"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-
That means I will need to raise the cost of releases. I know you are all probably sick of hearing this from every label but.... it needs to be done.. Nothing will come into effect until March 17th. Here are the changes....
3 cdr set release
THIS IS A MUST HAVE!
Located in Saint Louis MO
THIS SHIT SLAYS!
210 min of death spewing HNW
limited to 20 copies
I watched you die-Morbid Beginnings
2 cdr set
Deep dark depressive HNW
limited to 12 copies
Review by Musique Machine-
“Morbid Beginnings” is a two CDR set that offers up four slices of oppressive, dark, tense, yet extremely brutal walled noise. I Watched You Die is one of the projects Dubuque Iowa based noise artists Alex Nowacki(Boar, Phantom Rib, Centuries Behind A Gate, Polyester Pants), and this project has been in existence since 2011, releasing around six CDR & cassette releases thus far. The project has always focused in on low-end, crushing & bleak walled noise.
The two unlabeled CDRs come in white double DVD case, which features photo copied cover sleeve that takes in a very dark picture of the project performing live. There’s also a card inlay that features a picture of the projects equipment set-up. The first disc features two untitled tracks, and each track comes near the 35 minute mark. The second disc features two tracks again, but these are less evenly blanced with their run-time- the first track comes in at the fifty minute mark, and the second at the fifteen minute mark. So all told there’s over two hours worth of blacked & intense walled noise on offer here.
So first up on CDR one we have the first untitled track, and this ‘wall’ brings together a meaty skull drilling bass juddering/purring, with a skipping ‘n’ circling crusty jitter. The track really feels like your head is in a vice, and the pressures is just getting more & more, as a drill buzzer 'n' sparks above you. The tracks pattern/structure remains fixed through-out, yet it keeps you fully locked in & entranced for it’s total running time.
The second untitled track brings together an endless descending & oppressive blunt worming bass tone. And this is joined by a fairly complex yet repetitive mass of crumbling ‘n’ crunching jittering textures. This track really seems burrow deeply into your head in a most intense & taut yet satisfying manner. From time to time through-out the track you get the odd sudden haze or shunt of extra textural detail flitting across the intense mass of the ‘wall’, but mostly this is a fixed & firm bit of wall-making.
Over onto disc two, and the third untitled track. To start with his ‘wall’ is built around a slight more open mix of layered crumbling & juddering noise which has a descend & fairly rapid feel to it; as the track progresses the sonic picture seems to get more & more crowded as similar toned crumbling 'n' juddering textures build up & press in on you. After a time the building-up of more textures stop, but the track remains full & fixed in it’s feel. To me the track rather brought to mind the bizarre image of greyed clouds descend from the sky, and falling around your head & body in crusty & engulfing manner.
So last up we have untitled track four, and this is built around a very meaty & roasting thick bass judder ‘n’ drill, which has crisp & crunching jitters tightly wrapped around it. The tracks structure is fairly firm/ fixed, though as the track goes on more intense juddering vibe is brought to the fore- yet the whole ‘wall’ never shifts to far from it’s structural foundations. This ‘wall’ has got such an brutal ‘n’ crushing feel to it, yet it’s damn entrancing too. The tracks a great end to this great release.
I’ll have to admit I was a bit disappointed when I heard Boar(Nowacki’s main project) was moving away from pure HNW, to a more PE/ harsh noise/ HNW/ moody experimental noise mix. So it’s great he’s keeping I watched You Die as a pure HNW project. Simply “Morbid Beginnings”offers up four masterful & brutal slices of walled noise, that clearly show that Nowacki is still able to create intense, creative yet entrancing walled noise. This release came in a edition of 12 copies, so you might get lucky & still snag a copy, as this really is a must have item for any self respecting ‘wall-head’.