Genre: Dark Ambient / Power Electronics
01 Death Season
02 Noise Destruction
03 Door To Death
05 At The End
06 Silent Intruder
08 Final Destination
Deaf Machine is a brainchild, a solo project of Mikael Svensson, a founder of Swedish band Megaptera. However Deaf Machine disappeared from the scene without leaving much that would make it recognisable and remembered – just taking part in a few compilations, issued on Cold Meat Industry/Vuz records (“In The Butchers Backyard” compilation) and Slaughter Productions (“Death Odors” compilation) and a few self-released tapes which are already difficult to get. And the title of this CD reflects the plot of this release. Not musically, but rather due to the reasons concerning the history of these tracks: all of them come from tapes and cassette/CD compilations (and some remained unreleased till 2008 – track 6 “Silent Intruder”) issued between 1991 and 1995 years. All those are collected, united and brought to present on “Found Noises” CD, music reminding of the past, despite all the attempts to improve the sound.
This CD is released by a new german label Raubbau (Deaf Machine became its second release, after Ordo Rosarius Equilibrio’s “Four”), which is founded by person, who has been being involved in supporting the scene for many years. It is distributed by Ant-zen, one of the most well-known rhythmic industrial labels worldwide. The booklet of this release gives an impression of very calm release. I personally enjoyed the fact that it has an interview with Mikael Svensson inside!
As for the music itself, it is quite various: a mix of such genres as power electronics, ambient, rhythmic industrial. Drone-ish buzzing (it sounds like being created with the help of a woodwind), different sounds added (drums?), accompinied with voice samples and samples of other kind taken from movies. Due to all those means of expression mentioned, noisy ambience mixed with samples, the first track - Death Season - makes one think to early TMLHBaC albums. Second track – Noise Destruction – sounds heavier than the first one and imagination draws frightening pictures of caves/ cellars of abandoned houses made of stone. Door To Death has distorted voice samples as one of the main instruments together with deep drone sound (as on the following tracks, like Silent Intruder, for example, a track that was previously unreleased), listening to which you can distinguish some kind of melody lying under the same thing can be said about Reaction track – a sample of melody is repeated over and over, distorted, covered with neavy buzzing. Injection is the only track (together with the last one if it counts) on the whole album that has a clear rhythm structure (although partly) and pulsating synth background – it is the least noisy while staying quite multilayered – the sounds and rhythms are added one after another following the evolution of the track. Final destination is the most calm of them all, the lightest in both meanings of this word, has a slight tribal touch (due to the instrument that creates rhythm ornament and the way it sounds with ambient passages that surround it).
At the moment there are quite a few bands following the same path, however, keeping in mind that all these tracks are dated back to the early 90s, at that time these tracks might have innovative, fresh spirit. Press release says that re-release schedule covers two separate CD albums (this one contains material from one of the tapes, two tracks taken from compilations and one previously unreleased track). So it seems we’ve got one more to expect in the nearest future.