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wolf eyes - Always Wrong
You might think of Wolf Eyes as having spearheaded the popularisation of modern noise music; their Human Animal LP proved not only to have been one of the most sophisticated and satisfying examples of the genre in recent years, it was also released via Sub Pop, highlighting a real moment of crossover for a traditionally very underground musical movement. Wolf Eyes are a band with a vast discography, full of highly limited cassette and CD-R releases, but this latest outing on Prurient's Hospital Productions imprint has all the attributes of a major work in their canon, rivalling the likes of Human Animal and Burned Mind in its scope and polish - if that latter word is one you can reasonably use around this band. 'Cellar' starts us off with thin, ductile electronics and rickety analogue signals, snaking about the place with all the sonic hallmarks of a dank, poorly wired basement in a Michael Bay horror remake while vocals screech out abstract, desolate lyrics. When the beats arrive it becomes apparent that Young, Connelly and Olson have embraced live kit sounds, which although heavily disfigured by various processing and recording techniques still resounds with a very physical, rusted metallic quality - like Einsturzende Neubauten left out over night in the rain. It's a powerful and very kinetic opening statement that only confirms the band's artistry - and what with the vocals and comparatively 'normal' approach to beats, Wolf Eyes are more like a band than ever. Let's keep things in perspective though: the tortured saxophone emissions and dub-influenced tape delays on 'Pretending Alive' are just abut as far-out and extreme as any music gets, whining and squealing like a farmyard animal in the pangs of labour. 'We All Hate You' offers a little more clarity because of its slow, lumbering pace, and here the vocal delivery situates itself somewhere between the outright misanthropy of Whitehouse's William Bennett and the slurred articulations of Mark E Smith. Tape edits and a warm, vintage production ethos permeates the noise and debris on this track as is the case throughout the album, and through moments like these it might not be too far-fetched to think of the Wolf Eyes' production as comparable to the sort of haunted-house analogue tactics employed by Portishead - albeit shrouded in suitably excruciating torrents of feedback and discord... Highly recommended.













































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