Cali noisecore outfit Sissy Spacek just keep 'em coming. One of four recent releases from the group to appear on the latest C-Blast list, this CD features the current duo version of the band (drummer Charlie Mumma and John Wiese on everything else) teaming up with Japanese noise master K2 for double the earhate. Essentially a collaboration between the two outfits, this disc features four tracks, each one roughly fifteen minutes in length. For their part, Sissy Spacek detonate some of the most savage outbursts of bone-scraping noisegrind yet; opener "Slang Imprisonment" hits a 10 on the violence scale, a nonstop maelstrom of ultra-violent blastbeats, shrieking high-frequency guitar noise, totally mangled anti-riffs, and putrid screams that sound like someone's trachea was hanging outside of their body by the 4:01 mark. Total fucking cyclonic annihilation, like Scum tossed headfirst into a hurricane of broken glass and scrap metal and volcanic magma. A new favorite Spacek blast, for sure. Sickeningly violent and abrasive, a perfect fusion of bestial noisecore and HNW-grade sonic obliteration.
Which leads us to the second track "S2K2 (Ambulette)", a live collaboration between K2 and the Spacek guys, from a performance in LA in early 2014. While not as balls-out crushing as the previous atrocity, it's even more chaotic and insane, hyper-violent electronics and 1000 mile per hour noisecore colliding at top speed, loaded with staccato bursts of discordant, hideous ear-rape and sudden detours into cacophonic clatter that sound like an entire metalshop being turned upside down.
The two-part "Lemmings March To The Abyss" closes the album, as K2 utilizes original Sissy Spacek recordings along with his standard arsenal of "junk electronics", feedback systems and synth to create a sprawling, hyperactive noisescape, shifting between brutal psychedelic electronics, violently garbled "junk noise", mutated melodic fragments, and those chunks of pre-recorded Spacek blastnoise, forming a spastic patchwork of cut-up mega-violence that leaves the source materials utterly unrecognizable. As was my face, by the end of this fuckin' thing.