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

DSKNT – PhSPHR Entropy

DSKNT – PhSPHR Entropy Sentient Ruin Records – 2017 DSKNT has been active since 2013, and somehow I only discovered them recently. As a fan of catastrophic black metal à la Deathspell Omega or Plebeian Grandstand, I was delighted to find another band in the relatively barren field of good avant garde black metal. The album kicks off with the best kind of strange, unnerving riff that sends a warning to the listener – you're in for a project with greater amplitude than most. Almost all of the riffs, excluding one or two in the latter portion of the record, have been soaked in the bath of avant garde, dripping with experimentation. Not scared of narrative composition, giving us a trip into his strange maze of a mind, Asknt creates sinuous riffs, with jagged edges and unnatural angles, but with more focus on the sinues and flow than similar artists, who often go for a slightly sharper aesthetic. There are moments of clarity, descents into madness, and long trips across ble...

Wormhole – Genesis

Wormhole Genesis - 2016 While Lacerate Enemy Records deserve an entire article for themselves for releasing some of the best slam albums of the last decade, Wormhole's first full-length « Genesis » is worth a review on its own. Released November 30 th 2016, I only came across it a couple of months ago. I clearly missed out, as it not only has the kind of riffs that tickle my eardrums just right, it's also got Duncan Bentley from Vulvodynia on vocals. If that isn't a selling point since Psychosadistic Design (Lacerated Enemy Records – 2016), I don't know what is. Genesis starts out as an average 20XX slam album, reminiscent of Gluttonous Chunks (Inherited Suffering Records – 2016) era Coprocephalic, with memorable grooves and a fun introductory slam. Overall, the flow is controlled and intelligently written, with counterrythms and disorienting fills keeping you on your feet. It's the kind of band during which you'd see a crowd of uncoordinated h...

Hexenoise – II

Hexenoise – II March 2019 – Unsigned After the excellent catastrophic sludge monolith that was Heavy Drugs Smashed Amps, Hexendrone began showing signs of veering straight off the cliff and free-fall into the jagged forest of noise, having recorded a split with B ol', a mysterious experimental act whose only proof of existence is their presence in said split. A sharp-eyed reader might notice Hexendrone not having the same name on this record. Indeed, the Russians may have wanted to clearly separate both sounds without creating an entirely new project, hence the Hexenoise and Hexendrone entities. Their approach to sludge always noisy and approximative, yet II displays remarkable forethought and composition given the genre. Acoustic drums accompany the slow, intangible Go Home!, giving it structure and giving me something to hold on to while my lungs and head are crushed. A vice made of guitar distortion and bass rumble, feeding into an ever-growing drone, constrict...