SODAPOP
by Emiliano Grigis
I Bruital Orgasme sono un duo belga formato dal videoartista Philippe Cavaleri assieme alla moglie Nath con all'attivo una discreta discografia, e a questo giro incidono una cassetta da mezz'ora (o C30 come si dice in giro) per la nostrana Sincope, che continua ad esplorare il sottobosco delle autoproduzioni rumorose: come spesso accade le musiche d'oltralpe hanno la caratteristica di riprendere suoni e stilemi dandogli un tono personale (sì, anche qui c'è una specie di french touch!). Sul lato A In, Out, Error (8 Pieces) contiene otto piccoli brani che si discostano dalla tradizionale colata lavica di frequenze, scegliendo una via più descrittiva attraverso bozzetti dati da suoni di strumenti e campioni mescolati col rumore, in modo da descrivere atmosfere varie e compiute senza mai fare a meno del ronzio delle frequenze, con un approccio da cut up sonoro molto ricercato ed intelligente. Come sempre è il gusto che la fa da padrone in queste musiche e anche nel lato B con la lunga suite Reification i due danno prova delle loro doti con un bel mantra tritatutto. Uscita interessante e non scontata.

VITAL WEEKLY #861
by FdW
From Brussels hail Bruital Orgasme, also a duo, who cram eight short pieces in fifteen minutes on one side and one long on the other. It's been a while since we last saw a tied up, naked woman on the cover of a release, but actually this music was quite nice, especially those eight short tracks which had to offer an excellent variation of harsh (radio-) noise, improvised electronics and perhaps even real instruments, a bit of drone, a bit of ambient and sometimes reminding me of the Etat Brut CD that recently got released by Sub Rosa. The long piece on the other side is also very nice, more concentrated in it's efforts, even showing a love to organise the noise at their disposal, in a tidy piece of drone noise, which works in a curious sort of atmospheric way. Despite the band name and the cover quite a surprise. I wouldn't mind hearing some more of them.

MUSIQUE MACHINE
by Martin P.
Here’s a tape from Bruital Orgasme, on sincope. Its packaged very smartly with a colour inlay and tape stickers; both of which depict a woman tied to a tree (the context being porn - not kidnapping). The first side is made up of eight short pieces, whilst the second has one long track; all amount to around half an hour of sounds.
The first track, “In, out, error (8 pieces)”, is a series of short noisy sections which hit hard and fast. Some of these pieces are very short indeed, others stretch out a bit longer. The track opens with some serious low end throb, and from there on Bruital Orgasme use a “kitchen sink” approach to their tools and sounds. So, whilst there is a strong leaning on primitive electronic sounds, they also utilise field recordings, junk noise, loops, drones and tv/radio spew. These are all combined in somewhat lo-fi collages, sometimes with a reined-in clarity - the panning and “cleaner” lines of the first section, or the pounding footsteps over background tv of the fourth - and sometimes in an overwhelming boiling mass. The overall sound is lo-fi, but theres enough attention to high and low frequency precision to show that Bruital Orgasme aren’t “cheap” noise-as-skree merchants - some of the bass elements, in particular, are monolithic.
The second side, “Reification”, is essentially a drawn-out, droning work using the same ingredients listed above. Its not static, though, rather its a shifting piece; made up of abrasive, dirty sections - but with a droning element constantly present. These sections are punctuated by bursts of voices (sourced from tv or radio), noisy field recordings and junk sounds. The overall tone is most definitely caustic, but without any sense of “assault” or violence.
The sounds on both sides of this tape carry a sense of mystery, of obscured meaning. The low fidelity, collaged aspect (true for both tracks) suggests a meaning whilst also hiding it. The first side, in particular, implies a theme or process, but I remain none the wiser to it. On a more “tangible” level, the sources of sounds are also often well-hidden - is this a rhythmic electronic construction, or simply a lo-fi recording of a train? All in all, this is a tape of great depth - an odd mix of careful precision and looser, more chaotic arrangements. “In, out, error (8 pieces)” is especially interesting and a good template to work with.