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woensdag 19 september 2012

Doodshoofd – Geenheidsworst CDR review @ Memory Wave Transmission

I don’t know a lot about Doodshoofd. I don’t know how to pronounce the artist name (though I do like to think it’s pronounced with an emphasis on the end “d”); I don’t know what the English translation of his titles are; I don’t know whhere Almelo, Netherlands is (and that is a good indictment of the American education system). But I do know that Doodshoofd is a dude who loves to pack his discs with all manner of harsh static walls, and even though most of his releases say “no-fi wall noise”, I can tell you that Doodshoofd releases are mastered quite loud.
Geenheidsworst certainly looks DIY. It comes in a plastic sleeve with a coated CD-R, a combination of silver with pink edging. There are a couple inserts: the cover art, which is printed and quite dark so I can’t really make out what it is with a flip side being the same, and a back cover which details the tracklisting. It’s not a very attractive layout, but it doesn’t really need to be with the ugly walls on this disc.
“Dikke Lul, Kleine Dood” starts things off with a static spray that features somewhat fluctuating feedback atop it. There’s also a feeling that this is a jet taking off on your stereo, because in the background after the feedback cuts out is a looping sonic pulse that sounds like a jet cutting through the air in the distance. This creates a hypnotic effect as the listener follows the texture inside the static, and like most Doodshoofd, the track sticks in this wall for most of the track with occasional breaks which add feedback or oscillating textures.
Second is “Ambacht En Ongeluk”, tacking on another twenty minutes to the release. This one’s much more bassy, still with that static sizzle but with a rigorous amount of juddering in the mix that rarely switches pitch or jumps out of its flickering fast pace. This one’s pretty straight-forward, and it doesn’t change – at all – through its makeup until it devolves at the end.
At three-quarters of an hour, the title track “Geenheidsworst” makes up the bulk of this release.  It’s an immense track, full of pattering bass patterns that move at a fast clip with flowing and receding static. Despite what seems like little change, there are a few tweaks Doodshoofd uses to submerge the sound and lower it into more static. The track chugs along, at times shifting into sharp stabs of static and others continuing a very subdued, low-key monotone of bass pulsing underneath juddering static. Part of what makes this such an engaging 45 minutes is the fact that Doodshoofd is exploring what his initial noise sounds like layered under different textures, how subtle changes in static can affect the fluctuations of plodding bass. It might seem like a futile, simplistic effort to stretch a track – and sometimes it is – but it can also be very rewarding.
Geenheidsworst packs a lot of harsh noise into one CD-R, and this is true of a lot of his releases. While some seem stagnant, there’s always just a little bit of toying and instrumentation going on behind the scenes, and it’s more apparent on the title track than any other piece on here because of its tendency to stay almost totally rigid while switching the noise between different lenses. Certainly worth a listen for harsh noise wall fans, and regular listeners might enjoy the shifting sections featured in some parts of the track.


Doodshoofd – Boterzuur CDR review @ Memory Wave Transmission

Boterzuur is a more abrasive release from Doodshoofd, and it’s a relatively long-running disc featuring seven walls that creep and crawl. Often,Boterzuur‘s walls tend to be a bit more expansive than Doodshoofd’s other work, and they are not limited to the same static scrawl that most walls convey.
Opener “Boterzuur” shows the meandering feature of the work with an introduction that swirls before settling; even then, its background judder is always fluttering around with just the hint of change. The same is true of “De Hersenspoelers”, which doesn’t hit its wallish sound until a couple of minutes into the piece.
This reliance on intros and different textures allows Doodshoofd to expand his scope for a while before moving into the more limiting territory of the wall. It’s good to see the oscillations on Boterzuur, tones that tend to fluctuate pitch on and off throughout the track without totally changing the wall. It gives the listener a focal point while the stasis of the static rages. It also means Boterzuur is a bit more abrasive; it has some jagged edges to it that emphasizes the harsh of the HNW.
Track five, “Lisa”, does sound a bit like Doodshoofd’s sprawling work Heil HNW, although that might just be because I listened to that album first. It doesn’t matter if the track is maddeningly similar to that other work; it works in both areas, and here it’s slightly truncated. The longest track is “Bewust Zijn” at 25 minutes; second to last on the album, it’s a good closer but feels out of place in the structure of the disc because of the long nature ofBoterzuur.
Overall, though, a freshly textured piece of wall from Doodshoofd that holds the attention through its lengthy format. Like always, Doodshoofd gives us almost too much of a good thing here, and it ensures a tough listen for those looking to devote their time to the entirety of the album.


The HNW Graveyard: Doodshoofd - Nyd ....FREE DL. of the Debut !!!

The HNW Graveyard: Doodshoofd - Nyd: ARTIST: Doodshoofd TITLE: Nyd LABEL: Skumrex FORMAT: CD-R YEAR: 2009 COUNTRY: Netherlands MULTIUPLOAD

Heil HNW review @ Memory Wave Transmission

Heil HNW is a testament to the form of the wall. Doodshoofd, who generally provides stationary walls anyway, gives us two separate pieces on this disc – one in the form of a quick, concise wall and the other in an almost album-length wall that rages on for about 45 minutes.
This CD-R is a little different, since the disc is printed with a picture, unlike most of Doodshoofd’s other releases. It’s still got the paper fold-out, the plastic coverlet (although that is now colored), and the DIY feeling of a self-produced recording. But I give credit for including the picture disc.
Onto the noise, we first get “Anti-Collectivist,” which clocks in at about five minutes with a quick and heady wall that focuses on sharp static. It’s a good display of Doodshoofd’s abilities at crafting a quality wall, and it even deconstructs itself before ending by first dropping some of the static and then shifting the sound to the left side of the balance, which normally doesn’t work for me but here sounds nicely dynamic.
The lengthy title track “Heil HNW” pummels in right after “Anti-Collectivist” with a roaring, echo-like static like that seems to feature a lot of bass in the middle of the track’s wall while keeping a base line of static and allowing another branch of static to oscillate pitch over and over again. It’s a hypnotizing track, because Doodshoofd ensures that the amount of variation is fixed in such a way to make it seem new every time the listener hears it. At 45  minutes, one expects to hear an enthralling wall, and Doodshoofd delivers, thankfully, with his ode to the wall.