A twin-headed serpent of diabolic circuitry and cleansing fire. Brutal electronic noise, blood and engine residue fused to the gnashing canines of the most contemptuous power electronics. Out of the hordes of people that have tried their hand at experimenting with the "harsh noise wall" aesthetic, Alex Nowacki's Boar project has remained one of my favorite purveyors of jet-black static and ultra violent electronic chaos. Through his use of layering, dynamic editing, intensely negative energy, and sheer aggressive power, Boar's work is both punishing and meditative, all-consuming and catalytic, a prime source for extreme pareidolia experiments, scrying tech, ego-dissolution, and sheer sonic nullification. And it's angry as hell. In my own collection, the Boar titles that I have managed to pick up are right up there alongside contemporaneous works from The Rita and Vomir. This 2015 full-length deviated from the pure sonic overload of that make up the standard facets of "HNW", by actually creating and presenting shorter, multiple tracks instead of filling the album with a single, to-the-limit epic-length track of harsh noise, and incorporating these death industrial / power electronics-like experiences alongside the cacophony . It's an interesting alternative to album-length hiss-scapes, and the existence of a track title listing punctuates the noise blasts with fairly specific, biting visions that really heighten the anger and spite that emanates off of this pro-pressed CDR (which, if you want to know, comes in jewel case packaging).

The application of "cut-up" strategies and alternating currents of abrasion to these ten tracks keeps them flowing with a writhing locomotion, and often feels like the project is tracing its way back to certain Japanese harsh noise outfits in the way that these things are propelled forward. It is, foremost, an incredibly distorted chaos wall of grinding black static and spasmodic signal-abuse, like I expected. But man, did I already say that this album is dynamic?.

The opening of "Slick" oozes out of the sewer with this massive throbbing synth-riff, mega-distorted, crushing, and hypnotic, a legion of maniacal voices mashed and smeared together, introducing this beast like some kind of doom-laden neo-power electronics synthdirge, slowly layering other subtle simple electronic melodies on top. But after that, it's grinding obliteration - "Year of Devastation" explodes in a crushing wall of mangled distortion and cranial-scraping electronic filth and spluttering higher-end frequencies flailing in the mass of bass-loaded static. But this wall of noise shifts and undulates, suddenly breaking out into different forms. As if this blasting distortion monolith has been bolted together from different recordings, lending this a collage-like feel, even when Boar is saturating you with these continuous assaults of thermonuclear fire-static and crunchy, sputtering textures. Even though it's separated into different tracks, all of this moves together as one vast mass of cruel electronic brutality. He returns to that super-heavy power electronics-esque form that opened the album between the harsh noise blasts, " The Brand New Chariot" and " Rubber Decisions" creating these islands of totally spiteful doom-synth crawling with those howling, hateful vocals; this power electronics style material sort of reminds me of early Theologian / Navicon Torture Technologies. And so it surges and crashes over everything, incredibly dense, detailed and viciously garbled noise moving around , and with "Superfuckingnatural " towards the end it all slams together into a repugnant, immersive churn of bestial bellowing and rumbling static-wall. This now fully-hybridized horror-spew proceeds to wind the remainder of the album together. Supreme bad vibes here! The lyrics for the PE tracks appear to be printed on the inside cover, but my eyesight has grown so poor that I can't read them at all. I can only assume they are as embittered as everything else about this disc.