This dark noise ambient project hails from Odessa in Texas, and although this isn’t the first time I’ve encountered them (they contributed a track to the debut Occult Realm compilation released by Big Cypress Swamp netlabel, a project I’m involved in) this is the first I have heard them in the round, so to speak. And what we have here are ten short- to mid-length tracks of lushly dark rumbling, droning textures, imbued with deliciously sinister atmospheres without straying into histrionics or cliché, all of which go to satisfy those deeply primal centres in the human lizard brain.
>-opening paragraph. full review here:
Static of Masses – Exorcizando Eiciunt Daemonia cassette review from Assymetrical Anti-Media Zine
“Gloomy dark ambient noise, themed around exorcism. A number of the songs feature a counterpoint between the droning noise, synth chords, and eerie melodic material from traditional instrumentation such as violin, guitar and piano (Though the guitar and piano might be synth generated, as they are not listed on the credits). The material is all very dark, such as one track featuring a reading of a letter sent by serial killer Albert Fish. Interestingly this tape ends with a song which I could see getting a club moving with their rivethead tai bo dance moves. This track is still very dark, so fits the continuity, but much more beat oriented than anything else on here.”
Full review of Exorcizando Eiciunt Daemonia from Necro Productions
Static of Masses is formed by Greg Watkins and “Too Dark” Mark Brown. The duo released “Are You Still Asleep?”, the first S.O.M. EP, in 2015. Having collaborated for over 10 years the two have released a trove of material including 3 albums, a 2 track split with Greg’s “sister band”, Zogthorgven and 2 live performances. Their latest album “Exorcizando Eiciunt Daemonia” (latin translating to “Excorsizing Demons”) is the perfect soundtrack for conjuring unholy spirits and inspiring dim and half remembered nightmares.
Exorcizando Eiciunt Daemonia by opens with Presence, a peering (keyboard part) and quickly hushes into a low drone and a subtle but increasingly invasive clamor. An elder laughs and crashes of static and noise push through the calm but growing disruptions. Something is coming, and it’s almost here.
“Oblivion” opens with the phrase “There is no escape” and with more than an hour remaining the conclusion is all but close. The seven minute long track is first of three tracks to include lyrics. The lyrics “You opened the gate, This ancient legion, Will hunt you down, Drag you to hell” spoken from the narrative of a demon affirm that a dark spirit has crossed over.
Resurrection begins with a slow pulse. A voice emerges chanting a spell. Slowly, layers of the same voice excitedly cover and re-expose the chant. It’s a buffet of gory and gorgeous moments.
The shortest track on the album, “Cried in Heaven’s Arms” begins with a woman sobbing followed by another voice’s enigmatic and desperate murmurings over a solemn and dissonant piano and pulsing static. hammers falling, large vibrations
“June 3rd, 1928”, the 5th track, is a reference to the murder of Grace Budd at the hands of cannibalistic serial killer, Albert Fish. 10 years old and on her way to a birthday party, she was killed, cooked and eaten. Spoken from the point of view of Fish detailing his plan to murder Grace, the song details the gruesome act and point of view of the killer.
The second track to feature lyrics on the album, “NoWhen” layers an anxious static to act like a veil of smoke over the lyrics. The spoken lyrics act like a ritual incantation. A mention of ancient malevolent Gods (Anunnaki?Lovecraftian?) who arose to curse mankind before descending back into the sea. After the static lifts and the textures become more prominent the lyrics reflect a powerful, other worldly tone.
The dissonant piano and demonic, breathy monologue of “Irritus” and the ceremonial clamor of artificial birth in “Children of Tulu” readies the listener for “Penance”.
“Penance” is the last track on the album and the third to feature lyrics. Divided in two parts, the first ending at 2:30 features the bulk of the lyrics. The two parts transcend with sampling and scenes you can practically witness, in all of its gore. The second part deviates from the first in that, the first is the most traditional arrangement of music, an interesting and engaging segment in the album. The second part, much like the rest of the album, is unpredictable; putting more emphasis on the textures and tonal queues than on simple rhythms and pulses.
“Horror entourage is kept in “Rue d’Auseil” and this time once again we should bow to Lovecraft as the mentioned “rue” (street in French) appears in “The Music of Erich Zann” short story. The composition can be treated like a soundtrack for the story – using the typical gothic horror attributes (clock ticking, the sound of pen writing a mysterious letter, surreal violins) it creates the atmosphere quite effectively and the outburst of eerie force in the second half is pretty impressing. Good track, reminding me of Elend from the “Winds Devouring Men” era.”
“STATIC OF MASSES is a S.U.P.E.R. Dark-Ambient Ritualistic & Rhythmic project from Texas. A well-kept secret that must be revealed!” – Old Europa Cafe
“Dark electronica with noise weirdness and some fairly sinister sounding vocals/sampling. Pretty damn cool stuff. Strange, Gloomy, doomy sounding compositions. A unique blend of sounds that stays interesting throughout the entire disc. Dig it!” – review for “Enigma” CD from Ear of Corn Art & Reviews
“Perhaps more than the other album, this one is more toward the noise direction. Still with harrowing vocals/samples and tribal style drums punctuate several tracks. Cool shit. Ominous in a way.” – review for “Apocalyptic Metaphors” CD from Ear of Corn Art & Reviews