Posts Tagged ‘11PARANOIAS’

Cruel Nature – CN132 – 25th May 2020

Christopher Nosnibor

Mike Vest happens to be in several noisy bands I really, really rate, notably Ozo, Bong, Blown Out, 11Paranoias and Drunk in Hell. And now, while I’m wondering if the guy has somehow mastered cloning and not told anyone, you can add to that staggering list Lush Worker, his solo project.

Cruel Nature, one of two Newcastle-based cassette labels who represent the city’s tight-knit but remarkably prolific and outstandingly strong underground scene, which is a melting pot for all shades or nasty noise and dark metal-orientated music, here serves up a whopping portion of Lush Worker, with three albums bundled onto a limited-edition double cassette spanning nearly two hours of what they describe as ‘heavy shockwave drone and dream guitar noise overload, perfect to bliss out to’.

The first of half a dozen Lush Worker releases from 2019, Cruise was first released digitally last February, and essentially comprises the twenty-eight-minute title track, a long, swirling guitar drone that straddles shoegaze and ambience, with a brace of shorter (sub-two-minute) ‘sample’ tracks, omitted here presumably for space, continuity and purpose. Because while this may be three albums, it may s well be one monster album, and is perhaps best approached as such.

Admittedly, no-one is likely (alright, I’m making a substantial assumption here) to listen to this either an album at a time, or as a whole in a single sitting. Not because it doesn’t flow perfectly as a single-sitting piece, but because even in lockdown, does anyone have that kind of time?

So ‘Cruise’ cruises on, slowly, a spiralling cathedral of guitar that simultaneously drones and soars in a mess of wailing feedback and misshapen chords. There’s some distant beat in the mix, but its submerged beneath an undulating tide of treble.

The five cuts of ‘slow burn guitar’ from the appropriately-titled Uplift, released in October 2019, with the exception of ‘Flatliner’ are all around the nine-minute mark, and are more rhythmic, if not necessarily overtly structured: ‘Sub-Ether’ is a heavily psychedelic shoegaze swirl, centred around a repetitive, cyclical motif overlaid with layer upon layer of FX-soaked overdrive, with the album tapering to an elongated buzzing drone on ‘Frozen Egypt’, where it’s the slow-melting bass trip that makes it.

Somewhere in the haze of dubby desert rock, there’s a soaring experimental psychedelic drone on ‘Slow Zone Design’, and howling lead guitars duel against one another, occasionally colliding in a smash of metallic sparks.

Although presented here out of sequence (and the cassette sequence is different again from the digital release), with Hb1c MkII having been released in May, it makes sense for its two half-hour behemoth efforts to round off this release, mirroring its opening counterpart. However, ‘Hb1c MkII’ is a much mellower piece, a near-ambient drift of echo and delay, the chiming notes floating and fading into a rippling haze, before ‘Sobek 110’ delineates things further, a twenty-eight minute single-note drone at heart, it’s a meditative, medicated, soporific experience.

Collectively, these three albums demonstrate different but connected and complimentary facets of Vests Lush Worker output. Dim the lights and explore.

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Their latest album, Reliquary For a Dreamed Of World has already received a big thumbs up from Aural Aggravation. To coincide with the release, the band, known for their mind-melting visuals, celebrate video nasties in their brand new official video for ‘Milk Of Amnesia’.

Here’s what Adam Richardson had to say about it… “The video for ‘Milk of Amnesia’ is a visual banquet to serve the song…. it is a psych rock anthem with black metal delivery and aesthetic – wildly different to any other song on the album… so we have used appropriately toned low-budget horror film clips as well as the intense psychedelia of drug drenched visions to act as an accompanying bludgeon to what is the shortest song we have ever recorded (under 4mins)”.

Brace yourselvs and watch / listen below:

Ritual Productions – 28th October 2016

11Paranoias do heavy psychedelic with the emphasis very much on the heavy. Their fourth album, Reliquary For A Dreamed Of World is a downtuned, ultra-low frequency, mega low-tempo doom sludge trudge through the darkest places of psychedelia. The crushing riff that lands halfway through ‘Peripheral Metamorphosis,’ the album’s first track, registers around the same sonic zone as Swans’ ‘Cop’. There’s an eternity between each pulverizing drum smash, which lands with the force of a planetary collision, and the power-chords are heavier than is conceivable for mere instruments to make: this is music that’s nothing short of galactic in its enormity and weight. It’s the sound of dark matter combusting.

Five minutes into the 15-minute mammoth that is ‘Destroying Eyes’, a whip-crack treble-topped snare snaps through the dense murk of noise to propel a vocal track, layered in delay and reverb to plough a New-Wave inspired furrow before it all explodes, unexpectedly, in a blistering wig-out centres around a driving goth-tinged groove.

After the hypnotic ‘Avallaunius’ chills the intensity – at least for the first three minutes or so, at which point it brings the noise – ‘Mutus Liber’ brings it low and slow and goes for the crushingly heavy in a big way, the mangled vocals all but lost in the tsunami of immense power chords. ‘Meditation on the Void’ is the darkly hypnotic workout the title suggests, whipping up a cyclone of psychedelia which threatens to collapse in on itself. After the slowly spiralling ‘Phantom Pyramid’, the brevity of the final track, ‘Milk of Amnesia’ is unexpected. In fact, a squalling barrage of feedback a snarling, ripping bass from which emerges something that for all the world resembles a distorted segment of Fields of the Nephilim’s cover of Roxy Music’s ‘In Every Dream Home a Heartache’, it’s unexpected in pretty much every way imaginable.

Conjuring mental spaces and a hallucinogenic, mirage-filled alternative reality, Reliquary For A Dreamed Of World conjures a world that’s s much a nightmare as a dream. It’s a powerful album which, while heavy – and oftentimes, monumentally so – displays a remarkable knack for a deep groove. It’s an album that will bend your brain, while crushing it by sheer force at the same time.

 

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