OVMN - Maximum Volume Optimum Noise (Industrial Recollections, s / n, 2010)
Following the recently resurrected reprints Mother Savage made the tapes just OVMN a couple of years, many begin to point to this side project of Macronympha as one of the first signs of what is now known as HNW or Harsh Noise Wall. But while it called "subgenre" of harsh noise, as practiced today Richard Ramirez and Vomir for example, refers to absolute-even absurd-immobility, the harsh noise of OVMN-Noise-Optimum Maximum Volume is a multidimensional and dynamic dramatically. Rodger
The duo of Stella and Joseph Roemer is clear from the first-generation American in practice, properly, the noise. Along with projects like Mlhest, Intrinsic Action, Taint and the aforementioned Richard Ramirez, the duo established under the names of a parallel OVMN Macronympha and unprecedented Japanese noise, which during the nineties, was in full swing. Like their colleagues Nippon Incapacitants, MSBR Merzbow and the time, developed a compression intuitive OVMN the possibilities of noise. which is fully recognizable in its exploration of the different ranges of noise and possible interactions of their frequencies and tonal possibilities.
His debut, Optimum Maximum Noise Volume, sees an alliance with Akihiro Shimizu (better known as Thirdorgan) in 1996. And despite the obvious hyperactivity that are beyond their creators, never feels like a battle of egos and volumes, but rather as the steady flow of a unifying vision, as the product of frantic work by three operators who, absorbed in their mission channel and give meaning to more fierce, abrasive aural chaos. The textures Rispa, grotesque draws largely on the nature analog computer and the original format in which they were recorded: ribbons. Corrosion, unusual bleeding frequencies offered by the use of magnetic tape is present in the reissue to Industrial Recollections performed. Mastering it refuses to offer two cuts of pure raw audio, reminiscent of the original versions.
The sound on two cuts never go to extremes: no near-subsonic gravities or sharp sharp, but the total focus, almost exclusively, the midrange, with its load granular alibi flawed. With two identical themes, symmetrical in its adaptation to the original tape, OVMN destiende channels, tunnels often rough in a barrage of psychedelic noise unstoppable. Without a doubt I can say that this is one of the most affordable classic noisy produced by Mother Savage Noise Productions and dark piece of that puzzle that is the history of noise. A delicious plain slowly fluctuating noise, hypnotic abyss. (SS)
Following the recently resurrected reprints Mother Savage made the tapes just OVMN a couple of years, many begin to point to this side project of Macronympha as one of the first signs of what is now known as HNW or Harsh Noise Wall. But while it called "subgenre" of harsh noise, as practiced today Richard Ramirez and Vomir for example, refers to absolute-even absurd-immobility, the harsh noise of OVMN-Noise-Optimum Maximum Volume is a multidimensional and dynamic dramatically. Rodger
The duo of Stella and Joseph Roemer is clear from the first-generation American in practice, properly, the noise. Along with projects like Mlhest, Intrinsic Action, Taint and the aforementioned Richard Ramirez, the duo established under the names of a parallel OVMN Macronympha and unprecedented Japanese noise, which during the nineties, was in full swing. Like their colleagues Nippon Incapacitants, MSBR Merzbow and the time, developed a compression intuitive OVMN the possibilities of noise. which is fully recognizable in its exploration of the different ranges of noise and possible interactions of their frequencies and tonal possibilities.
His debut, Optimum Maximum Noise Volume, sees an alliance with Akihiro Shimizu (better known as Thirdorgan) in 1996. And despite the obvious hyperactivity that are beyond their creators, never feels like a battle of egos and volumes, but rather as the steady flow of a unifying vision, as the product of frantic work by three operators who, absorbed in their mission channel and give meaning to more fierce, abrasive aural chaos. The textures Rispa, grotesque draws largely on the nature analog computer and the original format in which they were recorded: ribbons. Corrosion, unusual bleeding frequencies offered by the use of magnetic tape is present in the reissue to Industrial Recollections performed. Mastering it refuses to offer two cuts of pure raw audio, reminiscent of the original versions.
The sound on two cuts never go to extremes: no near-subsonic gravities or sharp sharp, but the total focus, almost exclusively, the midrange, with its load granular alibi flawed. With two identical themes, symmetrical in its adaptation to the original tape, OVMN destiende channels, tunnels often rough in a barrage of psychedelic noise unstoppable. Without a doubt I can say that this is one of the most affordable classic noisy produced by Mother Savage Noise Productions and dark piece of that puzzle that is the history of noise. A delicious plain slowly fluctuating noise, hypnotic abyss. (SS)
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