“What is music? It’s my understanding that the word “music” refers to a collection of sounds organized by a conscious mind for the purpose of expression that can not normally be considered speech alone”
Noise is by all rights and attributions a post-music phenomenon, purposefully breaking conventionality and standards that have become the dogmatic confines in what we perceive to be music and forcing the scope of the term to expand with it.
For millenia music was held in the firm grasps of a physical instruments and/or vocals paradigm; a piquant liberalisation emerged through the use of digital chicane and sonic engineering, granting artists a greater canvas and an endless set of tools to explore their craft.
Convulsed by an unholy pairing between the legendary breakcore rogue Bong-Ra and the samurai ghost seeing monstrosity of Maruosa comes a bestial matrimony known as Deathstorm, whose monolithic benchmark of musical lawlessness has pushed music into supernatural zeniths of discordance and corruption.
Their 2008 tesla-rod to the ears "We are Deathstorm" is so heavily overblown in its commitment to offering the most oppressive machine-driven regime to music that you can develop lead poisoning from listening to it. There is no decorum in its presentation just an incalculable tempest of electrical thorns, obtuse sonic fissures and pneumatic blasts, all the while a crushing maze of man and industrial noise screeches withdraws from the dark cybernetic abyss, forewarning one and all of the unspeakable horrors the release launches without impunity.
Flashing between an enigma of scenes drawn from personal nightmares and telemechanical dystopias, a writhing mass of discarded musical shrapnel and charged electrons collide with one after another discharging the ultimate sonic punishment in rapid bursts of barbed packets of noisegrind unchained. The listening experience is jaw-droppingly profound and paralyzing to say the least; a radical disfigurement of what is known to be the limitations of music has been blasted into new found extremities. The speed, heaviness and all round shock value of it all push the listener into a state of sensory overload as the mind scrambles in epileptic fashion to deduce the appropriate response to what aptly is dubbed "hypergrind", a band made nomenclature that accurately brings to light the gigahertz speeds employed and just how much sheer energy the release consumes in its war on music.
We are Deathstorm overpowers organic grind output with a parasitic assimilation to harsh noise and skewered breakcore spasms, a godless wreck of a release. However the release is far from arbitrary, cryptically cloaked in the storm of digital fury is a distinct artistic signature which in a stainless steel cold hearted fashion grants each of the 14 tracks their own unique set of digital behemoths to torture the listener with. It is in this formidable backbone of artistry hinged on mal-intent that we owe a masochistic sense of praise to this creatively disturbed monstrosity, giving life and objective to what could of just broken down to degenerate noise, instead rising far beyond to be the most extreme piece of music ever conceived to date.
