Malignant power electronics conjured from the meeting of master and protege. End Of Autumn is a live collaboration that took place in April of 2006 between Prurient (Dominick Fernow) and UK power electronics/scum-industrial legends Sutcliffe Jugend (Kevin Tomkins, formerly of Whitehouse, and Paul Taylor) in Tunbridge Wells, UK. Just like I expected, this is a brutal performance that subsumes both artists into a decimating sum total, and I can only imagine how overwhelming it probably was to have actually been there at the performance. End Of Autumn is divided into four sides, and each side is titled after a different season. The liner notes state that the lyrics have all been taken from old death poems written by Japanese monks, but the words are impossible to make out due to the babbling, garbled screams and modulated vocals that sound like someone in the throes of demoniac control; the sound itself is total industrial chaos, and each section is a relentless assault of raging high end feedback and tsunami waves of distortion flowing out of massive amplifiers, aggressive metallic scraping and contorted mic feedback that drills through yer mind like a lifetime of regret. Dominick Fernow's trademark microphone/feedback lashings start to become more noticeable the deeper you get into the set, but the majority of this is dominated by crushing whirlpools of low-end guitar roar and earthshaking synth drones. Intensely brutal and HEAVY industrial noise, with Kevin Tomkins from Sutcliffe Jugend ranting and screaming hysterically, sometimes bellowing manic tirades into the incendiary eye of their noise-storm, other times reciting the poetry in a reserved spoken manner over some of the more subdued ambient sections. The tracks for the most part are along the lines of Sutcliffe's most dense and crushing work, or a more psychedelic Whitehouse, but the third side stands out as an exception. On the title track, the members of Sutcliffe and Prurient create a weirdly rhythmic soundscape of looping mechanical rhythms, squelchy toy noises, spacey FX, eerie horror ambience, deep growling electronic pulses, and horrific voices transplanted from a psych ward. It starts off almost like some weird drum n' bass/jungle, all skittering chopped up rhythms, but then moves into harrowing Penderecki-like strings timestretched into infinity and trippy trombone-like tones. This sounds unlike anything else I've ever heard from either of these artists, and as the side continues to plunge into blackness with metallic whistling and chirping and surges of distorted low-end, it starts to sound like a nightmarish 70's experimental electronic music score.

The records are presented in a beautiful gatefold sleeve with full color photography, and limited to 800 copies.