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首先是這張合輯的主題代表了的一段過去.也好給樂手集中在一個題目上 ,不會成為一些不三不四的合輯,那一些似是什麼什麼SAMPLE的合輯沒什麼興趣去收. 包裝的設計和成品的質量也很有水準.樂手方面包括了一些熟悉的名字也有一些新面孔,這樣也可以給聽眾一些新的口味. 由UT 作為開場的歌曲最好不過,經過他首張在Midnight 發的唱片后得到的回應也很正面,UT的音樂給人感覺比較注重氣氛的編排.採樣也用回適合的題材.還保留了一點軍士工業的味道, Hatred In Eyes 和過去一樣,美式的Power Electronics 比較注感那份暴力感. 充滿仇恨的叫罵. 背景音樂做得比較薄.強電總是最直接表達出主題的方式. MABONONA 是一個比較新的名字. 的歌曲比較接近一些簡拍噪音.如果沒有接觸噪音的是比較易接納,聲音處理上可以做得更好更硬朗.可是我感覺不到和主題有關. Madness 我明白悲痛的過去.痛苦的叫喊可以理解,但淫蕩的呻吟聲我完全不能理解和接受.而且只用上了採樣和重播.希望下一次可以認真一點去做音樂. Torturing Nurse 我想他是這張唱片內名氣最大的一位,專輯的主題在他們的音樂類型上是比較少出現的.5分鐘的粗噪音不斷沖擊你的腦海.在你的記憶中留下記號.如果加上人聲會更易表達出那份感覺. Requiem of Chaos, 對他的認知只知道他是做過一張沒什麼印象的唱片,今次他做出的歌曲充滿冷工業的味道.有點似早期cmi的風格,但段落的連貫性不夠順暢,另外有一點不足之處就是聲音太薄弱,其他的也做得不錯.叫人留下印象的作品 ShuQi.赤色地狱就如名字一樣,狂暴的噪音而且感覺到那份壓迫感.但音色處理得很好不難入耳,而風格方面叫我想起日本的Masonna.如果是現場表演的會更瘋狂.很好的一曲. Badge of Blood 比較平融的軍士氣氛.和War office早期的团有點相似歌曲的變化不大,在鼓聲的採樣可以做得更好和背景的旋律也可做得更明顯,那樣會更易叫人留下印象.但這風格的团實在太多希望下次可以更有進步,這歌曲還算不錯的. Good for Nothing , 國內的Power Electronics 樂手,音樂比較粗糙和Old school有The Grey Wolfs的影子,人聲處理上用了大量的回音.是我喜歡的風格但音樂沒什麼變化,如果是個人專輯可以會比較悶.但在這一張合輯中的確需要這樣的強電团. Claustrophobia 實在是不明白2010星空漫遊是什麼一回事,可能國運是因外星人影響.完全聽不明白作者想表達的意思,結尾也做得很差.聽完后我實在有那個赤色恐懼. Suck MOTT 在國內有一定知名度,歌曲的風格是軍士黑氣氛.氣勢不足而下半段的人聲採樣太悶,比當年在dying art 推出唱片時欠缺了驚喜. Song over ruin 我仔細聽過幾次歌曲.排除一直聽到有關對他的惡評 ……….. disco industrial ? nazi dance pop ? what ever ……. Forget it ZhuRong 久未露面的樂手,當年的名氣很大,作品也是保留著那個時代的風格.雖然有點老土不過也看到樂手有一定的技術…而人聲採樣也太重複有點悶.也可能幾支樂手也用上了人聲採樣引至感覺上幾首歌曲太差不多.而且最後幾支团的風格也太相似.沒個人的特色. 我不明白為何要做Hidden track 而且是同一個樂手去做,不斷的loop 使我感到很煩.似是不斷的看紀錄片一樣,最后一首更是不知所謂.什麼的disco mix ?我不認為這是一個什麼值得搞笑的題目.大部份的歌曲也是不錯的.只有少部份的樂手應自己看看自己在做什麼吧. 最後感謝COU肯去做一張這樣主題而且知道全是國內樂手的話在國外的吸引力不大,希望下一張合輯可以做得更好.

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From the densely populated and largely metropolitan Hong Kong Special Administrative Region of the People's Republic of China comes the harsh noise experimentalism of Hatred In Eyes. The sounds of the city are evident in the chaotic noise on this release, which is for the most part full-on Power Electronics with a mid-range human voice nicely mixing in with a miasma of electronic sounds. The first and last tracks on this release feature more subdued tones, like an ancient-sounding stringed instrument or a flute, mixed in with the harsh electronic noise sounds. The meat of this release, tracks two through four, act as a nightmare suite of a swirling vortex of electronic sounds and a harsh vocal performance from Hatred In Eyes. Because the vocals are rather distorted, it is difficult to discern what exactly he is saying, but despite the fact that the song titles are in English he seems to be performing the vocals in Chinese. The packaging for this 3" CD is very unique, it comes in a small, wallet-shaped plastic case resembling a tiny DVD box. The opening and closing tracks ("EFD I + II") have an atmospheric feel to them that gives the overpowering middle three tracks a stronger impact. "EFD I" in particular is a very pretty and timeless-sounding bit of music that does not in any way prepare the listener for the psychic barrage brought on by the rest of the CD. I was surprised to see that this release contains twenty minutes of music on it, as most CDs of this size generally rum from under ten minutes to about fifteen minutes at the absolute longest. The length was also a surprise because I had already listened to the thing several times, and found it to be very brief and enjoyable both times. Hatred In Eyes packs enough material in these five tracks to make it more like a mini-LP than an EP or single, which is the usual feel of a 3" CD. The artwork is very unique as well, a sinister interpretation of the Grateful Dead "Steal Your Face" logo with an eye-within-a-pyramid over the world in place of the lightening bolt on top of the skull. In the top section of the pyramid, above the eye, is an illustration of two large wads of US currency. The circle surrounding it is littered with tiny icons such as bullets, grenades, a beaker with a bio-hazard logo on it, and prescription drugs. The final track, "EFD II," is slightly more toned-down (despite a blistering machine-gun electronic sound that runs along the more melodic track), and features a desolate spoken vocal accompaniment that is a tradition in Power Electronics. I must say that I was quite surprised with the depth of quality and effort that went into this release. This is the first noise artist that I have ever heard from Hong Kong, and if this is any indication of a scene over there I would certainly enjoy hearing more. Limited edition of 200, so all of you PE heads try and get your hands on one of these. It is a long, strange trip that is worthy of your attention.

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Shasha Records推出的 LCD TV Owner's Manual 是為了闹上海二十八回(不知道Junky對噪音的死忠和精力可以去到那個地步)而出版的. 也是一貫Shasha 的做法在舉行現場表演時推出有關樂手的split,是一個給樂迷紀念的機會.也是一個機會給不同風格的樂手有機會在同一張專輯中出現.這種唱片要是在國外的強電圈內早就會搶購一空,慢了的只好在ebay找吧. 中國不死的Torturing Nurse 在沒有小神和(美人)蛱蝶的情況下減少了視覺上的包裝.聽眾可以更專心在他們的音樂上,而Torturing Nurse的這曲No Discussions Here在噪音上的處理很好,左右聲道的層次起伏.做得更加細膩相比之前那種狂亂至失控是有所不同. 給了聽眾和自己更加多空間去細聽這歌曲. ASTRO - Feedback Conspiracy 我一直對此子一直也沒有什麼好感,和他是日本的國民沒有關係,我才不會理他的名氣如何,雖然比他之前的作品噪音的比重較為多了一點.但實在受不了那種星球大戰的味道,還是大家口中的實驗音樂.我還是比較現實一點. Orgasm Denial 香港的hash noise 代表.整首歌曲似是沒什麼變化,就像一直在聽一個loop.不斷的重複,如果說是hash noise 我想這曲的結構是hash noise wall.感覺他沒把好好的選一曲可以代表自己風格叫人留下印象放在這張唱片. 苏格兰的Kylie Minoise - Skinhead Ironing Party, 其實不用給他什麼Masonna的代號,他有自己的風格不用活在別人的影子下, Kylie Minoise比Masonna 用的聲音更沉實,低音的轟炸和叫喊,叫人聯想到在現場表演中他表達出的力量,在現場更直接感受. 總比在家中對著唱盤的感覺更好. 這可算是一集名氣較大的合輯.如果當天會去支持這場表演的朋友,這唱片對他們來說會是更值得收藏. Please Support your noise act

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http://www.musiquemachine.com/reviews/reviews_template.php?id=1797 Fecalove/Morbid Behaviour - Chinese Whore [H.I.E Production - 2008] 　 This fiery and unforgiving split between Italian noise pervert Fecalove and Hong Kong based power electronics violators Morbid Behaviour is the first release on H.I.E production a new noise label from Hong Kong. Clearly a lot of time, work and effort have gone into the impressive hand-made package, it a black card oversized folder with stuck on pictures and artwork of Chinese prostitutes in various stagers of undress, with each of this edition of 25 coming with a colour picture of two Chinese prostitutes which all adds a nice edge of sleazy and degrading class to the five tracks with-in. With two long tracks by Fecalove and the remaining three by Morbid Behaviour. First up we have the two Fecalove tracks with the first been Satan In my Cock which is surprisingly vocal-less and more noise based then his more recent Power electronic based tracks. It also has quite a harmonic if highly sleazy edge that keeps rising it bloodied head ever so often out of the searing seas of stretched feed back shrieks/ screams, corse microphone like bangs and harsh tone ejaculations. The piece last 11 minutes in all and it very rewarding in its mix of noise and harmonics. Next we have up the track Sedated which starts off with shrieking tones before settling into muffled piles of static displeasured, with groaned/ growled sexualised vocals sliding bloodily and roughly between the static noise almost rhythmic shifting textures. The vocals droping out here and there for more roaring and higher pitched noiseattacks- the tracks comes in just short of the 17 minute mark and again is an rewarding Fecalove track. Next up are the Morbid Behaviour tracks, this is the first Ie heard of this project so I don know how this compares to their other work. First up we have Just a Whore which opens up with a female sexual dialogue sample before dropping into a mix of boiling and rolling static noise tones, what could be bastardized Chinese music, female sexual moans/ screams and lastly but hardly leastly ranted and muffled sexualised vocals. The track has a nice feeling of sleazy and murky distaste and I like the way Morbid Behaviour is mixing all the elements into an effective boiling pot of filth. The next track is called dirty and it mixers once more female sexual screams and moans over bombarding harsh blunt noise tones- it's quite effective if a little one dimensional lacking the dynamics and shifting textures of the first track. Lastly we have Chou Hia which is really very un-nerving built around drained, nightmarish and sinister vocals that drone on and on over grey and muffled feed-back discharge drone and low down static rhythmic battering. The whole track just really weeps and sweats this very unpleasant suffocating air- a fine and disturbed finish to the split. All in all satisfying degrading and distasteful release from this new label. With both the Fecalove tracks and the Morbid Behaviour been great with only the second to last track been slightly under par, but this is more than made up for by the airless, filthy and after violence clogged atmosphere of the last track. Roger Batty

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