This rare early 90s release (1994 to be exact) from Japanese industrial free-jazz/drone/noise collective Dislocation was the very first release on the now long-gone UK label Scatter, which also issued titles from Derek Bailey, The Thirteen Ghosts and Steve Noble during their brief run. One of the few outfits that was able to channel the sort of industrial jazz-noise obliteration that Borbetomagus pioneered, Dislocation explored a form of dark, apocalyptic improvisation that, on Carve Another Notch, vaguely resembles something akin to hearing Coltrane blowing away high above a scorched, nuked out metropolis that is slowly crumbling beneath an irradiated blood-red sky.

The album features two shorter tracks and the nearly hour long monolithic title track, starting with part one of "Between The Windows Of The Sea", a feast of scrape and howl, the sax blurting and honking above detuned scrabbly guitar and electronic noise and violent fx-pedal maneuvers. It's like a lot of Japanese noise from this era, energetic and apocalyptic, but with the addition of saxophone giving it a unique sound, sort of like Masonna crossed with grating free jazz sax. The second part features more melodic, Coltrane-esque blowing while the backing sounds grow more abrasive and sinister. Huge slabs of sheet metal are dragged slowly across a concrete floor while chiming cymbals and metallic clatter dances in the background, and the air dances with fluttering speaker buzz, flute-like tones, and bizarre squawking bird-like vocalizations.

Then it moves into the sprawling title track. It begins with high pitched sine waves darting around the shadowy, eerie sax lines, and grinding, rumbling sounds and random rattling percussion drifting up from below. The sound slowly grows more abrasive as the noisier elements creep out of the depths, warped tapes and orchestral sounds twitch and heave, a guitar is banged and clawed at, the sax disappearing for long stretches while the band wanders through fractured improv noisescapes and bursts of mangled shredding. The quieter moments delve into stretches of droning Middle Eastern-tinged ambience and bleak, washed out doomed ambience, and towards the end, strains of Japanese pop blare out of a tiny transistor radio and echo through an immense space before being swallowed by massive growling electronics.