Legion of Swine – The Noise Never Abates

Posted: 16 January 2021 in Albums
Tags: , , , , , , ,

Dret Skivor – 11th January 2021

I had the pleasure – and it was a pleasure for me, if not necessarily the audience – to perform a couple of times with Legion of Swine. They were noisy, brutal affairs: while Dave Procter’s many musical guises span most shades of noise, with a particular leaning toward all things drone, his work as the lab coat wearing porcine purveyor of aural pain.

The audio on this release is taken from Legion of Swine’s set for the Chapel FM 24-hour Musicathon, which took place on 12th-13th December 2020, which featured forty-five acts in twenty-four hours. Performing at 6:15am on Sunday 13th, the chances are few caught the performance as it aired live, but here, a year on, is an opportunity to bask in the gnarly noise at leisure and a more socially amenable hour. Not that there’s much that’s socially amenable about this: the liner notes explain how ‘It’s “almost” Harsh Noise Wall, but not quite as some random parts of reverb tails interact with others at various stages to create the slight variations.’

So how does that translate as a listening experience? Well, as the title suggests, the noise never abates during this twenty-six-minute blast of electronic abrasion. There are no breaks, no vocals, and next o no sonic variety, although there is some – and it’s heavily textured. In fact, it would be most readily summarised that it sounds like the cover looks: grey, grainy, but woven so as to be not entirely monotone and uniform in shade.

When I find myself listening to HNW – which admittedly, isn’t that often, as I generally prefer the concept to the experience, despite the fact I do very much like my noise to be immersive, not to mention somewhat testing – I find myself hearing subtle shifts in tone and frequency. I suspect it’s the result of some auditory illusion, the aural equivalent of an optical illusion as my receptors strain to find some variety, some detail on which to pin a response of some sort, in the same way a freshly-painted wall will reveal patches that are not as well covered as others the longer you look at it. The beauty – and I use the term with extreme caution here – of this performance is that those patches do exist, and are purposefully brushed into the finish.

This is alternately the sound of a distant swarm of hornets and swimming underwater. The recording doesn’t convey the kind of extreme volume that is an element of a lot of harsh noise, although one suspects that a large proportion of the interplay between sounds is derived from the way that reverberate, resonate, and rub together and against one another, and any comparison to Merzbow is entirely appropriate. But the lack of overt volume only accentuates the sameness – or near-sameness – of the sound, and what’s more that sound is a continuous torrential churning noise that sits in the midrange, and hammers like metal rain, a relentless digital downpour. It’s ultimately oppressive in its relentlessness, and over time seems to fade into the background, as anything with such a lack of dynamics inevitably will. But this is not about stimulating the senses so much as numbing them and challenging the listener to endure. It’s a test alright, and a tough – but good – one.

AA

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