I WATCHED YOU DIE - I WANT YOU ALL DEAD (7” lathe record by Breaching Static) When compared against the minuscule five-inch (!!!) single that Breaching Static released alongside this disc, a seven-inch record is like an eternity for Alex Nowacki's noise project, I Watched You Die, to operate – even if he only uses one side. What happens on this disc is interesting: whereas the five-inch, 'You Are All Lame Fucks' (recorded as Boar) skittered in agitation from plank-of-noise to plank-of-noise, here Nowacki seems more comfortable fleshing out a relatively level plateau of abrasion. And it's crusty & crumbly wall, but not one that's overly onerous to consume. Instead, it erects an impressive texture that is simply awe-inspiring to behold. It is curious how at odds this craggy mo'fo is with the pristine, transparent record that houses all the sound, but that's the beauty of the format. Another important ingredient is the brevity of the proceedings. I reviewed a full-length album Nowacki put out awhile back, and it was monstrous in good and bad ways. In one sense, there is something cathartic and purifying (and perhaps artistically profound) about 70 minutes of static wall-noise. But it's also more than one can digest in a given sitting. With this lone, enormous track, Nowacki manages to pack a similarly intense thrill, but achieves it in a concise, intense, and visually appealing context. (MT)
I received this a long time ago and I'm just getting to it. That's the truth of it all. I am way behind. It's not intentional but I have about 50 things to review and I am going to get to all of them but it's tough. I may just have to stop accepting things for a year or so. We shall see… Anyhow, this is awesome. I only really get to listen to cds in my car and this one has been such a nice, noisy companion for traffic that I think it may have increased my anxiety to an almost homicidal level. That is a high I can get behind. Seriously though this is an excellent cd that skirts the line between traditional noise and HNW quite nicely. There is grit here, and lots of it. I would recommend tracking down Boar's releases as soon as you are able. This cd may be all gone though because of my delay. Sorry.
Musique Machine review-
"Dead Existence" is the first full length pro done CD from this highly creative yet brutal Iowa based harsh noise project. Boar (aka Alex Nowacki) has been in existence since 2007, and has amassed coming on for 40 releases that take in CDR’s, cassettes, and compilations.
To start with this project was purely HNW, but over the last few years Nowacki has mixed in elements of harsh noise, drone, power electronics, and noisy experimentation into his releases. Many of "Dead Existence" tracks have a groundings with in the HNW sound, but Nowacki often expands & adds to their walled-noise template.
The release offers up nine tracks in all, and these each last between just over the minute & a half to just shy of the twelve minute mark- but most of the tracks fall around the five to seven minute mark. On the whole the album offers up quite a variation in type of track, we go from the grating & rapid HNW of “The Dried Socket”, which mixers together churning ‘n’ roasting set/dense crusty static with for forking mid to upper ranged texturing. Though to the brooding electro noise tone dwells of “Angel Skin Decaying”, which mixes together malevolent ‘n’ purring synth drone sustain, with piercing high pitch tone holds. Onto harsh noise/ HNW crossbreed of “The Fragrance that brought you back” which starts out as thick roasting & steadily galloping walled noise, before getting ripped ‘n’ pummelled by searing noise stretchers & churning violent textural slices/ grinds. Onto the last track “Walking Love Corpse” which see the sound move from a mixture of tumbling yet locked walled noise & piercing drone sustain, onto juddering ‘n’ crusty walled noise earthy brutality that concentrates on thick billowing/jittering textural sustains, before ending up the circling grim grey glowing drone repetition.
My only criticism of the album as a whole is that there are no real long dwells in pure & lengthy HNW composition here, but then again I feel if there had been this might have unbalanced the albums flow somewhat. And I get the feeling this release is being used as a spring-board to get people into Boar’s sound, so longer lasting slices of HNW may have put some listeners off.
Clearly Nowacki has taken a lot of time work on and building these tracks, to make this release both brutal yet still relatively approachable to none hardcore HNW heads. On the whole I can highly recommending picking this up if you have any interest in creative Harsh Noise with a HNW or seared yet atmospheric drone leanings.
Vital Weekly review-
Breaching Static magnate Alex Nowacki is the likely-deaf fixture behind Boar, one of the obsessively productive characters of the contemporary noise underground. He's poured heaps of effort into 'Dead Existence,' a half-bleak/half-goofy title that hints at the nihilistic cinder-block of noise contained within. Over nine dense compositions, which range from from one-and-a-half to twelve minutes in length, he strings up a whole miniature world of ugly textures. I really admire Nowacki for concentrating his efforts on this release; whereas it's something of a noise tradition to churn out CDR after CDR of practice sessions, outtakes, and recordings collected while asleep at the mixing board, here Nowacki has directed all his energy towards a polished and coherent ALBUM. Although 'Dead Existence' is a CDR release, it involved a substantial investment: it's been pressed and printed professionally, decorated in a rich, mottled brown that portends its inner grotesqueness. Like most noise releases, it is difficult to identify a theme running through the release - apart from homeliness - and its abstract form eludes attempts to chart a consistent meaning or thesis that binds it together. Yet by wedding these tracks together he underscores the differences in grain between them: the cantankerous gravel of "Memory Lapse/Fuck/Gone," pierced by steamy laser-hits, diverts from the torrential blur of "72nd Death." Elsewhere the listener gets a-spankin' with some wiry giblets of high-pitched squall, which seep in through the chaos at occasional checkpoints. A few interludes even break from the ruckus: these offer an appreciated respite, as evidenced by the ominous "Angel Skin Decaying" and the last-gasp guitar hum that draws "Walking Love Corpse" to a close. As is often the case with noise releases, the track titles often take the macabre factor a tad too seriously, but that alone shouldn't discredit this ambitious work of longform noise. (MT)
Memory Wave Transmission review-
Boar is the project of Alex Nowacki who offers up nine brutal tracks of harsh noise and walls on Dead Existence. The number of tracks might seem a bit excessive even for a full-length release, but Boar’s agenda for this disc is to create shorter, more manageable walls that get in and get out. Long, unchanging walls aren’t really present on Dead Existence; instead, the emphasis lies on textures and patterning to create memorable walls that quickly morph into the next track.
There are a number of good walls on the disc, but Boar doesn’t stick to one device throughout. Many of the walls are fairly rigid throughout their running time – “Her Toxic” and “72nd Death” come to mind as two fairly traditional walls with rumbling and crackling static formations – but there are also those tracks that continue to swell as they move forward.
“The Dried Socket” is a crunchy wall with a heavy, fast-paced bass line, but listening closely to the interior of the static rewards the listener with quick bursts of high-pitched feedback. There’s a similar thing happening within “Memory Lapse/Fuck/Gone.” Opener “Watching the Tragedy Unfold” features a wavering rhythm along with a rushing background crunch, giving the track the illusion that it’s nearly out of control.
Dead Existence isn’t always just HNW, though. The devastating track “Angel Skin Decaying” features a super high-pitched feedback buzz throughout, along with short bursts of synth notes. Every time I hear this track, my ears are left ringing for at least fifteen minutes. Following that is “The Fragrance That Brought You Back,” an industrial-tinged track that wouldn’t seem out of place with a few vocals from Nowacki thrown in, and in fact some of the wall static textures feel like heavily-distorted screams. This is one of the best of the bunch too with its cut-up style breaks in the wall.
But the shorter form of the walls does tend to make some of them less memorable. The lead-in to “Distant Collapse” from “The Dried Socket” is the only thing that really seems to differentiate those two tracks from the other; even though they’re not the same textures, they sound pretty similar.
But the experimentation is noted, and Boar offers up some intense walls that, because of their shorter length, are easier to return to if the listener wants to relive the experience. This is a release perfect for those who like crunchy, bass-driven tones but don’t want to put in the time to listen to lengthy walls – and not only that, it’s got a ton of great sounds to offer up as well.
what to expect-