� � Out of all of Antichrist Kramer's musical projects, Deathkey is probably the one that comes closest to evoking the sort of surrealistic cosmic horror touched on in his visual art. Part old-school power electronics outfit, part Feraliminal Lycanthropizer, Deathkey's pulsating electronic deathscapes are forged from outsider visions of an attained higher consciousness and something that vaguely resembles a Satanic take on the writings of Robert Anton Wilson. Deathkey's earlier works were a garbled nightmare of electronic noise and monstrous vocal hatred that proved too much for most noise "fans", and the project's deeply misanthropic vision hasn't helped matters in winning over new converts, either. For those into the more hateful, extreme strains of electronic noise, though, Deathkey's recordings definitely have a special appeal...

� � Comprised of two half-hour cassettes, Segmented God Plane Extrapolation collects the early out-of-print demos along with a bunch of previously unreleased material. All of it ultra-abrasive, ultra-hateful, and pitch black.

� � The Gateway 1:3 Operation 14 F 13 demo features crushing harsh noise and whirling effects that get pretty psychedelic; there are parts of this that could have come off of one of the earlier Bastard Noise albums. But the ferocious vocals that eventually kick in drag the sound back into an excoriating power electronics assault that remains at the center of Deathkey's sound, with gales of harsh distortion crashing against the hideously over-modulated electronics. The latter half of the tape moves into more rhythmic noise, with fractured samples, piercing feedback and grinding electronics looped into monstrous, hypnotic forms.

� � Gateway 2:6 ? Gateway: Cygnus X-1 is an even trippier collection of electronic chaos, with three tracks of seething, wormy synthesizer noise and demonic incantations, strange noises and evil electronic squeals echoing across the abstract noisescape. Blackened shrieks are processed into unintelligible smears of slobbering sound, and are splattered across fields of throbbing black distortion, backwards voices, and the gnashing of bestial teeth.

� � The sound shifts from that crackling harsh noise into a murkier, heavier approach on the Throne Of Blood demo, which carves it's two tracks out of crumbling walls of murky low-end distortion and filthy blackened static; when the vocals kick in, they're more monstrous sounding than ever, a guttural almost death metal-like grunt that lurks just beneath the surface layer of boiling, putrescent electronics. Monotonous, monstrous noise: there's an almost HNW like approach on the first track, while the second one is much more defined, a glacial industrial dirge beneath ghostly murmuring drones, slowly entombed within a mountain of crumbling, cascading metal junk and corrosive static.

� � The final side features the Gateway 4:0:?Undelivered Frequencies, a series of three previously unreleased tracks that includes a short collaboration with power electronics outfit 88MM; that one is pretty sinister, a brief but punishing blast of harsh electronic distortion and massive chant-like reverberations that sort of reminds me of a blackened take on CCCC's cosmic noise. The other two tracks follow in the same vein as the earlier Deathkey recordings, dark and abstract noisescapes filled with whirling, whirring noise loops and deformed electronic rhythms, over-modulated samples, hellish screams, blasts of violent effects fuckery and the sound of squealing pigs being herded into the blood-frenzy of the slaughterhouse.

� � As with everything that Antichrist Kramer has touched, this is not for everyone (to say the least), and the unfamiliar should be wary. Released in a limited edition of one hundred copies, Segmented God Plane Extrapolation comes in a molded vinyl case that includes a black and white insert with liner notes from Kramer himself.