Skip to main content

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 Bol', 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, constricts and suffocates before petering out into a much needed interlude of grit crunched on a concrete floor.

Eat My Flesh is a grating piece of harsh noise, far removed from the mostly analogue and relatively comforting Go Home!. Despite this, it's arguably the better composed of the two, a challenging endeavour given the inherent chaos of harsh noise. A rhythmic break gives the song a pulse, while the songwriting is reminiscent of WOLD, albeit in a much more dynamic form. The vocal cadence here is similar to some power electronics acts, a repetitive lamentation which plays into the much more treble-heavy song by pitch-shift.

While the change in direction and dual identity of Hexendrone/Hexenoise are good, I'd be interested in hearing what a combination would sound like – sludge/noise is a common tag, yet so few bands actually execute both parts so well.


Comments

Popular posts from this blog

Grime - Live

Grime Live – Oct. 2017 The air is heavy, the lights are dim, and the conversations skittle away, hiding in the corners as Grime takes to the stage. Eyes up and hair down, I knew we were in for something good. Grime, the italian sludge act, released their first album in 2013 on the well-known Mordgrimm records. They might be the best-named band I can think of – the unclean buzz of the strings and damp mix of instruments give off a filthy, pock-marked sound, the kind you'd hear from scraping a sewer floor. I didn't know of them until their 2015 record, Circle of Molesters, but they're the kind of band who can do no wrong. The first note hit, and the bass shook me in unholy ways. After staggering a few steps back, I looked up at the stage and saw some of the best lighting since Messuggah. A white backdrop, searchlight-style movement carving the silhouettes of Grime into my retina. Marco, lead guitar, was spectacular in his theatrics. Doubling over in rage and p...

Five the Hierophant – Over Phlegeton

Five the Hierophant – Over Phlegeton Dark Essence Records – 2017 There's a rare breed of album which instantly becomes a cult classic, and I can confidently say Over Phlegeton is one of them. Experimental, weird, bizarre, none of these words come close to describing just how extraordinary and interesting this record is. If I had to draw parallels with another band, I'd say it's a heavier, more mature version of Mamaleek, with many similar elements such as the ethnic percussions or non-traditional scales, but with a much darker visage and more detailed composition. There have been incredible avant-garde metal albums using unconventional instruments, but none have been so tactfully used as the saxophone is on Over Phlegeton. Played as a full instrument and not a token nod to some jazzy experimentation, Five the Hierophant explore the extremeties of what the sax can do – from screaming leads floating above the guitars to wailing voices in the wind, passing by hear...

Fleshpress – Hulluuden Muuri

Fleshpress Hulluuden Muuri – 2017 According to Mikko, Fleshpress is experimental psychedelic sludge doom. It's quite a mouthful, but it's surprisingly accurate. For some reason, I was expecting something much more traditional, à la modern popular sludge, but Hulluuden Muuri is nothing of the sort. The emphasis put on dissonance and weird synth additions gives it a whole new identity. Interesting rythms and strange structures float and collide, the music twisting to a chaotic beat, almost like a liquid. This might be Mikko's best display of musicianship so far, with tastefully written dissonance and angular riffs. While far from being Deathspell Omega-level insane riffage, Fleshpress remains an unconventional album. The drumwork is worth a quick note, as following whatever weird patterns cooked up on the strings has to be extremely challenging. There is no fear of long introductions, such as the one in Huluuden Viiltävä Lasipinta, which builds up a great ...