EXISTENCE ESTABLISHMENT REVIEW: This is easily one of my favorite releases of 2012 and it’s great to
know that before the halfway point. Two underrated acts team up for this
obsessive industrial slab of vinyl to form a formidable sonic force.
Their respective styles differing so much yet at the same time
complimenting each other gracefully. Right off the bat I noticed the
absolutely gorgeous artwork with sparse yet well placed text which helps
make this release an instant classic.
Corephallism is up first with two tracks of beautiful drone combined
with noise and industrial influences. It’s too ambient to be power
electronics and much to somber to be straight up industrial. Both Abandonment and Rapes of Convenience
are heightened with emotion and sharpened with a dark edge to create a
truly menacing spectre. The tracks are short and to the point which
easily encourages multiple playbacks. It’s going to be no time before
this record is already worn out.
Gnaw Their Tongues does away with their latest bombastic neo-classical flirtations to present A Moral Guide to Self-castration and Necrophilia
which is a booming and sickened barrage of industrial clangs,
screeches, and groans. Drum machines mangled enough to sound like they
are the manifestation of a long dead factory worker haunting his former
place of employment. Not to mention the sickened black metal-influenced
vocals that appear. Cat like growling, insane whispering floating among
the hollowed sounds.
This is truly a release of mammoth proportions, so honed to a point
with aesthetic direction and cohesiveness that it’s bleak artwork seems
to seep through into its surroundings. The sounds presented are so
intensely composed and atmospheric that it seems over in a flash, but
you are left with some kind of disembodied evil resting heavily on your
conscience. This record actually makes me feel guilty, regretful.
Especially when I’ve found the needle has worn through it after so many
repeated listens. 4.5 / 5
THE NOISE BOSTON:
have I felt utterly unqualified to review a record… until now. Shane
Michael Broderick’s drone/noise project, Corephallism may just be beyond
my comprehension. “Abandonment” builds from a minor-key synthesizer
drone into a cacophony of noise—something reminiscent of a ride-on
lawnmower. “Rapes of Convenience” opens with what sounds like guitar
feedback before introducing buzz-saw synthesized noise and a throbbing,
moaning drone. It feels like a scene from Star Wars in which the Death
Star pans into the frame out of the vastness of space. This is certainly
unsettling stuff—the perfect soundtrack to an art-house horror flick.
PLAGUE HAUS REVIEW:
there ever was a match made in the Ninth Circle, this is probably it.
Paired for this 10″ are Corephallism, the solo project of Shame Michael
Broderick who some of you might recognize as a member of Boston Noise
maniacs Twodeadsluts Onegoodfuck and the seemingly everywhere at once
project of Dutchman Maurice De Jong, Gnaw There Tongues.
leads of the split. Now call it old age or laziness or a combination of
the two, but I rarely indulge in the commitment it takes to listen to
Harsh Noise let alone review it anymore. So lets just say for the record
that I like this side of Broderick about a thousand times better than
anything TDSOGF were doing. Not that it’s bad, this is just more to my
taste. “Abandonment” begins with almost religious reverence, long slow
notes of analogue synth rising like the tide with low moaning
undercurrents. The beauty of the moment is soon cut by utterances of
locust-rasped vocals, not overwhelming, but bitter enough to put the
listener on edge. “Rapes Of Convenience” uses the same vocal stylings,
but musically is a bit heavier, more offensive as the title suggests,
heavily metallic discomfort.
I’d heard a lot about Gnaw Their
Tongues buzzing about, but honestly before this split I’d never actually
heard him. De Jong does offer up a pretty unique blend of Dark Ambient,
Noise and Black Metal aesthetics. Eleven minutes of black mechanical
thud and hiss, tortured vocals and layers upon layers of manipulated
noise. Beneath it all is a ghost of a rhythmic pattern, a tempo only
it’s creator knows. It’s pretty much pure chaos. “Industrial” doesn’t
quite describe it, but it’s definitely the din of some dark and hellish
The cover art fits perfectly, a nude female bound by
cord or wire, distorting the contours of her flesh into some bizarre
road map. If I’m not mistaken, the Lascivious Aesthetics label is ran by
Mr. Broderick. Check with him regarding availability.
DEAD FORMATS REVIEW
have mentioned this before but this record really falls under the sub
category of records I feel horrible about listening to around my two
year old daughter. I know if one day, when she is grown up, she becomes
some sort of psycho killer or black widow I will probably tell an aging
Anderson Cooper that I have no idea why my daughter is on a kill crazy
rampage but in the back of my mind I will probably think it's all
because of Gnaw Their Tongues, Blue Sabbath Black Cheer and Actuary. The
Gnaw Their Tongues side of this record is probably what you are
expecting but that is only if you are expecting scary, dark and twisted
industrial sounding noise, doom, filth. It's terrifying as always and
well worth listening to over and over. This is my first exposure to
Corephallism and I was wondering who would compliment/juxtapose Gnaw
Their Tongues' insanity. What I found was something that actually does
both. The two tracks from Corephallism have an underlining drone of
beautiful swelling strings and synths. On their own these could both be
solid tracks but then there is a constant destruction of these tracks
that completely elevates them to a new level of anxiety and tension. I
am very happy to have found this one.
Visually it's simple but
really perfect. Nice simple design with some creepy photos of bound
breast and dead looking legs. It's slightly disturbing enough to realize
that after I die and my daughter has inherited all my records she is
going to find this and think, "yup, Pop was a creep". The typography is
pretty cool. The upside down cross on the cover is maybe a little
obvious but it still looks cool with the san serif font (maybe Cassius
Sans). It's solid. Would I buy this? Yes
CRUCIAL BLAST REVIEW: Corephallism are a perfect match for Gnaw Their Tongues as they both share the same predilection for sexualized horror and pitch-black atmospherics, while utilizing distinctly different approaches to their extreme blackened industrial. This new split 10" Ep brings the two bands together, one on each side, presented in a striking black and white sleeve with lurid images of severe rope bondage and bruised flesh.
Corephallism (aka Shane Broderick of nudist power electronics squad Twodeadsluts Onegoodfuck) offers two tracks on the a-side, beginning with the solemn drones of "Abandonment" that spread out on clouds of gleaming synth, soft funereal notes turning within the hum of the keyboards. Huge rumbling waves of low-end noise and extremely distorted vocals slowly flow in, hellish, monstrous utterances obscured by crushing feedback and amp-filth, but low in the mix so that these violent sounds never overwhelm the ominous droning synths. The second track "Rapes Of Convenience" is similarly constructed, flowing right out of the first song on more drifting sheets of keyboard hum and extended feedback, appearing at first as some massive dark ambient soundscape, but then overtaken by those vicious ultra-distorted vocals and stentorian bass throb. It evolves into a nightmare of slowly pulsating blackened power electronics, dipping off into brief stretches of minimal buzzing before rising up again in a massive burst of infernal electronic drone. Great stuff that finishes far too soon; fans of the jet-black PE/death ambient of Theologian and Prurient need to listen to this pronto.
On the other side Gnaw Their Tongues presents one long track called "A Moral Guide To Self-Castration And Necrophilia", which begins with the sounds of rumbling percussion, ominous reverberations from beneath the earth's surface, mechanical rattling, all of which slowly comes together, congealing into the hissing, grinding throb of some malevolent engine. As it builds, the track erupts with bursts of distorted doom-laden bass and gibbering demonic vocals, blasts of orchestral terror and pounding metallic percussion, horrific gasping sounds and howls of severe agony echoing across the background, and strains of eerie feedback trailing through the lightless murk. A bit more abstract than GTT's recent Per Flagellum album, but as nightmarish and evil as you'd expect from this Dutch black industrial project.
HEATHEN HARVEST REVIEW:
As prolific as Gnaw their Tongues seemed
like they were going to be over the past five years through releases
with Paradigms Records, Crucial Blast, At War with False Noise, and
Black Goat Records, they slowed down to a snail’s pace in 2011 with one
simple release on the aforementioned Crucial Blast, “Per Flagellum
Sanguemque, Tenebras Veneramus”. Now with 2012, this is Gnaw their
Tongues’ first effort and it exists as a split with Corephallism which
itself exists on the opposite end of the spectrum having only released
one album prior to this back in 2009 as a collaboration between the
labels Apop Records and Lascivious Aesthetics, the latter of which is
responsible for releasing this effort. The man behind the madness of
Corephallism as well as the label behind the release is perhaps more
well-known as being one-third of the infamous American power electronics
trio Twodeadsluts Onegoodfuck, Shane Michael Broderick. Twodeadsluts
Onegoodfuck also hit a roadblock in 2009 and haven’t released anything
since, so this is Shane’s (now going by “Shame”) first release in 3
Side A finds Shame taking a different
approach to his style than what listeners may be used to with his solo
live performances and his work in Twodeadsluts, Onegoodfuck. It’s
somewhat difficult to describe but what he has created here is a warm
synth drone that shifts chords trudgingly and is soon greeted by strong,
harsh power electronics that are jagged and sharp, existing in contract
to the drone that envelopes the background of the track. The power
electronics cut out after a few minutes and all that is left is this
warm synth. If there were such a thing as “funeral electronics”, I
assume this is where the conclusion would be had. Track two, “Rapes of
Convenience”, is a bit more harsh with more of an industrial appeal and a
low-end droning horn sound like a ship in hellish mists. These tracks
are raw and cutting, but not necessarily loud and harsh. Just jagged.
Side B features one track of dark
ambiance and industrial noise from Gnaw their Tongues, “A Moral Guide to
Self-castration and Necrophilia”. This track features the ominous
clanking and explicitly disturbing sampled screams and whispers that
you’d come to envision from this project as his music has become
exceedingly authentically malevolent as his career has rolled on. The
noise is pernicious as it approaches slowly, first building as
industrial elements congregate to create a disturbing ambiance, and then
descending into complete violent spite before the destructive
tendencies calm and we’re left with industrial elements once again.
Hostile vocals line this track in it’s furthest depths during the
noisier moments that are as uncannily necrose as the track title
I have to admit that this is one of my
favorite album covers especially in relation to noise/power electronics
and the bondage themes that run rampant in their respective scenes.
Ironically, it’s perhaps my favorite involving the female form since the
sexually ritualistic appeal of Gnaw their Tongues’ “Dawn Breaks Open
like a Wound that Bleeds Afresh”. It’s specifically appealing because
there’s no tape or rope used, but rather what appears to be string or
fishing line that turns the flesh into the same diamond cross-cut
material as you’d normally see on a quilt. Less surface area on the
material exposes more skin and offers less comfort for the submissive
creature behind the material. Not only is this incredibly sexy, but it
represents the nature of the music found on the LP quite well — more
oppression, more pain with less material. With that taken into
consideration, it’s no surprise that with Corephallism, SMB has taken
his breed of noise to a more subtle, yet just as raw, approach. Of
course, Corephallism is a “rare term for anal sex with a young girl”, so
what most people take from this release may be more attuned to
comparisons to Nicole12 or even Peter Sotos than is logically realistic. 4/5
THE ESOTERRORIST REVIEW:
The new split 10-inch by Gnaw Their Tongues and Corephallism proves
to be a perfect match, made in hell, of course, and results in dark,
brooding death-ambient brutality. Gnaw Their Tongues fills their side with the doom-promising track “A
Moral Guide to Self-Castration and Necrophilia,” where the nearly seven
years-old group create a terrifying noise-drone factory imprisoning
tortured black metal vocal stylings. Destroyed instrumentation rings
from the depths of a metallic pit and produces short echoes of pure
nihilism. Corephallism is the solo project of sound artist Shane Michael
Broderick, who is probably most known for his work in the extreme noise
duo Twodeadsluts Onegoodfuck. With Corephallism on the split, Broderick
channels a personally unique array of variations in approach to dark
ambient drone that swells in and out of power electronics. Distorted
screams are introduced by the second of his two tracks that narrate the
grim and mysterious landscape. Both bands maintain a cohesive, unified atmosphere, whether this was
planned or coincidental. The eerie drones transforming into death
grinds create a sick pleasure, a beauty that is twisted and mired in
thorny, leafless branches, that cooperate as a singular voice, two sides
of the same whole. Highly recommended.
CIPHER PRODUCTIONS DISTRO:
Really strong split from these two. Corephallism open with poignant, spacious ambience which is brutally assaulted by shards of devastating, overwhelming power electronics. Just so good. Then Gnaw Their Tongues hit with a captivating bit of death industrial/noise, dungeon ambience stung by junk metal and hints of black metal vocal furor. Highly recommended.
ZERO TOLERANCE MAGAZINE:
Corephallism makes nasty music. Music that sounds unpleasant and vindictive - the power electronics stench and analogue synth-layering that recalls Prurient before he went toothless. Electronics were supposed to be cold and dehumanising: Corephallism makes it personal. The noise/black metal chaos that is Gnaw Their Tongues isn't out for personal revenge with this track. He's soundtracking the whole lot of us going down in smoke, ruins and the collapse of the world around us. 4/5
THE ONE TRUE DEAD ANGEL WEBZINE:
First off, major bonus points for the lurid BDSM-themed cover art (hop over to the label site's link below to see it for yourself). What we have here is a split between two decidedly extreme acts wallowing in the dark, bloody trough that separates primitive black metal and noise: on one side, the side project of Boston's Shane Michael Broderick, best known as one half of Twodeadsluts Onegoodfuck, and on the other, the one-man sonic terrorist known as Gnaw Their Tongues. As you might expect, this release is a serious act of ugliness. Corephallism contributes two tracks, "Abandonment" and "Rapes of Convenience," opening on the first track with an ominous synth drone that grows denser and darker as Broderick shovels on passages of gruesome power electronics. It's claustrophobic and eerie without being strident, and the second track is similar but more equally divided in the balance between drone and noise. Both tracks are supremely creepy. On the flip side, Gnaw Their Tongues offers up "A Moral Guide To Self-castration and Necrophilia," which features what sounds like an undertaker pounding nails into a coffin over an ocean of black drone and crashing noises like barbarians tearing down an ancient city gate, complete with the shrieking lamentations of those being raped and slaughtered (or maybe the other way around, given the song title). It's violent, murky, unsettling stuff, stripped of the operatic and classical overtones of the band's most recent full-length work in favor of something that sounds more like soldiers on the rampage, looting and pillaging and breaking glass by throwing bodies through windows. Listen to this while under the influence of illicit drugs and you can guarantee yourself some seriously hideous nightmares.
Twodeadsluts Onegoodfuck / Cock E.S.P. Split C-4 (Lascivious Aesthetics) Two brutal noise blasts on a super short (four minute long) but utterly scorching tape from Lascivious Aesthetics! Notoriously provocative Boston power electronics maniacs Twodeadsluts Onegoodfuck are first with "Red And Brown", opening with a sample of schmaltzy romantic piano music that is strafed by some grating metallic ringing; then it explodes like a nuclear blast into horrific blackened grindnoise, impossibly fast drum machine blastbeats that border on full on splittercore, and looped choral voices rising in a horrific melody, split with screaming blackened vokills. Man, this is AWESOME, a machinegun-blast of blackened industrial noisecore. It's way too short, we're dying to hear Twodeadsluts do more of this stuff... On the other side, the legendary Cock E.S.P. bring us an orgy of destruction with "Gaping Massholes" (which we presume is a tribute to the folks in Twodeadsluts), the band starting off with screaming and yelling as the band breaks a roomful of shit, then launches head-on into a punishing maelstrom of high end feedback, random metal abuse, roiling low-end noise and thunderous sheet metal reverberations, a squealing, screaming high-energy blast of psychedelic junk noise destruction. Killer! Comes with a full color cover, released in an edition of one hundred copies.
Corephallism- Self Titled - 3" CD (Lascivious Aesthetics) Another vital dose of electronic horror from the new Lascivious Aesthetics imprint run by one of the cats from Twodeadsluts Onegoodfuck. In fact, Corephallism itself is a side project from TDSOGF's Shane Broderick, here taking a break from the rampant nudity and grind/power electronics that his main gig is so renowned for; with Corephallism, Broderick plies a heavier, more monstrous form of death industrial. Just dig that spikey black metal style logo that this disc sports on the cover, superimposed over a photo of some lass's fine gams. Definitely suggestive of some seriously bad thoughts going on here. What we get on this two track Ep is a punishing opener in the form of "Speaking In Tongues", a grinding slab of pitch-black terror that blasts beams of pure negative energy through fields of black hole ambience and symphonic strings drifting out of the abyss. It reminds us of Theologian a lot, as a matter of fact; anyone into Leech's signature black industrial (and the classic death-tronics of Atrax Morgue and Brighter Death Now) really should look into this. We might also be detecting some Gnaw Their Tongues influence in here as well, as this track blends together a similar evil orchestral majesty with massive levels of analogue synth-death. The other track, "These Scars Will Last a Lifetime", is more subdued and focuses on digital black ambience that becomes shattered by violent electrical hum, like the sound of a power generator blasting into the red while a pulsating drone seethes underneath the rumble, while way off in the background, weeping and howls of agony and terror can be heard. Man, this is seriously intense, and too damn short...we can't wait to hear more from this most promising new project. Comes in a miniature jewel case with full color artwork. Limited to three hundred copies.
Suffering Bastard - s/t - Cassette (Lascivious Aesthetics) This super short Ep of new Suffering Bastard jams only clocks in at some six-odd minutes, but man, does this batch of new "songs" destroy! Not all that well known to folks outside of New England save for hardcore grindnoise fanatics, Suffering Bastard are nevertheless one of our favorite blast squads, and have been kicking around for around a decade now, dropping sledgehammer blasts of their dual-bass grindsludge and screaming harsh noise. For anyone into the most barbaric levels of skullcrush, this is immensely recommended. This tape on Lascivious Aesthetics (the label run by one of the guys from PE/grind provocateurs Twodeadsluts Onegoodfuck) delivers eight new tracks of their severely bestial and low-fi grind / sludge / harsh noise, a chaotic mess of primitive grindcore, sloppy supersonic blastbeats that sound like they are being played on garbage-filled trashcans, pulverizing bass riffs, and augmented with skin-crawling feedback drone. Most of this is mach-ten blast violence that borders on total noisecore, but the band throws in some punishing harsh noise/power electronics moves into the mix as well. The grind parts are chaotic blasting locomotive crush that becomes a shrieking mass of mechanical violence equal parts Sore Throat, harsh noise and (for a brief moment) NY deathdoom mutants Winter; in other words, this stuff is nasty, vicious enough to strip the paint right off your walls of your skull. Awesome. Limited to one hundred copies. http://www.crucialblast.net/
Suffering Bastard -- S/T cs [Lascivious Aesthetics] O mas oui, I approve of this. This apocalyptic grindcore outfit from Rhode Island deliver eight blasts of grossed-out sonic ultraviolence in exquisitely lo-fi fashion. Titles like "Reeker," "Bullshit Train," "Spit in His Face," and "Gas, Grass or Ass" make it crystal clear where they're coming from, and the sound on the cassette is classic grind -- lots of thrashing drums, churning bass hell, splatterpunk guitar, and vocals so guttural that the "singer" might as well have been rolling around the gutter when he recorded them. True, the tracks sound like they were recorded on a ghetto blaster in someone's basement (which might even be true), but you don't really want to hear clean-sounding grind, do you? DO YOU? (If you do, you're wrong.) As with a lot of grindcore, the songs are so short it's easy to lose track of which one is playing, but I think "Exit 24" is the one that starts out in the slow wasting doom style of Corrupted before blasting off into the hypersonic stratosphere. One of the tracks toward the end -- "Untitled," perhaps? -- is filled with an avalanche of noise like buildings under demolition, always a nice touch. Not surprisingly for such frenzied anti-music, the total running time for all eight songs is approximately six minutes. Blastoff time commences... NOW! Limited to 100 copies.
Cock E.S.P. / Twodeadsluts Onegoodfuck -- split c/s [Lascivious Aesthetics] Talk about brevity, these bands own it: this cassette clocks in at four minutes. Four. Minutes. It takes more time than that to smoke a cigarette, dude. And then the decision to release it on cassette, of all formats, rather than, say, a 3-inch cd? Madness, I say, MADNESS! But that's what is so great about both of these bands -- their appreciation of the most ridiculous notions of extremity. Besides, somebody has to keep the cassette culture alive, right?So. The songs. The really, really short songs. First up is TO with "Red and Brown," opening with a tinkling piano melody straight out of the Liberace songbook that is quickly swallowed by feedback, followed by a full-out assault on the senses involving severe power electronics combined with a lot of hysterical screaming. There's no way to tell what he's saying, but he sure sounds upset. Perhaps he's being tasered in the balls; maybe someone is pouring hot lead up his ass. Either way, he sounds like he'd enjoy leaping from the speakers to bite off your ear, and it's amazing he can be heard over the orgy of sonic ultraviolence in which he's enveloped. Then the song ends abruptly. Very abruptly. It's the sonic equivalent of strolling through the park, watching the birdies, and being mugged without warning -- by the time you realize steel-booted thugs are kicking the shit out of you, they've already escaped with your wallet and your watch. Flip the cassette over and Cock E.S.P. somehow manage to be even more obnoxious on "Masshole" -- swirling sheets of atomized noise like flying monkeys flinging ninja stars at your head, accompanied by bursts of pained howling and noise harsh enough to strip paint from your walls. Like the other track, it's over just when things are starting to heat up. I guess they figured you aren't man (or woman) enough to endure the torment for much longer. As noise strategies go, getting your hate on in a hurry and exiting stage left early is a pretty good plan -- it's better to leave everyone wanting more than to wear out your welcome, right? Like most LA releases, this one is limited to 100 copies.
Twodeadsluts Onegoodfuck - Champagne & Biological Women Bloodlust! 7-Inch SingleHere is an absolutely depraved record from the annals of the Bloodlust! catalog. The artwork and titles really put things in the right mood for the sounds so upon spinning this little gem I’m all revved up for some totally sickened noise. As with my classic complaint about TwoDeadSluts OneGoodFuck, it’s too short! I just want more more more. Side A builds slowly with “Covered in Shit” and works into a heavy rhythmic power electronics frenzy. All lasting probably 2 minutes in total. Immediately noticeable is the HUGE production here. All the details of this filth can be heard, all the way down to the most miniscule grains of grit. “Down in the Dirt” fades in with a low-end pulse that breaks into a metallic texture of alternating machinery. Once again, barely hitting the two minute mark but hitting hard enough that it won’t soon be forgotten. Perhaps the most crunchtastic track here is the opener on side B “Still Erect (…and definitely not leaving)” that features a core of blown-out distortion as the main layer here with blasts of the slut’s token feedback layers on top. “Mark Solotroff Built My Hotrod” being an obvious reference to Bloodlust!’s label exec features a heavy glassy drone, and tons of feedback layers.
Of course these tracks can only be complete with the most sickened, over the top vocals to appear in power electronics. Pitched down, pitched up, distorted, and generally mangled to all hell it’s obvious that TwoDeadSluts OneGoodFuck has one goal: to create the most insanely noisy heavy blast of noise that is possible. My analysis: that they’ve come damn near close.
Cock E.S.P. / Twodeadsluts Onegoodfuck Lascivious Aesthetics - Split CassetteThe world is moving fast. Faster and faster every day. Each friend added to my stupid Facebook page just makes the endless spewing of information wash by like water flowing through a breaking levee, flooding more and more with with each opening fissure. Is information cheaper today then it ever has been? Or are we actually valuing it more by spending more time mulling over it, archiving it, and finding new ways to present the same old shit.
These questions are heightened by this fantastic little 4 minute cassette I have here. Yes, 4 MINUTES. Four minutes of pure depravity of course. So, does this mean that these sounds are just so fucking worthless that the artists only needed to record 2 minutes each to get their point across? Or should this diamond in the rough be treasured for every second because of its intensity and value? Is this a case of information overload or information to be valued?
The infamous TwoDeadSluts OneGoodFuck kicks off their track “Red and Brown” with a heartfelt piano melody then shoves the keys in your ass with no transition to a raw power electronics assualt. The track is very well layered with never ending screaming and a weird choir melody that is somehow also harsh as hell in the background. I’m really digging how just totally insane this is and think that it does well to portray the total chaos that is their live set.
Cock E.S.P. is an act whose performances rival that of the sluts. Fortunately their track “Masshole” does as well, and it is of course exactly what I was expecting. Harsh noise of the purest form. There is no musical elements to this whatsoever, it’s just a strait-up noise blast with various horribly harsh sounds, metallic shuffling, things rubbing together, screaming, and feedback.
So in the end my questions still remain unanswered. In two minutes it feels like this tape is more of an epilectic seizure than an actual release made to listen to on a stereo. It’s a fucking heart attack wrapped in plastic. If information could kill, this will be your demise.
Terror Webzine Review: Corephallism - s/t 3" CD (Lascivious Aesthetics / Apop Records) This miniCD is the debut release of project from Shane Broderick. He is one of the members of controversive power electronics unit Twodeadsluts Onegoodfuck. There is a little piece of sonic information in this professionally duplicated disc. Just a couple of tracks that plays more than 7 minutes. I don't know if that should be enough to form the opinion about the project or not, but it gives landmarks and I do like what I hear. The first track begins with a melody of organs which sounds like taken from some trashy horror movie from seventies or eighties. Nightmarish night is over, day is breaking and everyone of us stays in this brightness with our clearly lighted loneliness and personal ghosts. They immediately come to surface and slowly press you to the corner with pulsating, massive waves of analogue. The sound in both tracks is very deep and dense, almost up to the state when you literally feel lack of oxygen. A sample interferes from beyond pulsations which sounds like chanting of sirens while disguised military submarine sails by. Though it is hard to tell what is real and what is not because of denseness of sound. At last the sound of the first track becomes calmer. "These scars will last a lifetime" begins with distant radio noise. You can hear a pulse of a single note through it while the piece, after somewhere about a half minute, explodes. Despite the fact that I'm listening to this record for N-th time alredy and I know what will happen and what to expect, everytime this sudden jump of volume somehow frightens me. Somewhere deep behind the static and condensed wall of sound, the cry of a woman is heard, squeaks of doors, talks... or maybe it was just an illusion? Because hardly anything gets through minimally changing avalanche of sound. But no, there is no need to think that it was harsh noise wall or so. It is a strange mixture of ambient and noise. Sharp, strong, very dense and dark. Finally the stream of sound ends and we are faced with a couple of seconds of pure weeping. Record ends and, surely, leaves you wanting for more. Solid debut work. If I understood correctly, the perch was raised even more during live performance of Corephallism. That's good. Let's wait for other releases of Shane.
Zero Tolerance Magazine Review: Corephallism - s/t 3" CD (Lascivious Aesthetics / Apop Records) A short, sharp shock from Shane Broderick of Twodeadsluts Onegoodfuck fame in the form of two tracks of analogue synth abuse and general tape-fuckery. This venture into death industrial territory starts with a warm, glowing organ on "Speaking In Tongues" which is quickly joined by an expansive grinding-steel squall. "These Scars Will last A Lifetime" is a chunkier affair, a steady pulse overlaid by a relentless buzzing headfuck. Vocals are there although surpressed in the mix, nicely accentuating the tracks' themes of various hereditary mental demons. (4/5)
Also in that issue of Zero Tolerance there is a small write up on Corephallism. They end the feature with a quote from me... "I am trying to provoke the most upsetting and negative emotions imaginable through this music. This is pure synth worship. With a background in production and sound design… I have strived to create suffocating death ambient that is delivered with an abusive power electronics approach. Absolute control, insatiable discipline and relentless punishment waits around every corner. There is no escape. This is my therapy."