go crystal tears with it’s vocal hysteria throbs, cut up hissing and synth vibrations reminds me in parts of john carpenter’s prince of darkness. it’s a throat-torn incantation, a plea to the heavens for some dank obsidian fog to engulf as all. it’s black metal meets goblin meets wolf eyes. it’s like a proper song. almost. it’s under five minutes in length. it may well be the best thing old clay ruby’s recorded.
temple of flood is old school hex. it’s longer than the end of days and sounds like tetsuo the iron man found religion. it’s all of these things; the crackle and klang of degenerate fucked electricity and dismantled factories; eighties satanic computer noise; convulsing strings of synths; rusted decaying vocals; doomdoomdoom thuds; tribal percussion sluiced with the hushed scrape of church ambience; delicate swells of piano and inexorable drops of liquid; before organ drone leads us through the horror into the light.
an excerpt from nico vascellari’s new video with music from burial hex:
accompanied by dead luke on the nineteen minutes of howlingoscillations that is julius & ethel. creaking and groaning like some huge sunken ship, echoing and reverberating and droning and vibrating and sibilating with the weight of an ocean pressing in on it. whooping and hollering and wailing like the ghost of shirley collins trapped inside suicides noise machine. it’s decidedly no wave diamanda galas / lydia lunch synth buggery, all pulsing bass and ancient analogue and loneliness, all soaring wordlessness and nocturnal mutterings, all dark and warm and sad.
it may well be the best thing she’s recorded. the new amsterdam cdr is also mucho recommendo. as is her cover (again with dead luke) of jefferson airplane’s somebody to love.
