviously isn’t a complaint towards more noise-oriented acts, Wet Nurse just actually writes good songs.

Even if you’re not into electronics or noise, with a certain frame of mind one could still get into this album, by virtue of its doom/drone-like qualities. Overall this is an excellent piece of claustrophobic work which I’ll be listening to for quite a while.



Giuseppe Fitzsimmons

Comments

Popular posts from this blog

Sulphurous - Dolorous Death Knell

Sulphurous – Dolorous Death Knell December 2018 – Dark Descent Records 90s revival and cavernous death metal started gaining popularity about two years ago, with bands such as Phrenelith and Pissgrave being propelled into quasi-mainstream success thanks to a couple of public figures introducing their audiences to an otherwise relatively underground facet of death metal. Dark Descent Records have certainly capitalized on said revival, signing giants of the genre like Blood Incantation, Spectral Voice, and previously Chthe’ilist (and Mitochondrion to a certain degree). As with any other cavernous death metal record, the production is the first thing you’ll notice – it’s all suffocated, as if the amps were draped in thick curtains. Few effects and no triggers are applied to the drums, giving the whole package a very live/practice room aspect. Despite the apparent muddiness of Dolorous Death Knell, everything’s quite audible – even the lower registers somehow retain ...

Kataplexia – The Rise of the Unknown

Kataplexia – The Rise of the Unknown January 2019 – Rotten Music Kataplexia is Finland's best Indonesian brutal death metal band. You read that right, Indonesian is now a valid qualifier for brutal death metal. For those unaware, I explored and wrote about the Southeast Asian brutal death metal scene two years ago, discovering a gigantic scene with an uncharacteristic public acceptance. One of the members of Jasad began a side-project, Kaluman, which is the definition of high-quality Southeast Asian brutal death metal. A couple seconds into Kataplexia's latest, I expected to see Rottervore or Extreme Souls as their label, as every element pointed towards Indonesian origins – the tone, production, vocals, riffs and even album art all felt like Ferli Suferli (Jasad, Kaluman) was behind the project, yet Helsinki is listed as their base of operations. Admittedly, there's only so much one can actually say about the music without endless comparisons. A modern ...

Phrenelith – Desolate Endscape

Phrenelith Desolate Endscape – 2017 Remember when the Internet went crazy for Pissgrave – Suicide Euphoria (Profound Lore Records) back in 2015 ? It's time for a new riot straight from the abyss, and the demon's name is Phrenelith. Born in 2013 in Copenhagen, Phrenelith started their career out with a split with Spectral Voice (Iron Bonehead, 2016), followed shortly by an EP (Chimaerian Offspring – Extremely Rotten Productions, 2017) and a masterpiece of an album, Desolate Endscape (Dark Descent Records, 2017). Desolate Endscape is the kind of album that reminds me why I like death metal – it's inherently primal , evil and intimidating. This record is a massive slab of death metal, dense and heavy and being thrown at your face. The fact that there's zero flourish or unnecessary technicality brings Phrenelith to the forefront of the cavemanesque caverncore scene that's been simmering for the past decade. The entire album drips with ichor, and while ...