I'm not sure if I can call these two guys legends, but by the number of their releases, good quality percentage of them and overall dedication to noise, I think at the very least I can call them noise supermen. Why I'm saying this? Lasse Marhaug apart from his approximately 30 bands and projects, fact that his name cannot be dissociated from the Scandinavian noise scene, and the countless number of albums, he is also director of a label and publishes excellent noise magazine "Personal Best". John Wiese achievements in this context is somewhat smaller - "only" more than 100 releases, 10 or so projects (like Smegma, Sissy Spacek etc.), label that released this CD and perhaps more activity that I'm not aware of. This disc with playing time of more than 40 minutes was recorded in 2008, in the studio with a nice name "The Best Studio in Oslo". Sonic information is not surprising in its quality. There are only a few people who, despite of the vast amount of releases, are still capable of doing them good. In this disc, quite a lot of various noise fans will find something they like - cut-up, junk, "plain harsh noise", experimental - you mention it. First tracks are quite short blasts of noise, dispelling drowsiness at 6am. After the short and harsh intro we enter the sounds of effected wires, springs etc. I've lost the number of how many sounds layers are put one on another, but you will most likely not hear a repetitive moment or sound through the whole track. It’s like this duo would be standing by the huge conveyor selecting, mixing, taking and putting back colorful sound details thus forming the weird collage. Sound integrity is interrupted after 3 tracks and by the name "Piano Death", it is quite easy to understand that we are going to join the flirt with piano strings. The longest track in the album Jenny And The Vortex is even more intense psychotic sound collage. The word "motherfucker", jazz melody and distorted feedback fits in one second and then it is followed by another one with the piece of symphony, Japanese folk song and blast of low frequencies. I hope the impression is quite clear. And I'm slowly starting to ejaculate when I get to listening to the rest of the album. I guess as some rock'n'roll fans loves C-E-G-A-B chords, some people in noise are fanboys of metal junk. Rip Torn is a fantastic start for the side B (the tracklist on CD consists of A and B sides). It is brutal, primitive and in your face metal destruction, winding of wires and clanging of chains slowly drowning in the sea of distortion. The second track in B side just prolongs the orgasm. Can you create a bad noise track when you have low rumbles, changed by shrieking feedbacks, decorated with gut ripping mids and when thick wall suddenly transforms into chaotic madness and later returns back into form of monumental statics? No. What can I say for the final words? The first part of the album consists more of experiments and madness, while the second one - of brutality and joy. Those who are interested in revealing secrets, can also try and discover the meaning under the album and song titles. This is one very tendentious review, I know it, but it's not so often that I finally get to review truly high quality, interesting and almost perfect album. I'm planning to discontinue my communication with people who had never listened to this gem.

Format: CD
Released: 2010
Label: Helicopter