Checking out the bandcamp stream of this new Marax joint on a Minneapolis noise label called Darker Days Ahead while checking out DDA’s website. Thinking maybe I’d like to work with this outfit when it comes time to release Explortation, the noise album I’m working on, if they’d have me. In any case I want to check out their zine and that compilation so I’m sure I could drop them a CD-R in the mail and see what thy think at least. Anyway this is yet another fine release from Marax, another feather in Mr. Crowe’s cap. Listen below:
Meanwhile, I recently looked through some of the songs I had mixed down on my computer and realized I had an album brewing there. There was this group of tracks that just fit together, not a noise album, apart from one track, but still a pretty interesting set of songs and instrumentals, and it would fit pretty nice on 45 minute cassette. So I’m hereby announcing the impending release of a new Distant Trains album called Teen Lust both online and on cassette in an edition of 25 (and maybe another 25 to follow if those run out and there’s demand), once I manage to come up with some cover art. A major drawback of my having always been so focused in music and other things is that I’ve never developed any real skill in visual arts. I’m thinking of seeing if Ira wants to try coming up with something…
Anyway on to more stuff about Marax, and also his partner in yet another split 3″ CD-R, Molting. I think the ongoing series of split 3″ CD-R releases is a pretty cool networking tactic on the part of Marax besides its yielding some pretty cool sounds. I’m certainly honored to be among those to have made one with him (I still have some copies, check the link to the right). This is a particularly good matchup as their sounds have a bit in common. This is 18 very harsh ear-torture minutes. Two tracks from the more frenetic side of the Marax spectrum. Molting, a bit newer on the scene perhaps, is a fellow who calls himself “Moe Lesther” and claims to make harsh noise influenced by goregrind. That doesn’t, evidently, translate to gorenoise, but rather something much more abstract in Molting’s case. The first half of his piece sounds like a demonically possessed Atari 2600 speaking blasphemies in a language made up of explosion sound effects; after that maybe an overdriven mix of some immense heavy machinery through analog TV static. I’ve become pretty interested in Molting’s approach, he has a number of tracks up on a YouTube channel and Facebook page and quite a few releases out in a short time.
I also lucked into Marax’s 2008 release on Crucial Blast, Black Veil of the Sanguinarian. It’s a more subdued, slow-burn kind of death-drone, which is welcome after the assault of the above split. At “Returning to Rust” it’s evening in the countryside of singing metallic insects. “Inside the Inner Voice” uses very slowed-down spoken word, which someone somewhere mentioned in reference to last year’s Funeral Liturgy as a bit of a Marax trademark, but this is the first other place I’ve heard it. “Bleeding Black” has a great rumbling-crumbling sub-bass drone with what might be progressively higher-pitched and more-distorted versions of itself layered over. Seven minutes in I think I hear a distant voice in it but then it’s gone. Later it seems to resolve into a couple of chords, but only for a second before the piece ends. We find those chords again a little ways into “NOD”, a 22-minute sound trip that transitions nicely from a noise drone intro to a mesmerizing horror movie synth line that forms the basis for the rest of the track.