Atrax Morgue has been one of the very few names to inherit the sound and annihilating effect of the power electronics school of the early 1980s. He remains faithful to visceral (anti)sounds, no structural enrichment, no attempt to improve: the skeleton of nothing, the absolute point of no return, the representation of non-being, the apology of learning, the most total desert. Overcome came out for the first time on vinyl by Slaughter Productions in 1999. A raw album that reflects the most total cancellation not only in theoretical purposes, but is also a global clean slate in repeated, obsessive, distorted, monolithic sounds; Atrax Morgue's music curves in on itself, becoming non-sound and denying any possibility of its own existence. Disturbing and minimal, the album flows with total resignation for all 7 tracks, without granting minimum penalty discounts to those who approach it.
Mastered in 2020 by Andrea Marutti, the record has been pressed on 140 gr virgin black vinyl with inside-out printing gatefold sleeve in just 199 copies.
Industrial, Power Electronics, Noise, Power Violence, Experimental; Limited Edition Vinyl LP - Ex Used Condition
On this split the Finnish Sadio (a collaborative project between Grunt and Skin-Graft) have teamed up with the Italian Caligula031 (side project of Wertham main man Marco Deplano), and is ultimately a release which sits at the depraved and nastiest end of power electronics. Sadio take on Side A with 3 tracks of ‘basement torture’ electronics which are even less structured than those on the debut album Sophisticated Methods In Torture (…which itself was an exercise in direct aggression over detailed or meticulous studio recording). With more similarity than difference across the first two pieces Inhale the Animal Filth and Slavemarket, the result is absolutely rough, raw and ripping. Here the sound, whilst having a solid lower end, is more prominent at the mid to high spectrum with overblown and hollowed out tones, barely controlled feedback squalls and occasional barked vocals rising to the surface. The clear impression is the material has perhaps been recorded live in studio, with recording levels being max’ed out in the red, and followed with limited (if any) post production. The third and final track Innocent And Pure then shows a fair bit more restraint and opts for a slow building atmospheric cut of sweeping and fluttering mid tones and bulked out with heavier bass rumble and with the late track murky vocals being vomited somewhere off in the distance of a cavernous warehouse. Caligula031 then encompasses a voyeur’s ‘sleaze perspective’ on Side B (4 tracks and around 20 minutes of material), which thematically focus on heroin addition and the depravity of the ‘fix’ lifestyle. Needle Park – Platzspitz 1990 is the opening piece of extremely murky, idling machine clatter to set a general mood of stasis, thus leaving ample room for the forceful vocal torrent to remain prominently throughout. Following on Nothing Comes For Free is excellent for its minimalism which is constructed with two sustained but counteracting tones (…one needling texture and the other at the mid to lower end), which allows Marco’s heavily Italian accent vocals to sit front and centre within the track. Sponge of the Sidewalk follows and is framed around subdued bass rumble and dialogue sample referencing addiction, prostitution and criminality (…which appears to have been lifted from a UK talk show), while Sob Story is the final of four tracks and is another piece of hollow mid-toned textures and heavily processed vocals. Packaging is noteworthy for its simple white sleeve and sticker, which has been further ‘augmented’ with flecks, drips and spatters of real blood, while a double sided insert includes further thematic imagery. Clearly a release for those knowing exactly what they are in for, and not for the squeamish or ‘scene tourist’ types, thus with its limitation of 250 copies this would be sufficient for this nasty and no-frills release to find its intended audience. - NOISE RECEPTOR JOURNAL
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