[Reviewed by Iaha Crax]
Romain Perrot wrote his manifesto „No ideas, No change, No development, No Entertainment, No Remorse” with a goal to frame a final harsh noise aesthetics. About half a century ago the painter Ad Reinhardt started his black monochrome tableaux series that lasted 12 years. Vomir is not that old, and still has time to give further depth to this musical absolutism. On the present split the track is called “170”, a name that indirectly suggests a non-coping with fine arts and a rough denominator that denotes plain material abstractionism. The noise-filled line is maintained simple and unadulterous, lacking in any disparities or abrasiveness to a respectfully horizontal and expectative end. A petrified sound formation of a black indistinguishable rectangular shape. The world of things is absolutely deprived of any exterior meaning that could permeate the side-aspects of understanding with plain connotation. A wall of sound is a wall of sound, just as the word wall is simply the word and not a wall. This type of irreversible reductionism is at the same time the final stage of sound and the matrix from which it has previously developed. It is a nothing to which you still have a reference in life. The other non-thing is death, but there connections are established on a different level.
VILGOC in “Ściana We Mnie” produces for about 20 minutes a manifest of forced, indulgent musical isolationism mapped on controlled hysterical displays of megalomania. His technique of explosion is seemingly more power-romance oriented (a term coined by Navicon Torture Technologies), but redefined in its lust for the undifferentiated by the means of harsh noise wall. It is like the ferocity of Richard Ramirez’s noise attacks have been distilled with the meticulous poetics of Prurient, to result into a luminescent and child-sensitive canvas of innocent noise. A tender joy of forgetfulness comes along with this childplay musical slab, where boyhood memories are collected and brought out from the dump of mature existence.
It’s truly amazing how you can unlock almost imperceptible nuances of approaches within such a limited genre, which is beyond description for the untrained ear. But, and this is the achievement of this split, you may even become erotically startled when hearing the third offer by I Am A Slut, called “Toxic Blood”: another type of harsh noise wall projection practically touching a clinical noise line, where you have the feeling that you are about to hear a continuous unsounding; despite the fact that the sound is still kept alive by a frequency coming from nowhere, that manages to keep the connection to your senses awake.
Much can still be said, but this genre is so reluctant to undergo analysis – perhaps the most reluctant of all musical genres – that more words would precipitate a fall into the monotony of prose rather than the monotony of its diaphanous expression.
Vomir / Vilgoć / I Am A Slut – Walls Of Annihilation
Beast Of Prey, BOP 7.3
CDr, Limited, 2011
Santa Sangre 