Album Notes

Obsessed about their own nature and formation processes, these recordings evoke lost machinery stretching in infinity of time and space. No matter who is listening, it will stretch to an ultimate moment where the listener will drown in its own insignificancy and it will proceed, and proceed, and proceed. Self-inflicted claustration feeds an anonymous satisfaction; repetition dilutes all of it even more.

It is saturation that glues all mental disorientation and all pieces of meat together. Sliced and dismembered, meticulously, recovering all synapses from places captured to sound and repatriated to areas unknown. Intercourse without previous contact, cannibal devirginization of soul.
The CD-R comes wrapped in a black tape and both the imagery and the titles of the tracks resemble a dirty, sleazy, sexual domination language. Visceral and distant at the same time, where no warnings can prepare the forthcoming invasion. Read in a classic rape analogy, this can go back to the idea of destruction of content by radical deformation of the process by which we achieve those results. Permission to go deeper is required, although we will go on longer instead, in an incessant again-and-again which leaves no marks but the ones carved by forced entries from behind.

Aural trepanations with erect cock and savage broadcasts, a loop massacre invading smelly reentrances, voice as fetish. Subliminal and subterranean, breeding demons from dirty orifices and tight words trying to sneak out, dominant and sickened poetry from the sewers. Obscured by thick smokes and sex-stinky bodies lay to rest on holes beyond the stars. Interrupting penetrations, leaving unfinished business in suspension of climaxes unknown.

When distortion of odours and aural dissections collide there is an incontrollable desire for deepness, a rush for blackness hidden in flesh, a subduction of the skin, the last rehearsal before rectal cosmology.Expropriation of lands and natives, stealing crimes and affections, building new objects to be named soon after. Sound fragments buried in lust, smashed against the wall and fed to the beasts outside. Intense, rude and horny variations on a theme, 17 short discharges of cerebral overdose, 17 ways to slay without being seen, 17 ways to implode into an orgasm. -Barulho Heathen Harvest



XDUGEF - BOSSLADY (CDR by Canned Beef Records)
My two cents on this album: Power Electronics with a very dominating feel. Xdugef's live performances bring intense frequencies and pulsing rhythms to the forefront. While most noise artists are content with screaming about nonsense or some sort of personal angst, you won't get any of that here (thankfully). BOSSLADY is strap-on face fuck with no regrets and breaks the mold of most noise discs that it has a bit of structure and not a bunch of short cut ups or extra long one track that takes up the entire album. You feel humiliated and shamed into enjoying this disc, because BOSSLADY wouldn't have it any other way. The Packaging features a collage of Dominating BOSSLADIES punishing various clients and a warning on the inside "WARNING! THIS DISC CONTAINS XXXXTRA LONG FREQUENCIES." Choice Cuts include "ButtPlug", "Scream", "Boss Lady Speaks, You Listen", and "Sex Slave." They all run the gambit of Drone, Dark Noise, Power Electronics that would make any Merzbow enthusiast happy. CursedC


XDUGEF - BOSSLADY (CDR by Canned Beef Records)
Xdugef is AKA Adrian Dimond a noise maker from L.A. whose work is produced from found sources on the internet, from modified electronic toys and self made devices. There are 17 fairly short tracks, and on one we do hear the boss lady speak - but as elsewhere the whole work is a mix of pulses and beats, glitches and feedback. This has to be one of the most significant pieces I've yet reviewed. If noise contradicts itself by obliterating itself - and here we have that - and the actuality of the fucking up not only of sound but the mechanisms for making sound - which though is doubly inscribed by the whole iconography and ontology of female domination. A reversal of traditional roles yet one which is generally opposed by feminists - an interesting aporia which is the sexual doppelganger of the noise genre. It was Merzbow who famously created the problematic of noise paralleled by the exploitation of female bondage which was "carried" off by the excuse? of being part of an oriental culture- and so art! - the feminist critic becomes racist or tolerates female exploitation, imposes colonial values or allows the pornographic- the music isn't music but noise - yet we are in a double bind as it clearly is just that. Our value judgments flip backwards and forwards like computer logic gates, western logic and the rule of the excluded middle is broken - do we obtain what used to be called freedom? Do I enjoy the kitsch of noise/glitches - fishnets and arse as an intellectual comment - or as is - or both? Perfect. (jliat)