PCRV reviews > Review by Joe Lombardo Pop Culture Rape Victim - In Four Movements on freckle@hyper.ocn.ne.jp This is another very interesting release form one of my very favorites in noise today. Track one starts with such a class and ambient sound, bouncing, blurring and breaking its way into the mind. Simply beautiful manipulations crafting the space in which you breath and enhance your respiratory system as the high pitch around the fourth minute presses all your pressure points at he same time, paralyzing you while at the same time, teleporting you into the inner depths of your mind. This is for soul searching, or at least it is for me. Subtle sounds that a candle and some incense would find good company and possibly a little whisky. Then again this is really much better that I can put into words. Sounding like an experimentation with sound, then again being too good for that, the sound loops and at around the tenth minute and escalates into an increased anticipation of some kind of climax to this seventeen minute or so track. Slowly the sound dies down to a minimum audibility with a few slight concrete sounds and science fiction like effects. Continuing like a madman lost in a dark cave, the variety of sounds and tones that reflect from the speakers is spell bounding. As it echoes and dancing upon those with a newer sense of harshness the track again redefines itself. What an entertaining piece, even if you don't like noise, I bet you like this. Track two begins with a long high tone that is constructed, peaked and destroyed only to soften and warily stammer to a scathing, but soothing batch of lunacy that pokes, prods and in the end comforts. If I did not know better, I would say that most people need more of this in their lives, for the simple fact, if people listen to noise like this, it is quite a possibility that the sick and artistic way could prove to the world that thought nothing of noise, listen more deeply and think there is so much more to noise that they could not fathom, making it so much more than just noise. Whoa, third up is a very chaotic track with some of the same elements, but with more samples less density and more high pitches than the prior two tracks. This eventually explodes in to a full noise assault with some herky jerkiness, a good, solid use of silence and pre recorded samples adding a new angle to the piece. While at minute five a feeling of respiration is conjured up and suppressed by the end of the track. The last track begins with some of the same bird chirps that you can hear throughout the release, coupled with a very limited amount of sound, until the just before the third minute and bashing the listener with feedback and loops as well as steady flow of in and out jabs that are out to catch you off guard. Only to get a little more frantic and then cut at the fifth minute, leaving only the birds and some concrete sounds that bubble and splatter the skin to tantalize as well as confuse. If you are one of those people that think noise, is a non creative art form that has been over played or worked, then I tell you to listen to this and if you can honestly say that to me then, well, then my friend you are a lair, please stop reading and go where others might care. Contact Matt at pcrv.harshnoise.com/ > Review by Joe Lombardo Pop Culture Rape Victim/Goat - Split cassette on aosullivanmi@earth.net Beginning with the audience murmur under a feedback induced hum, coupled with splices of jading noise that jabs as the humming drone in the background. Like swimming in tar, the sound is heavy with an acidic element eating away at your flesh, difficult to listen to, yet at the same time transcending and captivating. As Matt sticks you with a spear, your will to conquer over the sound slowly diminishes and you find you are nothing but a victim to audio sludge that is gradually taking you under for the count. Deeply atmospheric with precision and elegance this can only make you understand that if there was only live performance that I would like to witness when I go back to the States PCRV is it. Passionate throughout and brilliant in every minute detail as the track comes to a fluttering halt with once few last flares to complete this mind altering piece. I must admit the assholes speaking at the end of the track need to be killed, that is all I am going to comment about that. Contact Matt at pcrv.harshnoise.com/ The Goat side is much denser than the PCRV track. Extremely harsh subtle shifts in sound and pitch make the sound vibe with cold presence even on a hot day like today. Cold as the ice is deep in places such as Greenland and the South Pole. Encased in a think ice that has frozen you alive, you float along the icebergs bobbing up and down as the winds blow even more frigidness upon your fate. The noise tweaked as creaks and twists just as your casket of frozen water pops, cracks and seals itself again as the battle to keep afloat rages on. A brief break in the sound sends you plunging into the darkness only to have the sound return and your buoyancy regained, continuing with the theme of blistering though artic temperatures the sound create more of a rough sea to further enhance your travels though hell. With the end coming and noise stammering out of the speakers with more of a hacking flavor of delivery the sound fluctuates much more as does your image of the high seas. Coming to a subtle close, the noise gradually slows down and fades a bit just as your journey, sinking deeper and deeper with no conscious memory of your brain turning to ice. Contact Andy at aosullivanmi@earth.net > Review by Joe Lombardo Pop Culture Rape Victim/Nkondi - Split cassette on www.iheartnoise.com/dfrp/. The PCRV side starts off softly with a very low hum and drones on for awhile until some other subtle sounds are added creating a very mysterious piece. Atmospheric, distant and beckoning the swirling pool of noise increases ever so slightly in volume and begins to use the speakers well. The sound travels through the room as it does your mind with a mood that is light and free. Soon erecting a high pitched pole of feedback that the other sounds just seem to play around and with time eventually attack in a menacing onslaught of noises as if a kaleidoscope of sound was pumped into the skin as well as the mind. The track builds even more in-depth than I previously thought. A classic piece of very different sounding PCRV, contact Matt at pcrv.harshnoise.com/ The Nkondi side is much harsher with lots of high steams of frequencies bouncing in and out of the picture only to have a powerful background push through and hold down the foreground while in the next second the pings continue to wrestle with each other and duke it out like a couple of professional cutthroats. Consistently thrusting to in fro and back in forth, like your ass getting thrown around like Raggedy Andy from a redheaded stepchild who is venting frustration, this track is going to flat out kick you in the balls. Ready for a little something direct and to the point? This is for you. The combination of different styles on this cassette is very refreshing and highly recommended. Contact Nkondi at www.iheartnoise.com/dfrp > Review by Joe Lombardo Pop Culture Rape Victim - Self Titled CDr on Tornado Productions at tornado.prod@post.cz Ready for that eager fun filled funnel sitting in between your ears to be stuffed with a noise stew that you won't soon forget? Dam boy, this first track is fucking raw, I mean like it was recorded live with no overdubs. Crisp and clear just as noise should sound. Plenty of shifts in frequency, speed, volume and complexity keep this piece extremely interesting. Blistering in some cases like the beginning while in others just as relaxing as on might find listening to the ocean. Along with an obvious tension it antagonizes and flirts with an eruption until the inevitable, seeping deep within the cells of your audio canisters. Track two looms with a low electronic feedback base and is coupled with matching static while riddled with faint, but impacting higher frequencies that forge a more punishing piece than the prior. This nearly twenty minute monster seems like an attack from the skies, Matt uses delay along with cosmic blend of psychedelic sounds and static that are as a part of the battle plan as nukes, this engages the listener with a head on collision that is just a fate predicted. Continuing with the same gritty taste, the sound is deliberately thin and light with a very different approach to most of PCRV work in the past. Like a mosquito buzzing in your ear as you lie in the darkness sweating like a pig praying for sleep. The noise builds and coagulates, thickening with every second that elapses grinding the listener like an onion with much the same effect. Slight pain and some tears will be well worth the pleasure of listening to this disk, as I am sure you will agree. The fourth track is also much different than I expected with lots of ambient mellow mood inducing sounds that are soothing and very enjoyable to those also who may not like noise per se. The last track continues nicely where the prior one left off, but with an acidic flavor of static, sick texture of tone, tangy frequency level that bounces from tongue to pallet and overall mellowness that you can't beat no matter what type of noise twists your knob. Absolutely memorable stuff, looking for something different from a harsh noise artist... Contact Matt at pcrv.harshnoise.com/ > Review by Joe Lombardo Pop Culture Rape Victim/Black San Desert - split CDr on www.chondriticsound.com This is one those ones that your read about on the board and wonder if it is worth picking up. I mean you know it's going to be good, but you don't know exactly how good it is going to be. Well, I guess that is why I love writing theses reviews. PCRV starts out the disk with a very trippy space continuum that will have you literally seeing stars. Lots of the noise grumbling is as it fades out, echoing in bits and swirling around the entire length of the track. It sounds like a lot of new techniques or equipment... not as harsh as you might expect but nonetheless really interesting. I think even the quality for a 7 inch. BSD is next up with a static, screechy little nightmare of a piece with the track seemingly recorded live. I mean in the way that the noise builds from not much movement to the more powerful grittiness of its own development. This nearly fifteen minute track subtly changes in the background while the foreground, the more punishing of the two, grinds consistently on your temples. Back to PCRV and a nice continuation of the first track. Lots of high pitches that storm slowly in and out of your head while at the same time really making the most of each sound. I would say that the first track is a bit better than this one, but then you can be the judge. Track four is BSD with more blistering harsh noise that I am now starting to enjoy. Granted this may not be the harshest noise out there, but for hearing BSD for the first time, a very nice slab of static intensity. I will be very interested in hearing more in the future. The next track is a PCRV remix of BSD, I think... Can anyone confirm this? I don't know why but the volume on this seems to be different. Very low-fi static from BSD while slashed apart with some of PCRV own loop madness and blasts of roaring frequencies. Lastly it's BSD turn to manipulate PCRV offering. This is a very relaxing piece that combines white and pink noise while not losing the listener's interest. I highly recommended this track to those who has trouble relaxing or just needs their daily fix of noise. This entire release is a great introduction to both of the artists. Their contradictory styles complement each other very well. I wish more noise artists did this. Contact Pop Culture Rape Victim at pcrv.harshnoise.com/ and Black Sand Desert at www.chondriticsound.com > Reviewed by Maim Pop Culture Rape Victim/TCP - split (Troniks) PCRV's track 'Radio Free Montana' starts off with a short vocal sample almost completely buried beneath a crushing rumbling wave of low end. Utilizing only one layer of sound at a time for the most part, everything is perfectly crystal clear and perfectly paced. PCRV impresses me every time I hear them (him) and this release is no different. It is apparent that alot of thought went into the editing and the structure of this track, allowing for short passages of near-calm followed by maniacal sound torture. The uses of samples work well within this track and also gives it a slightly humorous style without losing its brutality. The range of sounds used is vast and impressive. What can I say? This is awesome noise. TCP's side is also a crusher. Wave upon wave of massive distortion, slowly shifting and moving throughout, at times pierced by high end. The track is called 'Basement of blood' and it is a monster of a track, with dense walls of noise and an almost doom-ish pace to it. At times it sounds as if an airplane engine (or several engines) has been pitch shifted down and run through several distortion pedals. There is an almost droney feel to this although it is harsh as hell. Very cool. It is only towards the end of the track that the massive wall-of-noise is lifted, only to reveal a spastic mess of noises. This is probably my favourite release from Troniks as far as the split tapes go. If it wasn't already sold out, I'd tell you to go buy it immediately. > From Worm Gear: PCRV - Generica : Waste of Plastic #1 The debut entry in the aptly named Waste of Plastic one minute cassette series. With the 30 seconds on side one PCRV delivers a burst of screeching high frequency harsh noise. With the precious other 30 seconds we get rumbling low end with a mid range squawk that seems to pan around a bit. As always limited to 50 copies. - Scott SRR > From Worm Gear: PCRV - No Use For A Broken Existence This is a 3 song CDR with the tracks ranging from 13+ to just over 20 minutes. "Victories Gone Unnoticed" opens the release, after a brief passage of hi-frequency pulses it erupts into energetic harsh distortions. It's a frenetic listen with a lot of mid-range offset with interludes of deep sub bass and hi frequencies. The onslaught will appear and disappear leaving only odd electronics in it's void, and I think it's that element that keeps the track engaging. The wall of noise sections struggle with distinction, something I find with a lot of Harsh Noise, but having those breakaway sections from the attack does give the piece more character. "Cracked Smile Comedy" is next, beginning in low crumbling distortions and piercing hi end twittering, I like the restrained nature and the quality of the low distortions. This ultimately is consumed by bursts of manic abrasiveness that come and go. "Despite All Attempts" rounds this out and is the longest piece of the lot. Repressed feedback and panning delay effects launch this one before PCRV brings the noise, then the low and mid distortions come on like a building collapse and again use that full bore attack offset with brief moments of withdrawal. There are some nice sizzled electronics bits that appear in some of the more reserved sections, that I quite liked. There is a vitality to the tracks, and some good sounds carved into the monolithic aural concrete, but in the end I wonder could I pick PCRV out of a line up of a dozen other Harsh Noise projects, perhaps, but I'm not convinced entirely. I really feel like this kind of material would benefit from a couple things, a real mastering process, so that everything would have that added bit of clarity and girth, and more attention to the stereo field and the mix. This does use the stereo filed, but aside from certain panning effects it's more like these sounds are left and these are right, there's not much sweeping from one to another, creation of movement in that regard, or easing things in and out of the foreground of the mix, it's either on or off, kind of thing. I think that sort of contemplation of details would ad a lot of depth that is neglected in favor of intensity. "No Use For A Broken Existence" is what it is ultimately, has it's strong points, and likely won't disappoint those that gobble this stuff up. - Scott > From In The Fence Of Reality Webzine: PCRV - In Four Movement (Freckle; 4 tracks; CDR) (File Under : Montanoise reverbing fury...) At the beginning of this records I was scared by the psychedelic nature of the sounds, the Montanoise master is going hippie? It reminds me a lot of the more noisy parts of Acid Mothers Temple. Some sounds experiments with reverb. And then these very soul-sucking high tones that PCRV is good to do come and the orgy of noise come in... But the sound rage is vast and reminds me a lot of some of the Luasa Raelon sounds density but in a dirtier sound. For a reason that I don't know, I really like that kind of full reverb noise, it sounds a lil bit minimalist and cheap but done in a good way it can sound nice, this one is very interesting, that nearly the best I've heard coming from PCRV I guess, I never knew it can sounds as psychedelic as this... This album is very fresh and it offers sounds that few other explores and that makes this recording maybe a statement for a different kind of noise. This is a very scary release in a way that PCRV always produce scary noise... In a way that ! goes well since it's not that long as some of his other records are (may I remember you my disdain for long tracks... that is mostly as a result of my legendary impatience...) but this record is nearly a log oeuvre In Four Movement and the complete listening of it is mainly recommended... As this record is recommended too... You like to take drug with your noise, get this. Period. > From Sir Tyler Cox: 40 watt womb this is a very long and unusual work which sees pcrv combining his electronics talents with a turntablist. i can't tell exactly from whom which sounds emanate, although the various sounds seem to play off each other well, and the end result connotes a great sense of mutual improvisation. as a big fan of pcrv, it's great to hear matt branching off into more experimental territory and trying out the possibilities of combining harsh electronics with sound artists of other disciplines. as this release goes on (it's REALLY long), i get simply lost in the sounds and drift off into a state of semi-conscious contemplation. a great experimental work with very interesting moments and unexpected sound events. pcrv/dclxvi "smelter" split cd first off let me say that the packaging and artwork on this release is beautiful. great work there. inside the sounds are harsh and surprising. pcrv's tracks show matt exploring the possibilities of silence and bubbling, subverted noise - this is not your average wall-of-sound release. i like matt's willingness to use silence and restraint here. the result is contemplative and almost unnerving. gurgling, subdued tones convey a sense of a giant beast being held underwater -- occasionally its great head and writhing limbs spring from the surface in caustic boils of harsh madness, soon to be dunked and drowned again in this soup. the liquid surface levels in moments of eerie silence, and soon the beast fights its way to the surface again. the noise here is crumbling, completely distorted and plain ugly, at times calling to mind the ultra distorted attack of xome. i am very happy listening to these tracks. dclxvi's tracks are a stark contrast - howling, reverby, loud as fuck and! screeching in pain. the second of the tracks is my favorite - desolate and troublesome in a menacing way. a solid split release worth owning. > From Eddyouard: side Pop Culture Rape Victim track 1: Right away, deeper than anticipated. A lumbering foreshadow creeps slow and steady over the rumbling ground. A rusting electro-magnet hovers inches above your head, swaying from the force of it's own field. No wall-of-harshtronics. This is evil omen noise, with methodical mechanical ambiance. track 2: The crushed squeals of tubular pedal vox. Fly-by flanging aerobatics. Gigantic rod nest atmosphere. Bubbling cauldron of bristol blocks. I was concerned it was a little too quiet at one point..so I turned up the volume. Problem solved. track 3: Quaking textures of staccato electronics give way to sterile rhythmic...damn! The next track has started already! Lost my train of thought.. track 4: Sonic assaults rife with the feeling of panic and consternation melt into the fiery torment that begins this piece. Delicate hi-end noise droplets fall to earth, forming shimmering pools of sound and mucky swamps of lourdness. Strange siren and foghorn audio alert you to a rapidly approaching coral reef. Shipwreck! track 5: This track induces writer's block. Thick, heavy, harsh, loud, long, yum. track 6: It's the rapture!?! The great cosmic vacuum cleaner is sucked into a solar vortex. Cataclysmic dust nova! Churning, squirming, writhing, grinding, grating, hating noise chords strummed with a 2 ton iron pick. Batten down the hatches and break out the apricot brandy! and in the end: Heaviness. Variety. Professional. Clear attention to structure and track progression. Thoughtful and powerful. Ace of spades! side Deadly Orifice track 1: Ever get the feeling you're being raped? Locked in the wooden dungeon - Robert holds the key, bends you over knee, spanks with glee, I have to pee! track 2: Dateline: track 2. Catastrophe in Neo-Tokyo. Tsunami of cum wipes out Shimagawa district. All females impregnated. Godzilla held for questioning. Ghidora blames Fumio. track 3: Anyone seen the movie Happiness? "Dad, would you ever make love to me?" "No son," begins to cry "I just jerk off." You better eat that rohypnol-laced tuna sandwich little boy! Oh yeah, and that fat chick. track 4: Are the risks of freebasing worth the benefits? Smoking of the sacred stone is truly the sport of kings and breakfast of champions. But everyday in North America an average of 6 people set themselves on fire while extracting the base during the dissolving process in pursuit of Richard Pryor-dom most high. Therefore, my final analysis is: or is it? track 5: You are scum. You are worthless. You've wasted your life and you make everyone around you feel just as rotten as you actually are. No one wants to help you anymore. Nobody cares. So for once in your life, do something selfless and just end it. Suicide is your only logical option. If you don't do it someone else is bound to do it for you. I'm telling you this as a friend. track 6: Sunshine on my shoulders makes me happy Sunshine in my eyes can make me cry Sunshine on the water looks so lovely Sunshine almost always makes me high If I had a day that I could give you I'd give to you a day just like today If I had a song that I could sing for you I'd sing a song to make you feel this way and in the end: We all have to eat "Necesito Para Comer" > From Joe Lombardo: PCRV - Public Display of Affection CDr When I get to the States, I am going to have to map out the biggest noise tour that has ever been undertaken by a fan and that must include the great state of Montana! I have only been there once and that was just because I had stopped for a bite to eat. The next time around, noise is on the agenda, Matt and DCLXVI do you hear me? This begins with a series of delayed like distorted loops and progresses slowly into a swarm of hot molten lava that causes combustion at the very presence near objects. Tracks three and four are worth playing in elongated, two hour loops with use of the replay button and if you are a real harshnoise fan, you will agree with me in saying that the last Track, Final Blow is the best. The variety and range of sounds in my opinion is varied and interesting. I can't wait to hear more. Especially if this is only the beginning... > From Worm Gear Magizine: POP CULTURE RAPE VICTIM - A Means To A Beginning Self released CDR In a plastic sleeve with a full color insert. 7 tracks here, the disc opens with "Pop Song of The Future" a slow grinding noise track, with a cyclic destructive feel. The foundation grounds away and above it harsher sounds crash around it. It doesn't change a whole lot from the pattern established, but it's not that long, and it's an effective bit of sonic nihilism. "Harsh Reality of Being Alone at 10:55" roots itself with a dense low end rumble pierced by higher frequency stabs and slices rearing up. The heavy distortion saturation on this track in the low and mid range corrosions reminds me slightly of Lefthandeddecision, but the ultimate result is a bit different than LHD. "There's Something Wrong With My Amp" churns with a heavy low end as analog chirps and feedback scorch in a fractured fashion, mid range distortions flesh out the track. "Medication Punchingbag" has a slightly more spastic presentation using the same type of sonic elements of the previous tracks. "The Ecstasy of Sound" is a more droning sort of piece that still maintains the harsher elements, of feedback and some midrange noise. The last two tracks maintain a similar feel, this is harsh and noisy and chaotic at times, but it has a foundation through it that keeps it from being over the top and ultimately more engaging than some of the extreme noise stuff. The tracks have a nice movement in them, even when sounds don't change that much they do shift to evolve the track. A strong release of harsh but not too harsh noise for those that aren't ready for Government Alpha, but like their Skin Crime just fine. - Scott PCRV, P.O. Box 247, Sheperd, MT 59079