WEREWOLF JERUSALEM / WASP HONEYMOON
CDr
PRESS / REVIEWS
Reviewed on VITAL WEEKLY
http://www.vitalweekly.net/
Noise is of course the territory of Jliat these days, but perhaps this week it seems to be mine too. Which I think is fine, in these quiet days with not much mail, and a Merzbow collection heard twice already. Plus perhaps it is funny to hear band names like Werewolf Jerusalem and Wasp Honeymoon, who collaborate together for a good thirty minutes. If I have to play someone a release of 'noise' music I could easily, no, best, pick out this release as an example of what 'noise' is, as it appears here in its most purest form. There is a quick fade in at the beginning and a quick fade out at the end, and in between there is one line of distorted noise, without too much interference, interruption or change. I am sure that whoever I would be playing this too, would be surprised to learn that the material was assembled from January 2008 until August 2008 and I could hear the witty remark: what exactly did they assemble? How much work could it have been for something that sounds like it was assembled in the amount of time this release lasts. But nevertheless it was quite nice. (FdW)
Reviewed on TERROR
http://www.terror.lt//
Legendary Werewolf Jerusalem under which unweary Richard Ramirez hides and Wasp Honeymoon (Geoff Markoff, Alison Rowe) cooperated for this release. They delivered three pieces with playing time of more than 25 minutes. Released in CDr by the Spanish label R.O.N.F. Records. Visually album looks really great. I do have a weakness for these contrasting + radiating spirit of giallo and cruelty artworks/pictures. Tracks are sequenced from the shortest to the longest one. Part I lasts just for a little more than 2 minutes, but the start is powerful. Wall of noise boiling in low frequencies prejudices in favour of the whole album. Short and concrete track. The second track is absolute surprise. In fact when I heard this track for the first time, I thought that my audio equipment was broken so I got up, messed with cables etc., but no. Part II is like a district of silence that lasts for 9 minutes. For the most part a silent crackling is everything what you hear, just as if cables would've been being disconnected. These cracklings evolve into short bursts of white noise that suddenly ends and you remain with silent crackling for another minute or two. At the very end of the track, cracklings become more and more ruffled and finally couple of seconds of low frequencies tears away as if from below thick ice of silence. While reviewing this track I thought to myself that it's strange for this "song" is the most difficult to "listen" to and seems the most boring one, but I could write pretty much about it. The last and longest/biggest wall in the album - Part III. 15 minutes of intense static. Sound is "raised" from the first minutes and when it reaches the peak, goes forth through the whole spectrum of frequencies. What I hear is not that pleasant though really powerful and massive stuff. Just like echoes from Part II the upper sharp and open layer of noise remains, but going to the end of Part III it disappears and only low rumble, stroking the body and soul with soft hand of killer remains. All in all - it's a rather good work. So whose neck will be tenderly kissed and cut with scalpel tonight? Who will be the next victim of this anonymous killer?
