Kakerlak - Crawling to Objectify
Sometimes there is a release that I listen to and just feel like I need to review it but then ask myself exactly what I am going to achieve by doing so. Some releases speak for themselves, not by the past work from the artist nor their stumbling mass of fans surrounding them, rather by defining themselves as true artists with quality releases, and one or two break-thru releases. "Crawling to Objectify" is a break-thru release for Kakerlak. If you are not aware of this artist than you may be aware of his label, Harsh Thorax Cassettes. His label and Noise project both have a decent number of releases under their belts. On this tape, which is a "True Force/Pain Electronics Product" (being TF/PE's 13th release to date without ever shitting out small and quick torrents of rubbish, instead they obviously look towards quality, and not quantity) you receive Harsh Noise delivered without caution or yawning boredom. Kakerlak has always had a somewhat "old school" feeling to his releases and teaming up with this label really brought that mood to a boiling point.
An opening track lasting a few minutes (3-4, maybe a bit more) prefaces this tape with broken metal scraping, splitting and springing shards of basement junk abuse completely strained and wavering through nothingness, just a mass of undiluted and pure metallic frenzy. This track comes to a forcibly abrupt end while the second track quickly jumps in tossing itself headlong into roaring yet dim currents of electrical interfaces building up quickly into a steamroller of driving crunch. Repetition points out traces of something happening, too dark at this point to tell exactly what it is. And then the stuttering of a voice writhes in, calm and focused, far from soothing. No need to hint towards, nor model this, as an exercise in the effects of aggrandizing tension. His previous output of material has helped him with that already. The B-side is cruel and unrelenting low-end textures with a metallic foundation. The sounds are altogether genuine, pure enough so that the audience can find an evolving and varying array of intricacies with each new listen. Progression, sometimes subtle and swift, is continually instituted with building violence, irritation and hate and it is all particularly sincere when it comes to the delivery of this cassette as a whole.
An opening track lasting a few minutes (3-4, maybe a bit more) prefaces this tape with broken metal scraping, splitting and springing shards of basement junk abuse completely strained and wavering through nothingness, just a mass of undiluted and pure metallic frenzy. This track comes to a forcibly abrupt end while the second track quickly jumps in tossing itself headlong into roaring yet dim currents of electrical interfaces building up quickly into a steamroller of driving crunch. Repetition points out traces of something happening, too dark at this point to tell exactly what it is. And then the stuttering of a voice writhes in, calm and focused, far from soothing. No need to hint towards, nor model this, as an exercise in the effects of aggrandizing tension. His previous output of material has helped him with that already. The B-side is cruel and unrelenting low-end textures with a metallic foundation. The sounds are altogether genuine, pure enough so that the audience can find an evolving and varying array of intricacies with each new listen. Progression, sometimes subtle and swift, is continually instituted with building violence, irritation and hate and it is all particularly sincere when it comes to the delivery of this cassette as a whole.
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