Tuesday, March 19, 2013

OUT NOW! Boar "Dead Existence"

Boar "Dead Existence"
pro printed CD
9 harsh tracks total
Crucial Blast Review-
Dead Existence is the first full-length CD from Alex Nowacki and his nihilistic harsh noise outfit Boar. I haven't heard a lot of stuff from this project, but I did have my skull shredded by the psychedelic harsh noise savagery that he delivered on hisTeen Cribs tape that came out on Rainbow Bridge a few years ago. Little has changed since then, the project still hyper-focused on drowning the listener in an ocean of black crumbling static and ultra-distorted amplified chaos; it's not rigidly "HNW" in its execution, but those with a taste for overwhelming electronic wall-noise will find much to fill their skull with on this album. 
   Opening with a short track of pulsating rhythmic electronics, Dead Existence quickly settles into a long stretch of monstrous, deafening power, unleashing brutal harsh noise walls on tracks like "The Dried Socket", "Distant Collapse", and "72nd Death"; these early tracks relentlessly blast one right after the other, eruptions of crushing harsh noise and extreme pedal abuse that rush out of the speakers with volcanic force. The album is filled with these maelstroms of churning, bass-heavy black static, infested with nearly non-stop assaults of intense junk-noise screech and some seriously violent editing techniques, striving towards some sort of mind-erasing trance-state through pure chaos. Once the album gets to the fifth track "Angel Skin Decaying", though, Nowacki takes a hard right into a more subdued, spacious sort of electronic deathscape, layering fluttering distorted bass drones and rumbling low end frequencies with peals of hissing pneumatic distortion and eerie feedback, the sprawl of decomposing sound laced with intermittent eruptions of rhythmic noise. 
   A couple of the tracks that follow pursue a similarly subdued sound, from unsettling noisescapes made up of echoing feedback and smoldering lava-flows of bass-heavy distorted rumble like that found on the atmospheric "The Fragrance That Brought You Back" (which eventually explodes into violent, guttural destruction and skull-melting feedback), to the viscous black boiling HNW chaos and glitched-out horror of "Her Toxic", and back to more of that ultra-heavy, garbled distorto-avalanche found on "Memory Lapse/Fuck/Gone". On the final track "Walking Love Corpse", Nowacki again surprises as he unleashes a firestorm of noise that halfway through makes a sudden transformation into a stunning wash of metallic, almost orchestral drone. It adds up to an interesting combination of crushing HNW aesthetics, brutal cut-up electronics and traces of death industrial creep that constantly shift throughout the album. Recommended.
Dead Formats review-
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-
$7 USA
paypal: boarnoise@yahoo.com

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