Noise, whats it all about hey? Well judging by the ACTUARY/ Winters in Osaka split 7” one may very logically come to the conclusion that its sole purpose is to induce a crippling sense of frantic paranoia and a deep displacement of mental stability. Both bands are noise architects worthy of high praise and are likely to be known assailants in your listening schedule, but their true value of their craftsmanship rests in the subtleties and visionary progression of their work. If we look at the likes of one man army of noise Merzbow or transcontinental hypergrind freaks Deathstorm the appeal of their noise is the sheer in your face booming sonic punishment that explodes forth from their releases. For the likes of ACTUARY, Winters in Osaka and a few other acts, it is the tight grip they hold over their noise which they strategically command that gives merit to their works. It’s a more subtle approach and permeates much deeper giving their work more axis’ giving a far greater dimension of both creation and subsequent reaction to occur.
ACTUARY’S eerie distortion of sound and sonic heterodoxy comes in the form of a gutted capriccio: False Relics, which is a dark spirited malevolence that abruptly fluctuates between intense moments of unease amplified through aphotic menageries to more frightful conjurations of cacophonic dissonance,which is then all relayed consistently through a curious blend of interpretive subjectivity. On the other side power electronics septarchy Winters in Osaka break out of the dark and cruel landscapes so devilishly fashioned by Actuary instead leaning to a more graceful illumination of audio fantasy. Like the failure of a dam it starts off small and weak in a drone like fashion, but exponentially grows into a more powerful and vibrant sprawl of intense noise afflictions, which eventually comes to dominate and writhes in a sprawling mass of uncontrollable electrical hisses and zaps.
As Man is the Bastard once declared: Noise is the Future. And the future is now.