Climax Denial – Basement Bruises

Wow, when I popped this little bad boy into the ‘ol tape deck the last thing I expected was some excellent old school industrial power electronics, but I guess you can’t be too sure of anything these days. This is obviously my first exposure to Climax Denial but in the healthy duration of this exceptional tape they have left quite an impression on me.

Taking notes from such luminaries as N. and …Today I’m Dead, Climax Denial immediately plunge the listener into heavy churning dark noise with “-” and “My Baby’s Bones.” But the heavy wall of crunch doesn’t last long because “Facebiter” brings in some excellent rhythmic throbbing power electronics that stays simplistic and succinct. Climax Denial doesn’t let you go with just a beating though, towards the end of side A they pull you into their pit of despair with some more subdued and darker tracks.

Climax Denial represents an aesthetic that I seem to be inherently attracted to, the simplistic yet complex, but tried and true tumults of rotating between heavy walls of noise, bass booming throbs of intense analog hate, and dark atmospheric tracks all of which don’t really bring anything new to the table but take a time tested formula and make it interesting again.

My main gripe about the release, and I know many people wouldn’t hesitate to berate me with a diatribe of how being lo-fi is totally kvlt and trve to the old school industrial aesthetic but I just can’t help but imagine if these frequencies were able to penetrate my skull with a ferocity that could drive me to unfathomable things. So, what I’m trying to get at here is that the production sucks. The tape is all muffled and for the duration of side A the signal is about twice as strong in the left channel as it is in the right. I know it’s possible to make great sounding cassette tapes, I have a few of them, but do 90% of labels insist on using cheap dubbing hardware and cheap cassettes?

That aside, side B is not only just as good, but steps it up with a twisted variety of tracks, some including traditional delayed and distorted vocals. This side seems to be a little more varied as far as sounds go, with ambient lulls giving way to scathing layers of tortured vocals that break in so suddenly they managed to startle me once. By this point I become so entranced in the rapture of the sound that I forget what track I’m currently listening to. But, after an intense heavy droning track filled with low-end mumbling scratching at the edges of my sanity a lighter ambient synth track is exposed accompanied by a forlorn dialogue seemingly recorded on a cheap tape recorder. It is an accounting of an annual tour of the local morgue by a person who attends every year. It is quite an emotional movement because of the factual way the even is recounted and it’s a euphoric juxtaposition of ideas and sounds.

This is a tape that exceeds my expectations and can be viewed as not only a head nod to the masters of death industrial/power electronics but also as a new work that presents a wealth of excellent material that has been created within the confines of this underrated aesthetic. You can be sure I’ll be on the look out for Climax Denial releases from now on.

Review stolen from Blood Ties Webzine

01 – Untitled
02 – My Baby’s Bones
03 – Facebiter
04 – Dreams of Snarling/Dead Dogs
05 – Sexually Transmitted Boredom
06 – Stains of the Cross
07 – Cultural Enemata
08 – Kiss to Young Ice
09 – Abortion Reversal
10 – A Hermit’s Disdain
11 – Distinguishing Symptoms
12 – Call Me a Cocksucker
13 – Scorched Earth
14 – Untitled

Basement Bruises


~ by heavyelectronics on May 30, 2010.

3 Responses to “Climax Denial – Basement Bruises”

  1. Good stuff today. I think we may know the same guy. You have SLSK?

  2. “You want to download the following file: | 118155 KB

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  3. Nevermind the previous comment, worked myself around it.

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