Quote from label: “Drone Records is proud to present HUM, another newcomer from the growing russian experimental scene, who had out before a few most promising self-released CDrs on his own label. HUM (originally a reduction from “hum-an”) sees his work as a representation of emptiness and sound, derived from tantric tradition. The basic intention is the “restoration of mythological time”. This release, being dedicated to “magic flight”, enlights on the first track with full vibrating “cosmic” drones, sounding like a swarm of low-pitched insects. The second piece CRUCIBLE is more loop-structured & noisy, with low-fi mechanized rumblings, filled with organic substances... two fantastic sound-samples that show the ability of drone-sound to lead your inner mind into the center of nothingness. Filed under: magic-flight drones. BLACK VINYL. MINIMAL DESIGNED WHITE COVERS WITH B/W PHOTO”
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Human Larvae was born from ashes of Broken Diode. Former name published handful of tapes and CDR's during 2006-2008. Already exhibiting skilled noise in both studio and live environment. Change of name to Human Larvae, marked also project to move into making full length albums. Besides "Home is where the hurt is" CD (Existence Establishment, usa 2008), "Womb Worship" CD (L.White, ger 2013), Human Larvae has only handful of releases in its discography.
Freak Animal is proud to present 3rd full length Human Larvae, his first in vinyl format. "Behind Blinding Light" presents well the diversity of this German band. There is nothing quite like it to emerge from German industrial scene. One could trace elements of other groups, such as carefully crafted acoustic sounds of IRM, gloomy semi-melodic tones and delay drenched vocal effects of Prurient, utterly balanced and precisely tweaked mixing of Control and masculine roaring vocals of Grunt... yet they all blend naturally into Human Larvae itself. Project shows its strength to be able to fully master wide variety of approaches and blend them together. Be it aggressions of junk metal harsh noises, icy cold ambient tones or delicate acoustic experiments. If one could put together albums such as "Order4", "Seer Of Decay", "Pleasureground", "The Means To And End" with additional dose of personality, he could come up with such unique album as "Behind Blinging Light". Entirely different from masses of faceless recordings.
LP comes with offset printed covers and four 15x15cm cards with artwork and lyrics".
Quote from Crucial Blast "Human Quena Orchestra first took shape as a solo project from Ryan Unks, who had previously played guitar in the final lineup of the Pittsburgh metal band Creation Is Crucifixion. After moving from CIC, Unks began to work on a new project that would incorporate elements of black metal, crushing drone music, extreme psychotropic noise and psychedelic/krautrock influences into a sound that would be much heavier any of his previous projects. The first album from Human Quena Orchestra was released in 2007 on Daft Alliance Means Without Ends was a disturbing, introspective slab of blackened industrial doom that stood out in stark contrast from the rest of the slow n' low extreme doom scene, utilizing layers of harsh textured distortion and electronics to create a caustic form of monstrous doom that shared as much of industrial music's cold, machine-like aesthetic as it did the ultra-slow riffage of the most extreme variants of doom metal. At the same time that the bands debut was taking shape, Unks was joined by another former member of Creation Is Crucifixion, Nathan Berlinguette (who was also a member of the dark ambient project M.Kourie and the deathdrone duo 5/5/2000). With the addition of Berlinguette's skilled application of dark ambience and expansive soundscapes, Human Quena Orchestra began to move into even more textured territory which has culminated with the second HQO full-length, The Politics of the Irredeemable, a series of apocalyptic visions and epiphanies of endtime realization, prophetic screeds that look to a future rendered pustulent and war-stricken by the failed machinations of the human race, presented as six chapters that enter your consciousness through a delivery system of extreme industrial dread. The Politics of the Irredeemable is crushing and oppressive, a crawl through abstract fields of low-end sound that move from punishing blasts of ultra-heavy machine-doom and earth-shaking tectonic riffs, to thick fogs of black electronic ambience that shimmer with subsonic pulses and celestial drones, the presence of malevolent electricity crackling in the air around the lumbering, nightmarish electro-sludge monstrosity of the Human Quena Orchestra. And at the same time, there are passages of immense beauty on this album that lurk at the peripheries of HQO's malevolent crush the track "Aspirations" for instance, where pummeling slow-motion industrial percussions grinds in an infinite loop beneath a swirling nightsky of kosmiche synthesizers and heavenly, blissed-out ambience, the drums becoming like distant mortar blasts heard over the horizon as terrified screams ring out and stars fall dead from the skies. This is seriously apocalyptic deathmachine grind ambience. "