Evil Gal – Brown Acid / The Village Of Doom

A cassette outing for this 28-minute outburst from Canada’s Evil Gal, originally released digitally last November, here released through the uncompromising Industrial Coast imprint. Evil Gal is an offshoot of New Brunswick’s Women Of The Pore (M Gatling), here with additional sonic architecture from Montréal’s Matthew Donnelly (Fecal Mutiliation).

Both artists have a long pedigree in the world of noise, but ‘Brown Acid’ and ‘The Village Of Doom’ play with a different, slightly more restrained sense of violence, feeling more like a low-budget soundtrack to a particularly vivid video nasty only available through the dark web. ‘Brown Acid’ creeps, prowls and stalks with extreme menace, proceeding on a murky bass sequence over which all manner of sounds – percussion, sax, general unholy disquietude – are overlaid. It’s a thick, gloopy sonic goo that leaves indelible stains on your psyche. In a good way.

‘The Village Of Doom’ is more sparse, though just as freakishly uncomfortable, opening with oscillating sounds like warbling sirens, the hiss of escaping air, distortion, micro-loops of unknown origin and randomised non-rhythms and electronics that sound both chaotic and intricate. Nothing here stays around for long; passages are cut off just as they start to become repetitive, engendering a queasiness and rapid motion that means its fourteen minute duration nonchalantly zips by before ebbing away into surprisingly pleasant texture.

Brown Acid / The Village Of Doom by Evil Gal is released January 3 2020 by Industrial Coast.

Words: Mat Smith

Ocean Viva Silver – Îpe

ipe image.jpg

Ocean Viva Silver is the pseudonym of Valérie Vivancos, a Paris-based sound artist whose work centres around an interest in the physical properties of sound. Îpe, her new cassette for Industrial Coast, forms part of a series called Releasing The Spirit Of Object wherein a combination of electronics, found sound and musique concrète electroacoustics are used to explore a particular object. In the case or îpe, that object is a piece of wood, the intention being to identify its distinct voice within two twenty-minute compositions.

The end result is forty minutes of complex and thrilling noise, carefully curated so as not to become a sprawling, dissonant, ugly collection. On ‘Par Le Menu’, you hear blocks of reverberating sound juddering into view, forming a murky bass tone underpinning squeaks, taps, hissing, violent squalls of distorted electronics and an unpredictable universe of sonic colour. There are moments here of intense beauty, ambient pads emerging suddenly out of nowhere to give the piece a symphonic, beatific edge.

The B-side, ‘A Contrario’, dispenses with the languid pace of its counterpart and instead opts for a sense of turbulent volatility, all skittish sounds and a wild, restless, ever-changing harshness, interspersed with indecipherable vocal incantations.

Îpe by Ocean Viva Silver is released January 20 2020 by Industrial Coast.

Words: Mat Smith

(c) 2020 Further.

memorycarderror – semiotic staples


Adroitly described as “a hallucination inside brutalist concrete”, Toronto-based Steven Tait’s memorycarderror deals in drones, repetition and harsh tonalities that nod squarely in the direction of early industrial music.

On his second cassette album for Industrial Coast, the two 15-minute tracks possess a ground-out, fuzzy quality reminiscent of the early DIY 7-inch releases by Thomas Leer and Robert Rental: namely a punk spirit wrapped in warped and dirty effects. As it progresses, the single repeated bass-heavy riff of the A-side gently evolves, almost imperceptibly, but never once static. A sudden fade into silence reveals the tiniest of rhythms that may actually just be grimy intra-frequency radio pulses, before an ominous, brain-melting overdriven bass shape aggressively becomes the focus of the thrilling final five minutes.

The B-side is, if it’s even possible, harsher still. Its carefully-wrought, clashing cycles of angry distorted loops are delivered with a frantic, inescapable energy. Lying somewhere between metal, dark ambient and the sort of headcleaning noise that peppered David Lynch’s Eraserhead, it is not for the faint-hearted. Here, a sudden break in the tension locks your attention on a heavily-skewed beat that sounds as if it was developed from the wildest of malfunctioning amp feedback, slowly building back up into extremest malevolence.

semiotic staples by memorycarderror is out soon on Industrial Coast.

Words: Mat Smith

(c) 2019 Further.