DMDN is a fairly obscure industrial project from the Netherlands that I was just turned onto. This full length disc is an older RRRecords title that just became available again, and when I looked into the band, I was surprised to discover that this was apparently a side project from the guitar player for Lewd. Lewd, for those who've never heard of them (which would be almost everyone), were a Dutch noise rock band who played a particularly brutal form of industrialized sludge that often got them compared to Zeni Geva, though they were way more metal. Lewd put out a crushing Cd on Charnel Music in the 90s and then disappeared, but I've remained a fan since then. With DMDN, it's a very different sound, a kind of low frequency industrial noise that uses lots of guitar noise and feedback to create these heavy, abrasive blasts of sound, and on this recording he teams up with Frans de Waard from Kapotte Muziek.

The disc begins with "Lent 1 & 2", a low fidelity mess of distant, heavily distorted and processed guitar noise, vague remnants of human voices trailing throughout the ether, a high-pitched, wheezy sine wave tone buzzing around up in the mix, and fractured percussive rhythms clattering around inside this thick fog of industrial murkiness. Really delirious and trippy. There's more of a Total/Skullflower-ish feel on the next one "Veinzer" in the way that the feedback is controlled into tight bursts of black hiss shot out over the churning loops of amplifier rumble; as this track progresses, the feedback sometimes twists into half-formed melody for a moment, but is continuously dragged back down into the heavy, rumbling undercurrent of rhythmic noise that eventually dissolves into a wall of pure static.

But you'd be hard pressed to make out the guitars on the fourteen minute "GWM 1 & 2". Featuring an even murkier sound recording than the previous material, this sprawling noise piece is both abrasive and psychedelic as it layers whooshing effects and phased amp noise over looped grinding rhythms and an ocean of grainy shortwave hiss. Over the length of the track, a bunch of different sounds start to emerge, like a deep repetitive bass throb, massively pitch-shifted vocal noises, and what sounds like howling winds rushing out of deep cracks in the earth, all of which slowly transform this into an increasingly unsettling noisescape.

The next two track are collaborations with Frans de Waard of Kapotte Muziek/Beequeen; while in the same vein as the other material, the sound on these two tracks is bleaker, more stripped down, from the sprawling machine symphony of mechanical juddering and rumbling low-end amp noise on the twenty-one minute long "DMDN / PDM 1", to the spumes of charred, spectral drone and speaker fog laced with ghostly melody and eerie chirping electronics on "DMDN / PDM 4 ".

The final track on Sling Trip is probably my favorite, a fifteen minute piece called "Hoskins 2" that ventures into dark ambient territory with it's massive subterranean drones and cavernous rumblings, and strangely washed-out organ-like clusters of creepy synth sounds and monstrous roars that rise up throughout the track.

I can easily imagine DMDN's murky, mechanical drones and electronic rumblings appealing fans of the sort of murky dark industrial sounds found on the Cathartic Process label (The Teratologist, Clew Of Theseus, etc), bleak mechanical noisescapes that seem to stretch on forever.