Feeding the Karaoke (Review; Fetus Eaters/ Actuary, Ultrasound 2012)

Like every good story, fable and drunken tale there is an overall overarching message behind it, and the same can be said for a great deal of music. On the one hand the morale of the story can be something induced lyrically and if the band are swagger enough get the accompanying artwork to visualy summarise it, with Napalm Death's pivotal release Scum and Dropdead's manifesto: punkus doctrina de moribus Humanity is Burying the Earth with its Rotting Carcasses being immediate examples. Whilst on the other hand and by far the more interesting end of the "what did you learn today class?" approach to musical ethos is solely inherent to the music itself. One such pivotal ethos being the Don't make music, make noise! highlighted today by the Grindcore Karaoke exclusive Fetus Eaters and Actuarys split Ultrasound, which I may point out as ever is only 3 clicks away from being on your harddrive.

 First up is new-to-my-ears lo-fi trend buckers Fetus Eaters, who combine a rough basment blend of grind, powerviolence and brooding noise factor across their unlucky number 13 tracks of show no mercy noisy rampage. First impressions attained from the first track were irrtiable to say the least, especially so with the uncomfortable excessively reverbing high pitched echoing squaks and tedious use of instruments; thankfully its a one of phenomenon, with the remaining 12 tracks exhibiting both a liberal amount of creativity and nerve shattering kick. Speed and bass fronted heaviness are not the imperative goal of the release, instead using a certain atmosphere to give that edgy no one knows what's coming next factor into motion, accomplished through the murked production values,variety of screams, intro & outro bizzarity and the constant injection of offsetting noise that all gel for some unsettling listening.

Actuary dirty themselves in the most desirable way possible, leaning out from their confines of obscurity and idiosyncrasy proceeding to smear themselves with early Napalm Death style hammering blast beats and deeply welded to the noise bassy string work (either that or some cleverly deceptive noise work going on there). Its still a noise dominated affair with the composition being about 9 parts noise to 1 parts grind, but the addition of the grind factor has grounded their release and given it a thin strain of reason and understanding I had so long searched for, yet the core trajectory of their work still remains that unsettling, wastelandish uncertainty and drowning distortion that has defined their ambivalent sound.