Edelfaul Recordings – 5th June 2021
Christopher Nosnibor
Just as you should – at least ideally – never judge a book – or an album – by its cover, so you should never judge a musical project by its geographical origin, or judge the population by their government. This is particularly important as a point of note right now, and especially in context of this release. At home, we’re often led to believe that arts are of a lesser importance in the face of a pandemic or any other crisis, but history – and social media – will tell you otherwise: the natural human response to any trauma or crisis is to immerse oneself in either the creation or consumption of art or music. When bombs are dropping, people write poetry. It’s both a coping mechanism and a means of documenting events, and there is a clear logic to it: for me, writing helps to order things, both events and my own thoughts. The very act of writing gives mental effluvia a sort of solidity.
Spirit Skinned, the press release informs us, is ‘a duo rooted in the musical underground of Tel Aviv and Jerusalem’ and goes on to note that ‘The area is known worldwide as a high tension zone, and the small musical scene that bred Spirit Skinned enjoys a reputation for an uncompromising and often radical sound approach, paired with a rare level of perfectionism. If anything, their music lives up to that notoriety.’
Watching the news, one would be forgiven for being shocked and amazed that there would be any kind of music scene in Tel Aviv or Jerusalem, let an underground one. But even during sporadic war, life does go on, and citizens are always desperate to maintain some sensed of normality, and this is clearly true of Ben Ronen (aka diburnagua), former vocalist in various punk and noise projects in the Tel Aviv area and Ofer Tisser, producer/instrumentalist and a central figure in Jerusalem’s underground music scene, who have come together as Spirit Skinned.
The pair’s eponymous debut is pitched as ‘spanning the gaps between grime, industrial, hardcore, musique concrete, politics and expressionism’, and across the course of the album’s seven tracks, Spirit Skinned wanders far and wide stylistically. And you can’t criticise an album for any lack of focus when its focus is set so wide.
Many of Ronan’s crazed, yelping, barking vocals are largely impenetrable, and often partially submerged beneath layers of noise, not least of all highly dominant percussion: heavy industrial clanks and cracks dominant, but then again there are swamps of alternative and buoyant indie lurking in the mix.
‘Dry Season’ introduces the album with a slice of minimal DIY that’s brittle, spiky, and more than just a bit quirky, and lands somewhere between Young Marble Giants and Einstürzende Neubauten. Reverb bounces all over the place, while a slow, lowdown bass squirms away. They conjure seme tense and atmospheric scenes, and the claustrophobic, repetitious throb of ‘Leaving Room’ evokes the impotent rage of early Swans: it’s the sound of frustration vented through shouting into the void against a backdrop of music that bludgeons. ‘The Root’ is built around a monotonous pulsation that passes a significant nod in the direction of Suicide, but then there’s braying free jazz sax all over the top of it, and in combination, they’re pretty punishing. There’s a physicality to the music that’s affecting as they lunge from doomy drone to fractured, splintering harsh noise.
The album’s final track, the eleven-minute ‘Once Was Blind’ is sprawling monstrous hybrid of dark hip-hop, jazz, and psychosis. It’s like a beat poetry night on a bad trip. It’s a suitably weird end to a weird album, and one that’s well worth hearing.
Aural Aggravation 