Today, I am excited to announce that we will be analyzing this new disc containing a blistering live performance from one of Traumatic Static’s favorite extreme electronics projects; INSTITUTION D.0.L. “Caeremonia Inferna Vindobonae” showcases the duo in top form. Although nothing could come close to witnessing the project in person, This disc is a great demonstration of the intensity and passion that goes into the scalding sonic art of I.D.O.L. With a great set-list to welcome first time listeners and please long time fans, I.D.O.L. hit the stage and set the night on fire. Performed and recorded in their home base of Austria, I.D.O.L. school their fellow countrymen in how to properly execute a Death-Industrial performance.

I.D.O.L. have always been a project that take their art very seriously and this translates to the stage flawlessly. When the members are under the lights they are completely in-tune with their artistic personas, Becoming conduits of extreme electronic art of the highest caliber. “Caeremonia Inferna Vindobonae” gives us a glimpse into the world they create before their audiences and welcomes us deep into twisting halls of cerebral darkness and aural experience. Gritty and brutal with no limits placed and nothing held back. This is the grim reality of the world around us filtered through the hands and voices of two very realistic and honest individuals. Let’s begin.

Opening track “Exordioum” slowly rises with the sound of a solemn ceremonial choir chanting a beautiful song amidst a sea of deep sub-bass. Buzzing electronics cloak this in thick sheets as drones start to surface. One gets the sense that they are on the cusp of a crusade about to break loose. The valor of battle charges the air with a palpable energy bringing with it an almost religious sense of inclusion. I.D.O.L. definitely know how to work a crowd. Spoken samples concerning divine principles contrasted against the experience of the here and now are heard as ultra-deep pulses and swirling static fill the air. In other words, I.D.O.L. is engaging their audience to take part in the here and now and fully immerse themselves in the performance alongside them. Bursts of noise ascend, Crack and rain down like pregnant clouds bursting overhead. Metallic percussive elements are utilized as feedback rises in the distance. The initiation thus completed I.D.O.L. begins their ritual of pure creativity

The first of two improvised tracks. “Improvviso I” comes on wandering strands of electricity surrounding obscured samples. Machines begin to whir and move as they come to life. Old-school Industrial rhythms flex their undying mechanical might as a haze of pulsating noise is heard. This soon morphs into a rising/falling drone that spreads out like the panoramic view of an endless ocean. Voices in a foreign tongue speak through varying effects as their statements echo in a biting and venomous tone. The sounds of human suffering, Tragedy, Mass suffering and calamity take center stage among sea-sick drones that waver indifferently beneath. Heavy slamming metallic rhythms pound the audience into total submission as I.D.O.L. make it clear that they’ve come to dominate their spellbound subjects. Clean vocals treated with excellent effects soar above as harsh bursts and scorching feedback attack with planned precision. The overall sound is huge and packs a serious punch. I can only imagine how powerful this must have been in person. Impressive to say the least, Especially for an improvised piece as this sounds like it has been rehearsed to perfection. The hairs on my arms stand at attention like willing soldiers ready to obey their masters to the point of death as I listen to this. A truly stunning performance. I can guarantee anyone present with an ear for extreme electronics must have been utterly floored by this. Bravo.


Dense rumbling quakes and rhythms like bones crunching beneath combat boots create a slow march. Swarming sounds like those of insect carrion fill the empty spaces as landslide movements are heard on loop. Air-raid sirens sound the call to war as the troops march in persistence. Miserable voices come through the air waves bringing with them a tense sense of urgency and despair as the music fades into pure Death Industrial darkness. Static transmissions cut in and out while clicking patterns, glitching manipulations and myriad manner of sonic anomaly are on display. Spoken vocals come. Clean but treated. They echo their grim messages until they become desperate shouts. Things get a little heavier as pedals grind and noises gather. Harsh noise screeches like tires burning rubber while a steady heart-beat throbs in the distance. I.D.O.L. sound just as fierce as they do on studio recordings if not better. Feverish ambiance pervades the senses as gorgeous flowing melodies create a trance inducing aura. An aurora borealis of sound that is more stunning than I can put into words. Unexpected and absolutely spectacular. The range of emotions I.D.O.L. manages to capture in their craft is hard to rival and very impressive. Cascading rivers of sound that wash over the audience and fill every corner of the venue. There are so many sounds so perfectly blended here that I can’t even begin to put it into words. A modern symphony of fragile melodies punctuated by darker themes hidden beneath but discernible to hungry ears. Suddenly what appears to be an Austrian folk song begins to surface. Another surprise that is sure to catch the listener off guard. Different, But it definitely works. The backing electronics are still present and eventually consume all else bringing the track to it’s close.


“Unforeseen Annihilation” is a track I am very familiar with so I was quite excited to hear a live version. Once again here as before the sound is just as good, If not better than the album version. A brief drone opens the door for electronic pulses that form the backbone of the sonic structure. Blades of helicopters slice the air as the repeating beat brings us in deeper. Machine guns fire in the distance as the annihilation makes itself known. This time we have female vocals in English supplied by MK Vermin. Her voice is equally strong as Barbie B’s which makes this team all the more admirable. The lyrics describe the horrors of war and the many deaths it brings with it. This particular track has a very traditional Death Industrial style showing that the genre is alive and well. Hissing noise via filter abuse spreads like gas canisters unloaded against the enemy infecting the atmosphere with a caustic toxin. Deep drones flow with this to ensure that death is present across the entire front-line. A piece that accurately lives up to it’s title.


One last improvisation before the end. “Improvviso II” comes on thick pulsating beats and digital electronic chirps that bring the feeling of time running out. Like some kind of medical device monitoring pulse activity. The rhythms are in quick succession which adds to the overall vibe of time coming to an end. Heavy vibrations follow in trails behind each pulse until they suddenly fall into the background to be replaced by expansive drones and spoken vocal murmurings. The sound here is bleak and at times quite minimal. I couldn’t begin to tell you what kind of gear I.D.O.L. is employing but it sounds top-notch. Strange patterns weave through the air like the fibers of a many colored tapestry spontaneously painting a greater picture. Clicks glitch in and out as wretched shouts and phased spoken words vibrate into the upper atmosphere. Grinding patterns crank and dissipate as additional layers of sound are piled on thick. The sound of large blades dragged across a stone
are heard. Like the reaper sharpening his scythe before a great period of harvest and woe. Like the previous improvisation, This too sounds like it’s been rehearsed but as with many other great artists I’m sure it just comes naturally for I.D.O.L. Factory sounds are heard. Heavy machinery mindlessly trudging on according to it’s masters will. The vocals become absolutely deranged. Manic, Psychotic outbursts are unleashed upon an audience imprisoned by frenzy of the spectacle. And suddenly all fades into silence.

“Moral Conflagration” is another of my favorites among I.D.O.L.’s impressive back catalog and perfect closing piece for the album. Again we have deep pulses, Strange clicks and grim spoken samples. The choirs heard at the start of the performance return and bring a sense of mourning to the grand finale. Electronics are under the precise direction of Barbie B. and MK Vermin and are executed perfectly as on the album version. This is a very haunting piece. Tragic and beautiful. Weeping, Lamentation and despondent screams come along with bitter tears and retching. Pitch shifters are utilized for great dramatic effect and you get a similar feeling as if watching a final death scene in a cinematic master-piece. The album finishes much like if you were to end your night at the graveside of a fresh loss before walking away numb and cold. Power(ful) Electronics.


HNW and industrial noise artist and reviewer, Corey hails from the sunny California where he resides with his wife and fellow collaborator, Skye. He likes all sorts of musick, books, games and comics.

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Drowning: Lost City Riders (a 2008 TV movie review)

Lost City Riders, well, its title, has caught my attention almost immediately. I admit, I am a sucker for “lost city” stuff.

I’ve watched the movie once before, but I don’t remember anything of it, which is usually a bad sign, however, with the plethora of movies (and other spare-time-killing activities) available, that’s not really something to go along with – and you probably agree, you remember movies from your childhood, but hardly something you’ve watched a month ago on Netflix.

That might have to do something with the overall quality of the modern cinema, but I guess I am digressing here a let’s get back to our flick.

The movie was directed by Jean de Segonzac, mostly known for directing episodes of various TV series, and starring James Brolin, Ian Somerhalder, Bettina Zimmermann, Jamie Thomas King, Elodie Frenck, Michael Mendl, Jeremy Crutchley and Benn Cross,

Well, Lost City Riders is not a movie you’re gonna remember. A co-production between German TV channel ProSieben and Sci-fi Channel (before its rebranding to SyFy Channel), you’ve seen the plot rehashed a million times before (and couple hundreds after 🙂 ).

The global warming caused the flooding of the Earth, only 10 % of the surface is habitable, and we’re encountering our – you’ve guessed it – Lost City Riders, a family unit (a guy with two adopted sons), raiding the submerged buildings for profit.

Our family unit planning the entering and escaping.

Unbeknownst to his two adopted sons Jack (Ian Somerhalder) and Thomas (Jamie Thomas King), their stepfather John Kubiak (James Brolin) is on the mission of finding the legendary scepter of Sobek, Egyptian god of Nile, who – according to legend – controlled by it the rising and falling down the waters of the great river.

And as it’s usually the case, he’s not alone! Enters Nicholas Filiminov (Ben Cross) as a nefarious businessman trying to claim the scepter for himself to – well, you’ve guessed it again – make money!

Our villain Nicholas Filiminov (Ben Cross) confronting Giovanna Becker (Bettina Zimmermann)

To complete the picture, we have Bettina Zimmermann as Giovanna Becker, Jack’s old love, and because it would be bad to leave the other boy alone, here comes the rescue in the form of Elodie Frenck (Cara Cahill).

You know how it plays, right? Yes, it’s pretty straightforward, with a bad underwater CGI effects, the story doesn’t allow for any twists or surprises, but the scenes in the Chinese cave (yes, we are all over the world, from Vatican to Dresden to Chinese cave system) with the secret room built in it got me in stitches. The acting there was on the level I’ve expected it turning to a scene from a adult video movie any second! Anyway, don’t shoot at the pianist for the piano not being in tune, as they say.

Putting the rod into the hole…or something like that.

I am not sure if it’s me getting old and more tolerant of everything, but I myself was surprised to actually watch the whole movie without any interruptions. I think I can safely state it was due to the level of watchable silliness on the TV screen, quite certainly unintentional by the creators of the movie.

But it’s about entertainment, right? In that case, they’ve succeeded.

Not that I’m gonna re-watch it any time soon (if ever).

Official trailer:

Fragment Soul – Axiom of Choice (a review)

The link for these Greek doom melancholics arrived to my mailbox a long time ago, and I’ve almost forgotten about it. Yes, I know. Im am irresponsible sometimes.

However, I’ve started my spring cleaning also in my accounts and so I’ve come across Axiom of Choice – and what a beautiful album it is.

4 long compositions in 3 seconds over 42 minutes, that’s the progressive doom dessert from Greece. No feta cheese, though, that’s for sure.

You might know already that my musical tastes are all over the place, and although some might argue it won’t allow me to concentrate fully on a particular genre, I think it gives me an opportunity to enjoy music without too much of a comparison.

And therefore I can enjoy Fragment Soul and their work of art for what it is. And it’s a beautiful, melancholic, gloomy collection – however, not a depressive one, I’d say. It’s something you would play during the rainy day, laying alone in your bed and just floating in space of your thoughts and memories. For the fans of Draconian it might be pointed out, that Heike Langhans collaborated on this album, and there’s also a guest person – Egan O’Rourke from Daylight Dies.

I like it a lot. For a seasoned fans of the doom genre it might not be earth-shattering, and I’m not gonna argue it is. But if you want to spend 42:03 minutes of your life with an aural balsam for your ears and soul, this might be something you might like to check.

Album stream:

Malauriu – Malauriu (a 2022 album review)

Recently I’ve lent my ear to some nice black metal releases, so when I’ve got this promo from Italy for a review, it’s been only a matter of time when it will attack both my ears.

…and the day has come.

Malauriu are certainly no new-comers, haling from the Italian underground since 2013. I am not familiar with their previous output, but with the opening track, “Morto Era L’oro”, it is clear what they meant by “a new chapter of experimentation between dark ambient and Mediterranean sound”, which was the description they’ve used in the promo e-mail. Well, they haven’t lied.

The album contains 4 long compositions, the shortest one clocks in 10:52 (“Corpo Tempio), the longest will stay in your aural orifices for almost 12 minutes (11:50 long “Specula”).

A mix between ritualistic darkwave and a poetry reading, lyrics in Italian, along with the music itself, evoke the best moments of watching Italian horror/occult/supernatural movies – minus the video segment, of course.

Not much of a black metal per se, nevertheless, this is right in my comfort zone, as I’ll never say no to the atmosphere inducing soundscape.

The album will be released on April 1st, 2022, in a CD and digital format via the Italian label Nero Corvino, so if that’s your kind of music, you definitely won’t go wrong getting it.


Costectomy/Nyctophagia – “Drone Hunting Missionaries For Sport” (a 2021 split review)

After some time spent checking not so usual music with my other webpage Indokult, dedicated to the Indonesian music , I’ve started craving some more unhinged underground music again. To be precise, good old goregrind and gorenoise. No, I won’t call it a “fix”, haha, but truth is – sometimes it’s just what the doctor has ordered. You know…going full circle and so forth…

Now, with the genre selected, the next important question was – with so much to choose from, what to play? For that, I’ve checked a Olga Lazarus’ new label Strangulation Furrow on Bandcamp. You might remember Olga from the interview I did with her for the Rubber Axe webzine here. Since then she’s relocated to the USA and started a new label, it’s only logical to show her some support! Yes, freaks, some support!!!

Olga is a busy bee and so far she has released some nice releases (mostly tapes, but also a CD and a 7” EP), plus she’s printing the t-shirts herself. Talk about some dedication here!

So, with that being said, I’ve chosen to review a split between Costectomy and Nyctophagia titled “Drone Hunting Missionaries For Sport”. 14 groovy tracks in total.

A tape version from Strangulation Furrow label

First to offer the putrid sonic fruits is Costectomy, which is Chud’s (Ulcerated Offal, Cystoblastosis, ex-Hit-Run Drivers etc.) project based in Eliot (Maine, USA). 6 tracks in total of great sounding goregrind (yes, the aforementioned groovy kind), enriched by the samples from the horror/gore movies, exactly the way I like it. You know, I love intros/outros! Damn, thinking about that, I am pretty much easily pleased, haha! Well, it’s true. However, when you are faced with stuff like this, that’s not so hard. Great stuff here. Oh, not to forget, the last song is a cover of Dysmenorrheic Hemmorage, “Affliction”.

The rest of the release belongs to Nyctophagia, currently an 1-man unstoppable grinding machine from Ohio and if you can count on your rotten fingers, you know that means 8 tracks left to enjoy!

Unlike Costectomy, Nyctophagia plays more of a little faster death/grind, more of a bulldozer than a groove, however I can’t complain here neither and so won’t you. Really, what’s here not to enjoy?

The split is over almost in no time – which is probably the only negative I can say about it. For those collectors of the physical release, this was released in 2021 on a pro CD-R by Costectomy Records (but according the info it’s already sold out) and Olga’s label has released it on in a tape version. Go check and grab it while you can!


VA – Gorenoise megasplit vol. 1

It’s been quite a while since I’d reviewed anything gorenoise related. Gorenoise Megasplit volume 1, the compilation I’m going to write a few words about, was sent to me by our friends in the Italian label Nosevomit Records quite a long time ago, and I am ashamed to have waited for so long before reviewing it. Well, time to wait is over, let’s have a look how ugly this boy turned out to be!

Opening the compilation is Italian gorenoise project Bronchospasm with the track “Pneumoconiosis”, the cool 4:05 track and it’s quite interesting, not the typical blasting sh*t I’d expect, it’s more like an experimental noise track, with drums beats here and there, but straight away, I am impressed and I need to check this project little more closer. And, by the way, they are associated with this little record label:

The second to dissect is another Italian pathology combo – Conforming To Survive – with the three tracks, “Severed Mutation of the Upper Limbs”, “Gnawing the Intestines” and “Cursed Flesh Grimoire”. Rehearsal recording, with a rather goregrind/noise chaos, and again, I am revelling in this! Building from the shortest track to the longest one (which clocks in 3:39), there’s plenty of filth to like here!

But then…it’s a gorenoise proper! American project Hydroencephalocystocele steals the show with its “13 Traxx Untitled” and for all those looking for a really cool gorenoise, now it’s the time. Bubbles and noise, what can go wrong, right? I’d welcome more variability here, but otherwise, can’t complain.

Mucopurulence’s section opens with a cool intro, which intro-duces (lol) us to to f*ckin awesome goregrind track “Copro Corpse Copulation”. This stuff raises the dead! Mucupurulence hails from Finland and because they kick ass, they offer 5 tracks here – Copro Corpse Mutilation, Putrid Bile of Shit, A Collection of Colons and Entrails, Ceaseless Violent Defecating, Choking on Swollen Tongue and Vomit – all the future classicks, I am sure! Not too long, not too short, they are perfect! I really enjoy these, and the song titles remind me of the times we used to come up with the most insane titles too!!!

This nice compilation closes with 5 gorenoise tracks (Adiction, Another Disease; Ear Atrocities, Head Hole, Inhuman Glass and Taenia Solium) from Saccopharynx. This Mexican project offers an interesting mix of blasting drums, bubbling, gurgling vokills…and probably even a kitchen sink thrown in for a good measure, and it works.

The whole compilation can be heard on the Nosevomit’s Bandcamp, and what’s even better, you can get a CD-R of it too!!! What are you waiting for then?

Where fire burns eternally: Eternal Kingdom of Fire, volume 5 (digital promo review)

Those of you who read the Rubber Axe regularly, will might recall the review I’ve written for a previous release of this compilation series, namely volume 2.

Well, time flies and a few days ago a new batch has arrived to my mailbox, this time it was the latest invocation, namely the volume 5.

10 bands, 10 songs. However…what songs these are!

Opening this compilation tape is Winter Eternal from Greece (lately of Scotland, according to available information) with the song “Crown of Stars” (also on this project’s 2021 full length “Land of Darkness”). F**king brilliant tune, I can hardly think of a better opening. Interesting, well thought of, well played. And a well received here, that’s no doubt about that. I like the use of instruments and the melodies.

Russian strikeforce Ophidian Malice, on the other hand, take no prisoners and relentlessly bash the listener with their furious black metal vibe. “Saviour” is the song from their debut 2021 full-length “Disgusting Ritual” and it definitely shows the band in the good (un)light.

So far, I am really enjoying the comp.

With Skorbvstr, the raw black metal ferocity from Kentucky (USA) we have first exclusivity here, as I think their song “Diskusjonen er avsluttet” is available here only. I might be wrong though. I am little surprised with the use of, what is it Norwegian language?…but the guy might be from Scandinavia, so there’s that. As for the music, I have to admit I am starting to develop a certain liking for the raw BM (which, as many might know, is not one of my favourite subgenres), and there are some elements I really enjoy here.

“Pain Enshrouded Dirge” from Desecration Rites is our very next song, and the second longest offering from this compilation. I’d say there’s a certain inspiration from old Burzum (which is not a bad thing, what do you think?), and even it delivers the goods (so to speak) even with the simplicity of melody, riffs and hypnotic drumbeat. Well, you know…the old school, the good way.

Alpgeist hails from Bavaria (Germany) and presents to you their hymn “Moor in der Todtenau”. Yes, I can definitely say I like this approach a lot more than the raw BM subgenre. Dark, melancholic and melodic, I really like the guitar riffs here…the whole song is one welcoming energy boost in my current depressive mood. Can a black metal song be viewed as a positive booster? I’d say so, so this applies. I am really loving this one.

Zmyrna can be classed as Alpgeist’s neighbour, as guys come from Czech Republic, and their “Pagus Maledictus” offers yet another fascinating look into the black metal subgenre – guys not only sing about mystical stuff and medieval life, their music also evokes the fires of the dark ages and the suffering through the ages. This song is certainly a weird one, very unexpected, but as I’ve said – fascinating (in a good sense). The song itself comes from their only material to date, the 2021 self-titled EP.

And now, ladies and gentlemen – the longest track of this compilation. Necrodes and “Swept Away”, from its 2021 full-length “Isolation”. Wow, what a vocal! Imagine maniacal, hysterical cries with some gurgling and you might start to have an idea. Although, I guess the best bet is to have a listen. However, I think more of DSBM than atmospheric BM here, but that’s just my opinion. Unfortunately, these days I am rarely fond of long compositions and I’ve got a little bored here, sorry.

Necrocarnation hails from Germany now, but from what I could find, they are from Argentina, and on this nice compilation they bring to your attention their black/death metal sacrifice with their song “Antarctic”, which is also the opener of their 2020 EP “Fragments of Dark Eternity”. And I have to say, I like this stuff! Especially vokills, which sound really killer! Kudos to the compiler, as I really welcome the diversity of the subgenres while still being true to the black metal genre as a whole.

Finnish duo Svartheim play strict black metal, which might sound a little generic nowadays, but I think they are aware of that, so they enrich their song “Vaiettu” (which comes from their 2021 full length debut “Black Metal Finland”) with the interesting dual vocals. And it works. Personally, I don’t really give a damn about similarity between songs or bands – if I like it, I like it, period. And Svartheim would be on my playlist. It’s simple, yet effective.

And the last band to enjoy from this compilation is Necro Forest from Croatia, with the song “Hate Divison”. Raw black metal, with little NSBM leaning, I’d guess. I am little disappointed with the sort of a ripping off Mayhem’s “Freezing Moon” in the beginning of the song , because when it starts properly, it’s not bad at all! But I think Norwegian legends have their impact on many bands…it’s not that big of an issue, but I thought it would be good to mention that. Also, likeable song.

So, that’s all, folks. Good, bad? Well, for me, undoubtedly a great compilation. I think I can safely say – I can play this without skipping a song. And that’s quite a feat.

Get it from Ancient Cult Records, while you can. Get in touch with the label via e-mail:

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