It feels like I’ve been writing about Dead Body Love for as long as I have been recording harsh noise. What else can be said? I can’t express enough how much of an influence Italian harsh noise has had on my own personal works, but It also lets me and several peers investigate the techniques and styles of the 1990s harsh noise and the atmosphere that was created expressed from different regions of the world. The more I listen and revisit the material of 90s Japanese harsh noise, the 80s UK power electronics and the celebrated rougher tendencies of 90s Americanoise, the Italian material and different projects flare up that dictate a powerful ‘Coles Notes’ of harsh noise and how it can be deconstructed and eventually materialized into vivisected lines and layers of crumbling, throbbing, cracking and creaking sound. I always trail back to Mathausen Orchestra and its insurmountable importance to abrasive sound and its developments, especially in sub sect harsh noise genres of the 2010s; the project’s more minimalist and focused influence on later Italian projects such as the 1990s Dead Body Love as DBL’s material exemplified aspects of crushing avalanches of crumbling sound, layered and sometimes delayed, a major player against and with the Americanoise sound of the 1990s expressed by Macronympha and Skin Crime to name a couple. Then you take the obsessions and the lines of moving sound and have them expressed by something like the fanatical Atrax Morgue. Fearsome concentration and jarring meditation on lines of warbling and predatory analog synth work portray something invariably real about the obsession acted out from the Italian project Atrax Morgue. A different display of penetrative and studied sound seethes from Atrax Morgue as now the listener and ‘fan’ of Italian Industrial and harsh noise is confronted with another genre defining sound that pits throbbing and rough synth against haunting and manic vocalizations, disturbing the listener with its undeniable dedicated concentration. The resulting split tape with material from DBL and Atrax Morgue isn’t as black and white as one might think. Dead Body Love makes use of dark and rough early industrial-like lines and meld into the eventual crushing forces that he is known for. In the vein of Atrax Morgue, samples are also manipulated and drawn out for the listener reminding us of his more delay heavy work. Atrax Morgue’s material works with DBL’s material almost seamlessly via further haunting and throbbing dark material, slowly churning and deconstructing into his own distinct sound of heavily concentrated focus and mania for singular sounds and how they can repeat, move and create total atmosphere. A celebrated once in a lifetime example of a split release re-issued on vinyl by Urashima. (Sam McKinlay)
Edition of 199. The record has been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard sleeve, limited to 199 hand numbered copies w/sheet from The American Journal of Forensic Medicine and Pathology.