Crucial Blast on BLOODYMINDED "Within The Walls"
Crucial Blast has always spent time writing thoughtful reviews of BloodLust! releases and here is a look at the BLOODYMINDED "Within The Walls" album that we had not previously seen:
Still one of the key shapers
of American power electronics, Chicago PE mainstays Bloodyminded return
with their first new album in seven years, and it's one of the most
harrowing industrial/noise albums of their career. Within The Walls
is some of the grimmest material I've ever heard from the band, steeped
in clinical electronic drones and waves of deeply unsettling dark
ambience that move through uneasy psychological spaces. The album wastes
no time in its effort to creep you out as the opener "All The Cities
Are Occupied" layers those eerie dissonant drones and cold wheezing
electronics over sounds of creaking, scraping metal, like the sound of a
pick-axe being dragged down the length of some long, dank culvert,
surrounded by bleak synthesizer sounds that have been summoned by David
Reed of Luasa Raelon / Envenomist. But then they'll follow that up that
with something like the Whitehouse-worthy blast of squealing feedback
abuse and pandemonic derangement of the title track, a disorienting din
of crazed voices shrieking and raving over an assault of pestilent
fluttering distortion and severe speaker-shredding noise. The album
often surges into that level of extreme, assaultive sound, traveling
swiftly out of the passages of cold dark ambience into these vicious
onslaughts of deformed synth noise and sputtering oscillators, becoming a
churning backdrop of diseased drone and insectile chaos that takes that
classic Whitehouse-influenced style of power electronics and twists it
into something even more monstrous.
But the focal point of Bloodyminded's bleakly violent vision on Within The Walls
is not the harsh, ear-rending electronics, but actually the myriad of
voices that appear together throughout the album, a legion of voices
that evokes the interior pandemonium of a schizophrenic, the screeching
garbled horror of tracks like "Night Strikes" teeming with a barely
controlled violence, the nihilist lyrics spilling out in streams of
surrealist horror as the voices shift between English and Spanish, gouts
of guttural bellowing and sneering hatefulness, a multitude of
psychotic howling and gnashing teeth that ceaselessly pan back and forth
over the screaming malignant squeal and chirping electronics. It's only
at the very end, when the band slips into a reworking of the Locrian
song "Inverted Ruins" that the album transforms, as the coldly
ambivalent synth melody that Sanford Parker weaves around the
skull-scraping feedback slowly blossoms into a kind of mesmeric,
malignant darkwave; in that final moment, Bloodyminded's high-end
violence somehow morphs into some akin to a more atmospheric Skinny
Puppy, a striking and wholly unexpected climax to the otherwise
blistering aural abuse that makes up Walls.
© CRUCIAL BLAST