I can't tell you when I first started listening to this CD to review it. It's been so long. I've listened to it a number of times now. I've created a number of scenarios in my head for different reasons. I'm not the same person now that I was when I first got this CD to review. A lot has changed. I took a hiatus from writing even. But I'm back now and I'm going to kind of write about what I hear in each song as it plays, just like I used to before.
Human Fluid Rot starts with some harsh static but there are these tones, this sound behind it, that seem to be guiding us into a melody before it all breaks down into even louder, harsher screeching and static. It just seems to be sucking us further and further into a void with those sharp distortion cuts that Nirvana was trying to perfect in what would be their final album. Towards the end now it gets rather high pitched to clear the people who aren't really into it out of the room. Someone can briefly be heard talking, a voice trying to come through the madness and offer up one final plea of sanity. Screams. The madness pursues and it cannot be stopped, it only intensifies when you struggle.
Track 2 doesn't come off quite as loud and brash as the first. There is this audio clip coming through in a clearly spoken manner. It starts off with something about Jesus Christ and a hotel and it sounds like someone reading a report from a serial killer. The music was somewhat tame at this time, so you could get a better idea of what was being said, but it ultimately grew back into that distorted static sound. It's getting choppy now in a way I've not heard before. The words have returned. Sharpness. At one point the static crackles and it reminds me of the cocking of a gun. The whirrs kick in and we hit this stride.
A scream. This is getting downright violent in the most minimal way and I love it. This isn't music right yet-- it's someone being tortured-- but I imagine people overhearing it in place of Lil Yatchy or whatever and it makes me ever so pleased. It sounds like a fire alarm is having a glitch. Whirrs come into the sound next, which make me feel like we're in space or the fire alarm is real and aliens are in fact landing. It's got that 1950's sci-fi soundtrack vibe going strong. It sounds like knobs are turning, changing the frequency, that mad scientist in the lab cooking up music. Beeping like Morse Code. Small static patches. Static shots are fired into space. We're fighting back against the alien invaders now and rightfully so. It's a war and it's one we might not win but we have to try for the human race or whatever. These are the hits from the frontline on the battlefield. It's quieter now. Solemn. Is the war over? Have we lost? It feels like we have as we drift into the nothing. But here come a few more static shots. Frequencies are back again. Everything about this track is coming back with a sneak attack.
I've always enjoyed this style of music- whether you call it "harsh noise" or whatever- since I first heard it because it is taking the sounds you would not always associate with music and it turns them into music. The funny thing is, when I was a kid (and teenager) I would often find objects and make sounds with them. I'd wonder how that could translate into music-- something as simple as hitting one object with another, what kind of drum could replicate that sound? But that was my mindset as a child-- to color within the lines if you will. Now, as an adult (And I mean that more in terms of a music listener than an actual adult) I can see that I don't need to find a sound in a proper way I can just record these two objects hitting each other because it sounds good to me. I love that music has come this far, or at least to the evolved musical minds it has.
$5.50 // https://breachingstatic.bandcamp.com/album/boar-human-fluid-rot-split