Boomkat Product Review:
The veteran mutant noise unit mint their new Lower Floor label with the 100th Wolf Eyes album.
Hurtling ever closer to their 20th anniversary as a band, albeit in various iterations, ‘The U$A’s longest-running homemade primitive electronic poetry & vibes trio,’ offer a semblance of hope 2017 will be alright after all with the arrival of their own label, Lower Floor Music.
Leading by example, this label - or ‘scotched taped nuclear audio radioactive front on humanity’ as they refer to it - is heralded by a new Wolf Eyes long player, ‘Undertow,’ which doubles up as the trio’s one hundredth album release by our estimations.
This is a real ugly bastard of an album, with Nate Young, James Baljo and John Olson intent on shredding minds from the off, adopting a free jazz approach to mangling discordant guitar beyond all recognition on Laughing Tides. From there, Empty Islands sounds like the heroic Pod Blotz attacking the classic shred metal sound of America and Texas spangles further, deeper into abstracted, wailing noise.
The metallic textures and Lou Reed-esque vocal mutterings of the title track are set to an irradiating metronome, setting you up for the near-fourteen-minute finale Thirteen which is Wolf Eyes at their absorbing, decimating best.