The first time I reviewed Kadaver was over three years and almost 150 Vitals ago. His personal output, as well as his label output (999 cuts), have been frequent visitors, and somehow, he still manages to surprise me. Regarding his label activities, it’s that he manages to find hidden pearls (Maskhead or Apex Parasite) or somehow connects to the right people, which has gotten him beautiful releases by, for example, K2, Atrax Morgue and the Contagious Orgasm split tape. Sure, they’re my personal favourites, but there is a proper factor of exploration with 999 cuts. And that exploration is also audible in the immensely heavy noise Kadaver produces. And these two tapes are as good an example to explain as possible.
The first tape is a C38 titled “The Lights Are Off and Nobody’s Home”. Aberrant Recordings from Oakland released it earlier this month as a limited edition, clear green cassette. Catalog number 21 with some really nice names between the previous releases: Dodssang Tempel, Kazumoto Endo, SBTDOH and Iugula-Thor (all as artists or in collaboration). To the label: Keep on going, this looks very promising! But we’re here for Kadaver.
The first side counts one track, “Everyone Wants to Live”. Pulsating, distorted, saturated sounds in low frequencies completely choke the tape, and yet still Michael manages to put a layer on top of it with high-frequency distorted material. It is as if the midsection doesn’t exist at all. There isn’t a lot happening to the ears of an untrained listener, but there is constant movement of the bass frequencies. If you play it at a high volume, you’re in for a party.
The reverse side features two tracks; the first, “A Passion For Killing”, begins with a sample of a murderer. The first words made me think it was Donald J., but soon that changed into someone else. The massive noise attack that follows is intense as hell, and only in the end does it simmer down a bit, where you can hear what it was built up to. It closes down with the killer talking about passion, and it’s creepy. The closing short track “Everyone Wants to Leave” only takes a little over three minutes, and it’s more introvert than what I’m now used to from Kadaver. No high-frequency layers, just a massive, deep, troubled atmosphere. The label labelled these noise escapades as ‘the void of saw-buzzed HNW hellscapes’ and it’s remarkably found.
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