This release is a collaborative effort by Bastard Noise and Antennacle
01 Moving Across
02 He No Longer Lives Entirely Among Us
Distant from early cavemen rudeness and abuse and coming closer to the breeding of atmospheres that are defined by subtraction, inflicting pain from its own ability to (almost) disappear in the process. Cold, cryptic and silent, still piercing and violent in all its softness and subtlety. Not necessarily a reduction but instead a different way to approach violence and, ultimately, the ability to make things hurt without asking for permission.
This latest offer by Bastard Noise is a collaborative effort with Antennacle in the form of a 7”EP. Antennacle is a new project that also includes Eric Wood, which proposes to think of the infinity of details and possibilities in what concerns the development and the survival of sound within space and time, morphing through distances and barriers and still gathering at some point. Maybe its influence makes itself evident specifically on these delicate surroundings preparing the invasion of the core, the tension of an expectation that never really consummates, instead consumes itself throughout the process.
Very careful in its presentation, sober and really professional, somehow reminding me of some of Alternative Tentacles art. Short, straight to the point, efficient in its approach, while having an attention and a love for details that is memorable.
Side A brings us “Moving Across“, a track that germinates around the slowness of growth, revived in its entire length. Slug movements and earthly deformations flowing in a powerful bass line and landing on arid feedback and tentacular ugliness, multiplying distances where there are only memories. Fragile ambience obscured by an imminence of disaster. Minucious dissection of a previous extension, as in ripped tissues overcoming their extremities.
“He No Longer Lives Entirely Among Us” is rawer, cracking and frying the possibilities of its inner turbulence. Meticulously manipulative and monolithic by subtraction. It´s homicidal, slasher-like, moving slowly across the dark. Reptilian and predatorial in a Tscherkassky´s “Outer Space” way, patiently planning an attack that never arrives . The oath of black blood breeds insect howls and massive invasions, a plague of imaginary electronics.
A very interesting and effective exercise on the inversion of violence and on the pain of almost-silence. Ethereal, foggy and detailed in the way it absorbs and cannibalises all life around.