Ipecac Recordings – 4th October 2024
Christopher Nosnibor
The band’s very name carries considerable weight. It’s a phrase oft-used, but rarely really assessed and processed. But the band’s comments around their second album place it front and centre: “This is more of a statement about how things are going in the world right now.” says Spencer. “Things were pretty shitty before. I think things may actually have gotten a little bit worse.”
In the last week, here in the north of England, it’s rained. A lot. Here in York, the river breached its banks for the first time this autumn. Last year, this didn’t happen until sometime in October, although – despite multi-million-pound work being done on flood defences – vast swathes of land lay under water for the best part of six months thereafter. It’s also rained a lot in the south, too, with flash flooding. Yesterday, I turned on the news to see images from the US, which showed trucks being driven on rapid currents of rivers which hours earlier had been roads. And yet still people shrug and say ‘meh, it’s cyclical, we’ve had ice ages, we’ve had climate change before, I don’t see any evidence it’s man-made. Besides, we’ve just had the coldest summer in years, how’s that global warming, eh?’ When it comes to climate denial, denial is the operative word. Sure, climate is ever-changing, but not at this rate.
But as a species, we seem hell-bent on self-destruction: seeing things unfold in real time in the Middle East is terrifying, the mounting death toll in Gaza – or what’s left of it – a horror almost beyond words, while Russia continually alludes to a nuclear response. But this isn’t even a return to the Cold War climate, because a very hot war rages all the while, with no sign of abatement or a peaceful resolution.
So, have things ‘gotten a little bit worse?’ It would seem so. And the thing about history is that it happens – or is made – fast, and sometimes faster than others. As I type, I’m having to turn the volume up to drown the sound of fighter jets running night exercises – I like to hope they’re exercises – nearby and over the city. RAF Eurofighters – currently, it would seem there are seven running circuits around the area – and occasionally US planes, too, have been evermore present of late, and it’s hard not to feel nervous.
Turning up the volume on Gone Dark at least is no chore: it’s an album which needs to be heard at the kind of level it was played, the kind of level you know it would be played live. Seeing Unsane at The Brudenell in Leeds back in 2011 will forever be a standout for me. Nothing fancy or showy: they were simply relentless and brutal. And so it is that Human Impact bring the best of their component parts, consisting as they do of Unsane frontman Chris Spencer and Cop Shoot Cop squallmaker Jim Coleman, with bassist Eric Cooper (Made Out of Babies, Bad Powers) and drummer Jon Syverson (Daughters). These are four guys who know how to make the most punishing noise. And if noise has colour, the colour of Human Impact is a stark, steely grey, with the texture of sheet metal.
As the accompanying notes explain, ‘Gone Dark‘s songs emerge from a cinematic miasma of dark ambience, processed field recordings, street rants and industrial grinding. Like embers flickering from an inhospitable wasteland, Gone Dark‘s nine tracks provide paths away from total annihilation, with Spencer barking “Wake up or live on your knees” (‘Collapse’); “Now is the time to resist” (‘Destroy to Rebuild’) and “Follow the sound … the future is now” (‘Corrupted’)
“It’s just sort of the modern state of being, to me. From really a human perspective in terms of us being part of the masses, all of us together as one giant conglomerate of production and taxpayer bullshit,” says Spencer. “I make a conscious effort to try to think of things in terms of ‘we’ and ‘us’ and what’s happening to us as a whole instead of just my stupid problems.”
Understanding this context is integral to appreciating Gone Dark. There’s a pervading weight to every song, and the mood is of rage – the kind of rage that comes from a feeling of powerlessness. ‘Collapse’ sets the bleak, nihilistic tone as it hammers away, the guitar and bass meshing together to form a dense sonic sludge. It’s abrasive, but suffocating, conveying a sense of desperate confinement. Anger, anguish, anxiety. Gone Dark positively burns with all three.
It would be wrong to bemoan any lack of variety across the album’s nine punishing assaults: Gone Dark reflects life in the real world. There’s no respite, only relentless, brutal onslaught, kicking after kicking. You don’t get to catch your breath or mellow with some nice time out: no, you just have to endure the blows and do whatever it takes to stay afloat, and you stagger, punch-drunk, swaying on your feet wondering how much more you can actually take. It’s not a real question, since there is no option to do anything but plough on. Life is harsh, and this is a harsh album – not in the sense of harsh noise, but in its unyielding density. Gone Dark is the sonic equivalent of a good kicking. It’s so raw, so harrowing, and so intense it hurts.
AA
Aural Aggravation 