Boomkat Product Review:
Haunting New York industrial / ambient / noise. RIYL Croatian Amor, Pharmakon, Drew McDowell, Cold Cave, Atelecine
Wharf Cat Records present a very welcome introduction to Brooklyn noise agitant Rene Nuñez with an eerily effective side of amorphous modular scree in Misogyny Stone, which firmly yanks him into the half-light of recognition beyond a plethora of notorious live performances and a handful of tapes for Ascetic House and Roxann Spikula/Jason Crumer’s No Rent Records since 2013.
One of the most compelling experimental/noise sides we’ve heard outta New York City in some time, the by-turns convulsive, slugging and strangely emotive appeal of Misogyny Stone was borne in the crucible of live practice where Nuñez developed a keen improvisational affinity with his modular set-up thru infamous, feral performances often involving broken glass, blood and tears.
With Misogyny Stone however, he perhaps defies and f**ks with expectations that come attached to that sort of show, offering a bittersweet but surprisingly palatable and refined brand of crankiness that comes from a particular place and mindset; brought up by his mother in Miami’s macho Hispanic community, and then via scuzzy punk scenes and the hard edge of NYC electronics.
His resultant sound is instinctively raw and accomplished, sensitive to light and dark and the spaces between those perspectives or schisms, one operating on sort of highly attuned sixth sense between the roiling metallurgical workshop klang of Drone Gold to the divine, reverberant dimensions of Bought To Protect My Daughter and the head-curdling dissonance of New Piece (For Christian Marande).
But the biggest highlight is the record’s title track; a genuinely haunting coil of dank and glassy ambient industrial driven by beautifully wide and booming kicks and gilded with a distant female vocal which comes in cold, transfixing focus in the closing quarters.