Tiprod

The 'OXALmeat' is out on Zenapolae in Desember 2003.

Every time I put this disc in my cd player I begin to headbang simultaneously. The first track, TDsix, starts off with some synthetic chime sounds and then kicks into a burst of spastic low end noise that is just so rhythmic and chunky, I'm slapped back a couple years into my metal tinged early teens. Eventually the rhythm disintegrates and eats itself, but it reappears in different fractured forms throughout the piece. Track two, HEINRICH, begins with a sample locked in a repetitive groove and then turns into a hellstorm of insane sinewaves and skips that are simply euphoric. The beginning sample comes in and out throughout the piece, but mainly it varies from one collection of noisy synth grooves to another, constantly changing and turning you into a constantly swaying fit of nerves. This is definitely my favorite track here. Track three, carp recycling, is more of a straight forward low end thunder type track, progressing slower than the previous two, building itself into a messy fight between swirling highs and shitkicking lows. The fading delay ending is a rather nice touch. rACK#3, the fourth track, is a very jerky burst of skipping noise giving off an almost machine gun gabber vibe at times due to the sheer intensity of it all. The skips become swirls and drones during the last minute or so, which gives the tracks a very nice end touch. Track 5,4XeAtrcbgfhjko, is 50 seconds of swirling tweakery, the original source of which I think may have been a guitar due to the sped up nature of the sample. OXALICnaise acid, the sixth track, starts as a frantic sped up sample and evolves into a constantly grinding hurricane of delay. Swirling samples and sine waves scream in pain over metallic sounding sweeps and high pitched beeps and skips that once again force my head to bang, until the rhythmic sway shifts into squeaking samples and found sound manipulations that make me think of chipmunks fornicating. this successfully weeds out my headbanging and replaces it with a very large shit eating grin. Track 7, BEACHBALLS, is another slower piece, starting off with a backwards sample and building into a collection of rhythmic hiss that changes frequencies at various moments, but remains mostly the same until the ending high octave sine wave shows it's pointy, shinny head. Probably the weakest track here, as the build up isn't very remarkable. The last track, yeast extract, is a brooding mass of pulpy low end rumble and roaring tornados of sinewaves that scream "wheaoh" in ways that would make any sensible guitarist raise an eyebrow at it's overall evilness. Conclusion: chefkirk is the God of digital noise, plain and simple. And OXAL meat is a prime testament of his inhuman powers.
Royce Icon of Industrial.org

The first CDR is by Chefkirk, aka Roger Smith, who previous releases I reviewed without much enthusiasm. According to the blurb he "creates noise with more variation than one might normally find in the genre - employing rhythm and even the occasional melody" - I can only agree on the 'rhythm' part: yes, there are sequences of rhythms to be found here, amongst the block of rather uninteresting noise elements, digital distortion and obvious sound effects.
FDW/Vital Weekly

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