Nundata+Visdomstann—Mitochondrial DNA 3" cdr

Mitochondrial DNA
Petite Soles

I’m a huge fan of 3” cdrs as a format. There are a lot of cool packaging ideas with such a small disc.  I’m a little disappointed that with this release they didn’t seem to take advantage of that. There is something to be said for down and dirty packaging. I don’t even mind that they didn’t even stamp the cdr itself but it has this “good enough” feeling to it. The art is fine and there is so little type that I can’t really critique the typography so there’s that. 

Musically it’s pretty straightforward brittle noise but it does have this relentless piercing sound that I find pretty pleasurable. There was definitely some good thought put into the audio. This was perfect for listening to first thing in the morning.

CASSETTE REVIEW: FECAL VOMIT / EON “eigengrau rain” (Phalænia)

            With the name Fecal Vomit you can expect harsh noise to follow and it does.  I mean, just imagine that you’re spewing poop out of your mouth and let me know how that image grabs you.    Eon can be assumed just as harsh, but they’re aren’t quite as much which I guess is a testament to their name.

            Fecal Vomit, as a musical experience, is full of sharp, distorted feedback.  There is a tone throughout this whole first side that almost makes you think it is there simply to send all of the neighborhood dogs into hiding.  There are audio clips or just someone speaking, I’m not sure, but it’s in the background and I never really feel like I’m supposed to be paying attention to what is being said anyway.   It’s definitely the vibe of being in a wind tunnel, at least up until the end when the lasers and fax machine sounds take over.

            While you could consider Eon to be harsh noise as well, I’m thinking they are a little bit less harsh at least compared with Fecal Vomit.   If I heard Eon on a cassette by themselves, I don’t know if I’d even consider them to be harsh per se because they don’t have the same elements of sharp feedback and that static combination which makes you kind of uncomfortable.   This Eon side begins with static doom.  The windy elements are also found here, but it’s more of a static drone.   If not drone, then it definitely maintains a certain consistency throughout without managing to lose my interest which is always important in situations such as these.

            You could say that Fecal Vomit is the storm and Eon is the aftermath, but let’s not take anything away from the power of Eon.  This is such a great split though because both of these artists are so equally excellent at what they’re doing, yet they don’t sound like mirror images of each other no matter how similar they might seem.

Cassette Review: Nundata "Against His Master's Voice" (Diazepam)

[€4 //]

Once again, Nundata has proven the way that harsh noise should sound when mixed with the proper elements and just overall that this isn't a one dimensional genre based upon music-less talents and devices anyone can recreate.

Through a lot of static there are lasers with Star Wars-esque synth.   This is distorted space violence.   It's the sound of harsh static with high pitched notes that sound kind of like bees but aren't.     It's heavily distorted and there are sounds that an amp will make as you attempt to plug into it.     With a static overload this reminds me on some level of a video game glitch and I'm really liking that about it.

On the other hand, there are these moments within this cassette, within the madness and chaos, where pieces of beauty are trying to come through in its pure form.    These pieces on paper sound like the guitar notes of Jimi Hendrix for example, but in reality they are a little bit closer to the supression of such thoughts.

I always somehow end up going back to comic books for comparisons, but it just somehow works so I won't try to do anything different.    When you think of Bruce Banner as The Incredible Hulk, you imagine a man full of rage that is ready to explode at any moment and turn into a giant green monster (And not one that wants to sell you vegetables)

This cassette, on the inverse of that though, seems to be the fact that it is letting that rage out.   It's not Bruce Banner sometimes turning into The Hulk, but rather it is The Hulk all the time with Bruce Banner trying to escape at times.

Cassette Review: NUNDATA "Sensory Oversimulation" (Autistic Campaign)

[€4 - €6// Edition of 50 // //]

Nundata is becoming one of those artists that the more and more I listen to them the more I like what I hear.    Eventually, I wouldn't mind hearing every piece of music by Nundata but it's funny because these cassettes do seem to have a way of popping up on labels with other artists that I enjoy.   This makes it easier to find all of these Nundata cassettes because you don't really have to spend time seeking them out so much as that they just sort of come to you.

On "Sensory Oversimulation" Nundata stands on the border of harsh noise with bouts of distorted static the likes of which you've never heard before.   With ringing laser drone, scratches as if on balloons and beeps like fax modems there is a definite genre of noise here but what is contained within that is where Nundata always seems to excel.

Some sonic booms of doom bring me into what I have since dubbed "harsh looping" and I'm not sure if I've ever had to type that before but it probably does exist somewhere else because, you know, everything kind of does.     Through siren-like cries this cassette just really pushes your buttons.   It doesn't ever get quite as harsh or heavy as other things I've heard, but it keeps going to that edge and pulling back from it.    I do feel at times as if it's just messing with me (or the listeners in general) because it makes you think it's going to kick in that extra bit and never does, which takes you off of your guard only to repeat the cycle.

As if the sharp feedback and sea of endless static distortion isn't enough to have you feeling something, there is just an overall haunting sense to this that makes it somewhat terrifying.   I can't quite put my finger on the vibe but it's as if something is about to jump out at you in a horror movie and as such you're constantly on the edge of your seat but that scare never comes.     Combining that with the other ways this seems to play tricks on your ears makes for quite an experiment- and undoubtedly one worth your taking- even if this time around we are the subjects rather than the onlookers.

MP3 REVIEW: Nundata / Social Drift "Spiritus Venenatus" (Centipede Farm)

            This is my second time listening to Nundata and this cassette (Which is sold out, so I’m listening to the MP3s obviously [EDIT: This is available as a cassette still.]) is a split with Social Drift so in that sense it has introduced me to that artist and just further proved my theory that music is the biggest gateway drug that there is.

            Nundata begins with some harsh static, which can come across like a windstorm, before some lasers come out and start frying up the place.    There is squealing and this whole side is just sort of wild.   I remember hearing Nundata before this, but it seems like I’m going to have to add that name to the list I have of names that have yet to disappoint me musically.

            Social Drift kicks off some harsh glitch noise that is electro, yet there is a fair amount of static still.   It’s somewhere between Morse code and the Flight of the Bumblebee.   Then it switches into a distorted guitar chord before hissing with a slight high pitched audio tone.   It’s drone and it’s wavy.    Those cool, dark  Nine Inch Nails guitar riffs come out, you know, the kind that make you think something loud and powerful is coming out next.  

            So once again, I begin listening to a split with one artist I know and end up enjoying both of them, giving me more reason to like Nundata and now another fan for Social Drift.   Thanks, split tapes!!

NUNDATA / TROU (split cassette by Ciel Bleu et Petits Oiseaux Records)
Here we bring together two loud dudes for a split on the relatively young Ciel Bleu et Petits Oiseaux label, whose tongue-in-cheek name (“blue sky and small birds”) typifies the scrappy 'shit noise' ethic its artists revel in. This tape's cover features an old-timey illustration of a bare-chested man impaled on a spike. This should help prepare the listener for the tape's wholesome innards. Nundata, the seething project of mouthful Srdjan Eftimovski, started his exploits in shit noise on the shit-noisiest label around, Smell the Stench. Since a quad-pack of releases on the label in 2009, he's graced several contemporary noise hangouts (the mega-prolific Rainbow Bridge imprint, Dental Work's wacky Placenta Recordings, and the reliable Ikebukuro Dada label, among others) including a few tape-dubbers I'd never heard of (Zamzam Records, Rohs Prod., Kabrakarakadabra Records... how am I so out of touch??). Here Eftimovski brings us two meaty, pulverizing bricks of harsh noise with his two-part “Take a Shit” movement. Part two offers more in the way of variegation, transitioning from grinding timbre to equally grinding timbre with the subtlety of a drunk-driving Mack truck. But it's the full-bodied assault of “Take a Shit 1,” with its periods of gratifying bass rumble, that steals the show. Through its soul-devouring duration, it gets the gratifying punch-in-the-face feeling down pat. On the other side we get Trou, the label owner's own project. There isn't too much information floating around about Trou, except for an extensive string of ultra-limited self-releases, tapes out on Ikebukuro Dada and Depressive Illusions, and an illustrious 'Recycled Music' edition on RRRecords. In contrast to Nundata's tempest of a side, this one brings malnourished, skeletal noise to the table: thin filaments of harsh noise rumble nervously work the stage, imbuing the listener with a distinct nervous energy. The last of the three tracks reduces it all to a quivering shell of bass, sounding something like a tachycardic heartbeat reverberating through the sub-sub-sub-basement of a defunct warehouse. The take-home on the tape as a whole: It's a solid noise split made interesting by the juxtaposition between Nundata's maudlin pound and Trou's antsy totter. (MT)

CASSETTE REVIEW: Nundata “What is Residue” (Personal Archives)

            I’m never really sure what to expect when I press play on a cassette, but being from Personal Archives I was ready for this to be good.  We begin with some static and some sort of spoken word as well.   It’s quite strange, but I like strange because I, myself, am quite strange.   It becomes noisy as well as frequency changes and it sounds like music that I’ve heard before, yet still not.  You can only play the same guitar chords so many times, in so many different manners before you wind up sounding like something that already exists.  Yet, changing frequencies like this—you could almost do this an infinite number of ways and never exactly sound the same.

            There also exists on Side A this certain amount of noise that reminds me of something between a chainsaw (“Chainsaw Symphony” would make an excellent band name and/or cassette title, if it doesn’t already exist… if it does exist, someone email me as such), a bumblebee (Though not “Flight of the Bumblebee”) and the movie “Wall-E”, if only because I’ve been watching that movie too often lately at the request of my two-year old son. 

            So on some levels, yes; this could be what it sounded like if Wall-E, as a trash collecting robot, was to make his own cassette of sorts.   Side B likes to wuh wuh wuh wuh and that just furthers my belief.   Though I won’t entirely look at Nundata as being “the artist who sounds like Wall-E”, but deep down inside of me I will always feel happy when I see the name Nundata because I will associate it with Wall-E.

NUNDATA - PENANCE (cassette by Color Triangle Recordings)
A handcrafted cassette, Xerox photo and religious texts in thin gold of what appears to be the confession from the Christian liturgy. Side one has what appears to be two tracks, the first gentle electronic noodlings and field recording, distortion, but all at low levels, the second a beat driven piece of electronica, which no doubt owing to the use of commercial tape finishes well before the end of the cassette. The second side a more wallesque mix of abstract non rhythmic noises to begin, and industrial echo spaces to follow… The lack of effort in recording, packaging and mix all part of the by now well known DIY aesthetic. Just as familiar as the feedback glitches…. Which is not to say this isn’t un-pleasant, but makes one think how ‘experimental’ and ‘improvisational’ after several hundred examples ceases to be just that, it becomes terribly familiar, which again is not to say that this is in anyway bad. In fact elsewhere I have made the point that reality as it is, not as
how its presented in the media, is very boring. If it were not why do we need mobile phones, wide screen TVs,  art, sport and culture in all its forms. If reality was interesting enough in itself. So noise as a genre when it becomes so familiar is boring repetition saying nothing new if it ever did say anything. Which is why I address it as The Real, whether we like it or not, and we - being spoilt by living, which much of matter isn’t, and living on a very interesting planet, seemingly not that common, given our luck we still demand entertainment. Well this like any art of the Real is no longer entertaining…. Or to quote my Microsoft outlook express often remarked ‘no new messages’…. (jliat)
Address: http://

Nundata - Methicillin-resistant Staphylococcus Aureus [Placenta Recordings - 2011]
Year:  2013
Country:  Serbia
City:  Belgrad
Artist:  Srdjan Eftimovski 
Label:  no
Format:  CD
Tracks:  3
Time:  42 minutes
Genre:  electronic
Style:  Harsh Noise, Drone 
Hundreds of tracks from the best HARSH NOISE here is what you hear, without any doubt and with its own personality and distinctive sound, largely achieved by the sound so rude, crude and junk, very difficult thing to find these days, where most bands sound the same. It certainly looks Eftimovski Srdjan note carefully their sound and production, not only in this work but in all its productions. The musician from Belgrade (Serbia) not only makes HARSH NOISE but it is also important to note his innate talent with the graphic work of their publications (artwork, covers, etc…) And all this makes each listen is all a very intense and pleasant or unpleasant, depending how you look. It is true that many albums has tirelessly “harsh noise wall” but also repeatedly demostado ability to enter land ambient and drone more. Since its inception in 2009 has recorded 40 albums plus several long splits with other bands such as HARSH NOISE: Gyakusatsu, Astro, Julia LaDense, BBBlood, tjere, Meinkinder, Vasectomy Party, Social Drift, LordxGonzo, Ecoute La Merde, Visdomstann, Wormhead, Illegal Alien, Crank Sturgeon, Alexander Adams, Colonel XS, Grassa Dato, etc.

Nundata - Wallnut Wall [Sweet Solitude - 2012]

Serbia has become quite a force in the international noise scene, producing such acts as Raven, Dead Body Collection, and Srdjan Eftimovski’s, harsh noise project Nundata. I became a convert of Nundata’s work after hearing his 2010 album Carousel, so I was quite excited to see this release appear in my review queue. Released on James Killick’s (Love Katy, Small Hours) now defunct Sweet Solitude label and advertised as HNW made with walnuts; I was even further intrigued. Walnuts are known as one of nature’s most potent sources of omega 3 fatty acids, but are they also nature’s most potent sound source for harsh noise?
Using walnuts as a sound source might seem like a novel idea, but truth be told, this isn’t my first experience with culinary harsh noise. I saw a noise group (Dot Dot Dot Orchestra) earlier this year that utilized coffee beans in a food processor to create some crushing sound waves, and I’ve seen videos of artists contact mic’ing meat, so maybe there’s more to food noise than I thought? But I digress. Nundata presents 2 walls, nearly 20 minutes a piece. The first wall starts out with a blast of white noise static. It stays fixed for about 2 minutes until we’re introduced to what sounds like warbling radio static shifts. Subtle thumps pepper the track (the walnuts?), though white noise is the dominant force. At around the 8 minute mark, the white noise haze builds into a thicker wall, with deeper bass and potent crackle. The wall becomes more frenzied, with repetitive marching thuds overtaking the white noise from earlier in the track. However, the wall ends much like it began with the white noise static again retaking supremacy.

The second track on this disc is the stronger of the two walls in my opinion. I’d actually consider it a harsh noise track with wallish elements as the piece is very active all the way through. It’s a gratifying rollick of harsh crunchiness, ostensibly produced with a contact mic and walnuts and closer to what I had envisioned this release to sound like. Running alongside the moving crunch is a flickering static that appears and disappears throughout the track.The two distinct sounds duke it out throughout the majority of the track. In the final minutes the concurrent sounds reach their zenith and degrade into the churning of gears.

I have to admit, this release falls slightly short of my expectations for walnut created noise walls. For some reason I imagined it to be crunchier, really emphasizing the cracking of shells. If it wasn’t spelled out for me I wouldn’t have guessed that walnuts, or any other foodstuffs, were the sound source of the walls at hand. Perhaps he was pulverizing the nuts in a grinder run through distortion pedals, however it was never apparent to me. That aside, I enjoyed the walls enough and Nundata is an artist I follow with great delight, however I don’t feel this is his strongest work. Extremely limited to 12 copies, this release will certainly appeal to the diehard, but to the uninitiated I might suggest Carousel or Entropy as a nice intro to one of Serbia’s most prolific noisers.

Hal Harmon

Nundata - Semen Papaveris






Nundata, of is-for all I can ascertain-a drone and noise artist from Serbia, who frequents my favorite noise label, Rainbow Bridge. This release kicks off with a really disturbing sounding oscillation drone, that really feels deep. It adds layers of synth and drops out old layers, it really kept moving fairly well and for some reason, evoked emotions and images that only “Begotten” has been able to conjure, until now. The second song on the first side - “Emesis” - finds an even more disturbing set of samples, that feels like a sequel to side a’s previous track. Emesis really sounds unique, and is definitely the highlight of the album. Side B is a lot more harsh. Piercing tones permeate the soundscape and is a lot more heavy and in your face at times than the rest of the album. Overall, this piece is very dark, and beautiful for a noise lover. 4/5 Pick it up at:

Nundata - Methicillin-resistant Staphylococcus Aureus [Placenta Recordings - 2011]

Nundata is a pretty prolific experimental/noise act from Serbia, a land that recently spawned quite a few noise projects like Dead Body Collection or Gigant. "Methicillin-resistant Staphylococcus Aureus" (phew!) is a full-length CDr released by Jay Watson's Placenta Recordings, based in Michigan U.S.A.
First track "Foamy White" starts with a brutal assault of crunchy heavy static, soon destroyed by an extremely annoying chopping effect. Sounds keep on changing, with a focus on high pitch feedback, digital synth manipulation and the layering of various loops. The only constant element is the redundant chopping which might be too much to bear for most ears. Some sounds get drowned in the mix of frequencies and digital distortion/corruption springs out in more than a few points, indicating the over-saturation of a cheap sound-card. This could easily be a stylistic choice, but it's not my cup of tea. Anyway, the track in itself isn't bad. Nundata has quite a knack for layering noises and creating interesting movement, I think this just needed some polish and a more careful recording process.

Second track "Frothy Pink" is similar in approach, with a constant wall of hiss and feedback surrounded by a deluge of distorted samples and synth cacophonies. Things get more violent around the middle of the track, with the appearance of a high volume distorted wall of noise and the proliferation of synth tones mayhem. After a while the progression starts to get slower and quieter, providing a soft ending. The mix obtained is more psychedelic than the "Foamy White", but it still suffers from the same sound quality problems.

Same story for the last number on the set,  "Rusty Orange". The pattern followed by Nundata is quite predictable at this point: a carpet of distorted and crunchy low frequency digital synth gets slowly buried by swarms of distorted loops and tones at various frequencies. It's a matter of personal taste of course, but the choice of sounds makes "Rusty Orange" the less interesting of the bunch for me.
In conclusion I think that while there is definitely some good substance here, Nundata needs to change his recording process and try to avoid all the faults and flaws typical of the digital era. Maybe getting a better sound card would suffice. Digital noise is not exactly my favourite form of noise, so I can't say that I thoroughly enjoyed this CDr. Listening to it I felt like something was missing, maybe some strength or some character, or maybe I just needed a totally different kind of racket.

I will not recommend "Methicillin-resistant Staphylococcus Aureus" to anyone but I'd like to listen to what Nundata comes up with in a year or two.

Nundata - Carousel [Kabrakarakadabra Records - 2010]

Prolific and elusive, Nundata graces us with their release Carousel in 2010.  Born form the mind of Srdjan Eftimovski, the vague project is a mix of noisy ambient and drone.   Yet it is a little more than easily explained.  Using that noisy foundation Nundata produces a psychedelic, frightening and but still fascinating creation.
We begin with “Neural Intersection”.  A child-like music box background is intermixed with Churner-esque buried vocals.  High pitched piercing tones and a wash of static make for a psychotic combination, and yet we want to hear more.  The childrens ride music and intense avalanche of grinding, pulsing sounds are relentless.  Onward to “Death Of The Transmitter.  Reverberating, low frequency scratchy sound oozes into an intermittent glitchy static.  Ominous, bombastic and violently fierce, it all rolls together into a malevolent being of a song.  With “Serotoneon” creates a curious feeling of organic sounds.  We’re sure everything is electronically made yet here everything feels very earthy. Even the buzz saw effects and static feel natural.  Still, our clever Nundata ties it all up with a bow that makes even the most organic sound futuristic and modern.

What is most compelling about Carousel is that yes it is noise, but it is noise done with variety.  As “Neural Intersection” creates a vision of scary clowns and cotton candy, “Death Of The Transmitter” is a lesson in violent and cruel atmospheres.  Then there is “Serotoneon” with its ultramodern attitude of noise and drone.

It is a stimulating combination that Eftimovski creates and one that hopefully will follow in other future releases.  Sometimes when listening to artists under the noise banner it’s truly refreshing to find a project that tries to deviate from the standard sound and truly try to construct something that is as noisy as it is eloquent.

Nundata / C.P.B. / Colonel XS / Placenta Lyposunction – Split

Wer es gern roh und blutig mag…
“Carne” prangt groß auf der ersten der drei Platten aus schlicht beklebtem DIY-Pappkarton – man ahnt also schon, was die Stunde auf dem Scorze Records-Vierer der Untergrundprojekte Nundata, C.P.B., Colonel XS und Placenta Lyposunction geschlagen hat: rau und garstig wird’s, und der Titel hält, was er verspricht.
CD 1 teilen sich Nundata aus Serbien und das relativ unbekannte Projekt C.P.B. Nundata beginnt die Reihe und zerlegt mit seinem Beitrag ‘Monolithic space station’ auch erstmal alles in seine Einzelteile. Heftiges Hochtongewitter & monoton kreischende Noisesägen geradewegs aus der Maschinenhalle; hier und da meint man verzerrte Menschenschreie zu hören, sicher kann man sich aber nie sein. Als Basis diente dem Serben dabei stilecht ein fahrender Zug, mit einem Kassettenrecorder aufgenommen und mit dem PC digital weiterverarbeitet; auf die Suche nach einem Spannungsbogen braucht man sich gar nicht erst machen, hier zählt allein das Zermalmen und zermalmt werden.
C.P.B. bleiben ihrerseits ihrem Titel treu: ‘Moke destruction of something beautiful and false’, ein schöner Seitenhieb gegen den Pop-Mainstream und dessen Auswüchse. Wenn man so will, gestaltet das Projekt hier ein krachendes Stück Bastard-Pop der ganz frühen Sorte: eines oder mehrere Stücke der Pop-Ikone Lady Gaga (ich meine ‘Alejandro’ zu erkennen) werden bis aufs heftigste ausgewalzt und verzerrt, nur noch in gelegentlich durchscheinenden, etwas weniger verfremdeten Passagen erkenntlich. Auf immenser Länge baut C.P.B. so eine krachende Performance auf, die vor allem durch die kurzen erkennbaren Bruchstücke an Reiz gewinnt; eine schöne Pervertierung des gefeierten Mainstreams. Oder wie das Projekt selbst konstatiert: “Let’s start dancing on LSD trapped in a roll of barbed wire.” Dem ist nichts hinzuzufügen.
Auf CD zwei folgen ihrerseits zwei ausgedehnte Tracks mit jeweils fast einer halben Stunde Spielzeit: Colonel XS aus Italien gestaltet seine Seite mit drei Tracks, die parallel auf der linken und rechten Seite, sowie im akustischen Zentrum laufen und von komplett unstrukturiert bis rhythmisch reichen. Wie auch Nundata bedient sich Colonel XS vor allem an pendelnden Hochtonfrequenzen, die hier aber komplett digital aus zum Teil fehlerhaften Datenfragmenten und ähnlichem digitalem “Müll” erzeugt wurden. Zu gefallen vermag die unterschwellig dröhnende Note, sowie der Umstand, dass das Stück trotz seines eigentlichen Minimalismus überladen und damit latent verstörend wirkt; allein die ausgiebige Länge erschöpft irgendwann die Wirkung des Gehörten – hier wäre weniger mehr gewesen.
Placenta Lyposunction schließlich bietet auf seiner Hälfte eine halbe Stunde HNW-Vollbedienung. Eine rauschende Soundwand erdrückt den Hörer und hält ihn auch mit eiserner Hand 27 Minuten ohne jegliche hörbare Entwicklung dort unten. Im minimalen Kosmos des HNW sticht er damit zwar nicht heraus, aber darum geht es hier auch nicht – ’27:36′ meint schlicht einmal drückenden HNW-Ohrenangriff in Reinform, ohne Einleitung, ohne Ende, ohne Gnade, ohne Rücksicht.
Die Vierer-Split ist für Harsh-Noise-Fetischisten ein gefundenes Fressen: 100 Minuten klangliche Destruktion, jedes der Projekte bietet einen anderen Ansatz an das gleiche Genre, dabei bleiben alle aber in ihrem Ausdruck heftig und in ihrer Attitüde klassisch untergründig – vor allem C.P.B. und Placenta Lyposunction machen hier eine gute Figur. Wer sein “Fleisch” gern roh und harsch mag – guten Appetit!

NUNDATA - ENTROPY (cassette C62 by Rainbow Bridge)

More artwork from the universe is covering the tape of Nundata, a noise/drone project from Japan. The repeating sounds create a drony atmosphere, but the sounds are harsh, low, high, crunchy, dark, brutal and have no mercy. Slowly he build up his strong repeating soundlayers to a big deafening silence. You will find the harsh noise at side b of this cassette. Great music for the  lovers of noise music. The track at side a is more quiet, but has the same purity as his noise. With basic long-repeating sounds he climbs from the silent tones and waves to melodic and rhythmical elements, who are destructed to noise. He experiments with all kind of combinations of sounds, but I think the composition will be much stronger when it is shorter. The second track has an ambient atmosphere which refers to meditative moments created by synthesizer/organ and electronics which are similar to Tibetan singing bowls. The music of Nundata is promising and I am looking forward to more of his combinations of his drony noise. (JKH)

Nundata - Inundata [Smell The Stench - 2009]

Nundata is a rather mysterious noise project I’ve seemingly been able to find little about…it’s even unclear were the project comes from some sources claim Japan others  Serbia. Inudata is the first of a trilogy of concept albums but like the project it’s self’s it’s difficult to find any info on what the story is behind the album the only clue we have is the track titles “Last Iceberg collapse” & “Tsunami Warrior”.
Anyway as well as all it’s mystery Nundata builds a rather original & distinctive sound here which is through is certainly grounded in noise mangers to take influence from wider experimental music forms & genres too. And so onto the music;  the album is split up into two tracks & first we have the longest “Last Iceberg collapse” which just sneaks in over the half-an-hour mark. The track starts off very unexpected(for a noise releases anyway) with this harmonic almost weary pop bass-line played out on often wavering keyboards. On top of  this is added at first electro Gamelan type attacks & playfulness, then as the track progresses more teeth gritting noise sheens, sears & static sprays of noise texture. Also the Gamelan elements start to become a lot more fierce & distorted as the pieces goes on a more bent rhythmic elements are also into the mixes but they never become too constant- the track just really darts & boils around in a very creative way with all manner of analogue synth attack, rapid Gamelan feed-back fuckery, ect, with that bass line still surfacing ever so often from the controlled chaos. And the most important thing is the track is kept entertaining & curious though-out its lengthy running time.
Lastly we have “Tsunami Warrior” which is slightly shorter at just over the 20 minute mark. The track starts out with this sort of circling static wheel tone which is akin to been circled round & round on an icy pond by someone on roller-skates. As the track goes sudden attacks of creative noise mater are fired at you like harsh bubbling tones, slowed electro Gamelan or ice like attacks & all manner of chugs, sears & sudden boiling walls of sound rise up. But through it keeps return to the almost ‘cute’ Rolla skating on ice tone, there are also the harmonic nudges here too, but nothing as consistent or obvious as the baseline on track one. Again this track is another very intriguing & interesting take on noise- I guess this track at times brings to mind Merzbow at his more harmonic & creative noise making mode.

And so Inundata is rather original, creative & entertaining slice of noise making that’s very worthy of your time if enjoy noise that has harmonic & playful edgers, yet is still serious about making clever, dramatic and compelling sound.

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