MALIGNANT RECORDS has some copies of the special art edition of "Foul Inside":
couple of minutes in already seems like Mania at his most
impressionistic, even compared to Decrepit and Grim Conditions. Opens
with echoed patches of mid-range static, nice and toothy, which soon
builds and lets out some relatively spastic vocals which seem more
on-top-of-the mix for Mania and sound like they're switching from delay
to chorus to reverb effects but smoothly.
opens to microtonal noise that seems to spew out bigger, heavier patches
of noise while undulating synth bubbles and slogs out from underneath.
Really wet, messy textures slopping around the mix with some delay and
reverb, a nice twisting oscillation in the background. If I were to have
titled this track, it'd be “Total Prolapse,” but that's just me. Has an
almost tape-decayed quality that suggests an acoustic source for some
of the sound.
Third piece opens to warped (Tape warped?
Power-starved?) wispy electronic sweeps with some acoustic clacking and
bumping in the foreground and background – then a heavy electronic buzz
starts throbbing and muffles the other elements. So far, this is a
restrained but seriously mutated version of the Mania sound/style, and I
am tempted to say his best work yet. Junk acoustics rise to the
foreground against what sounds like a glass slide tapping as the synth
throb modulates subtly. Some more spastic synth work fades in alongside
some seriously odd feedback work before the background textures take on a
character more like Sick Seed or Gelsomina than anything in my Mania
collection. Not at all a bad thing in one of the few times I've even
been able to compare Mania to anything else out there. When the vocals
finally bleed in in trademark echo style, they're almost howled.
Deranged even by these standards. Yep, this is the best stuff Mania's
ever done, no question about that. The background interaction of metal,
feedback, and synth starts to sort of sag and decay before bursting back
into crispy static patches, making me wonder again if any power starve
was involved. Things cut off like a door being shut.
piece opens to familiar bassy, subtle, quiet metal dragging and clanking
with roomy reverb. Subtle electronic whirring behind. Not unlike
material from the split with SSRI. Odd feedback drones hum and oscillate
in the middle of the mix. Acoustic rattling sounds almost like plastic
before the metal tones pick up again. Either a great reverb unit is
involved or Bitewerks has one excellent practice space. This is so
spacious and enveloping, it's almost like a musique concrete take on
Mania style! Another thing that's improved on an already good element is
the balance between frequencies as well as heavy and brittle textures
in both the electronic and acoustic sounds. Some thin, nasty
Whitehouse/SJ-type static sort of sinks in and then fades after not even
a minute, and then only reverberated metal scraping just before
Best material Mania has come out with yet.
Restrained, meticulous violence. Not really harsh noise, not purely
power electronics, certainly not industrial; it's just Mania. But where
do you go from here??
review by J. Peterson