Real Death / Gyakusatsu
We´re back again with another offering from Spanish Marbre Negre. This time we go head-to-head with two projects on a split cassette release. A project called Real Death and another called Gyakusatsu. Real Death is a very new project by Óscar A, which is the same guy behind the Gyakusatsu project...as well as being the mastermind behind the Marbre Negre as well! Each act shares the 2 sides of the cassette, and each project offers about 30 minutes of sound brutality. Not 100% sure if there is a focused concept behind the release, but the release does showcase some interesting graphical pictures on the front and inside. The front makes me think of Japanese folklore kind stuff, and the inside shows an ancient painting of a Japanese couple having sex while the wife reads a book?! Hmmm... Well... Maybe the sounds within could reveal more?
The first track with the project Real Death has a track called Lucifer´s Rebirth. The intro of the track reveals an ambient-noise approach with ritualistic undercurrents. Heavily distorted bass strings are present with a heavy rumbling sound which gives it all a nice death-industrial/Atrax Morgue meets Throbbing Gristle sound-aesthetic. Low-fi sound (the way it should sound) and tons of atmosphere and mood. And it is very varied in the sound as well, lots of different moods come to my mind here. Does an adventurous trip to hell sound interesting?... Yes, it does, apparently, the Rebirth of Lucifer sounds like a good thing!. A REALLY good first track on this split album here kids!
The Second track with Real Death is called The Bone Taker, another name for the grim reaper? With an intense insect-like buzzing and that awesome-sounding and distorted bass strings, the feeling of doom is utterly complete here! Whoever needs vocals when evil-sounding bass-strings can speak?! Really like the density here, and how all the various atmospheric sounds work in layers. Really good track, even better than the first track!.
We jump further into the b-side with Gyaksuatsu. Harsher than the former, and more power-electronics orientated in the approach. Still not without the mood and the layered sounds! A kind of destructive post-war feeling is present in the soundscape. The first track simply is called Hate you. Dynamic HNW with layered ambient-noise industrial textures. Not too long and not short, it gets to the point.
The next track is also simply called Love You (Instead of Hate You). Here the listener will simply feel the sensation of being utterly drowned in sound, or simply being sucked into something. A quite intense piece of spacy harsh noise here!. The kind of noise track which stays in your ear after some time. Very intense and very brutal, do try to notice the layers here!
The third track called Additional Future, adds it all up into a rather...bleak future. Imagine a drilling sort of wire brush cleaning your ears, and then further into your brain. That´s how your additional future sound like! Very aggressive piece!
The fourth track More Time To, adds more time to your additional future!. It continues the brutal spaciness with all pedals running at full speed ahead, with audible vocals as well. The reverbed soundscape takes me (again) back to that classic Texas Chainsaw. A bit bleaker than the former.
The very last track Death And Rebirth remind you that Gyakusatsu is a very noisy act. The ears are starting to hurt now, and your mind spins a bit as well. Spacy and brutal would be the two words to describe the entire B-side.
A very sort of yin-yang kind of album (Asian again!). The a-side offers a thought before action concept, and the b-side yells action before thought. So when you have gone through the split, you have this feeling of closure. You have experienced patients and the complete opposite of that. It´s a matter of taste I know, but I am mostly with the A-side (If you ask me). I would gladly go back to Real Death and re-discover the sounds and moods within, but the b-side is more of a scaring-the-customer away. So what do we need, an entire album with Real Death Òskar!.
