Reviews

Sideline  June/July 2000
Two frothing tracks from the sick-minded at Deafborn.  Rectal Surgery open with angry, static vocals before weird, dental vacuum rhythms (sucking plaque off the teeth of the grinder), a jaunty, determined synth underbelly and thickly reverbed vocals lead one into a hailstorm of sizzling machinery noise that pokes through with periodic incisions of ragged noise.
Carsten's track is a belching, speaker staining conglomeration of cut and rip, hiccuping bleats of noise and samples, a real fun mess juxtaposing the almost distinguishable with squiggly, spinning out of control, recording abuse dynamics.  Both tracks, the concrete manifestation of insane noise.  (JCS:6)

Recycle Your Ears Webzine
This split 7" was released two years ago by Deafborn, a label who has since become one of the best purveyors of power electronics in Germany, and contains one tracks by Rectal Surgery, as well as one by Carsten Vollmer, an artist whose track here is the only one I know.
On their side, Rectal Surgery offer their now typical power electronic aggression, with screamed, "ugly", violent lyrics. The music that comes with them is not the expected wall of noise, but rather a looped, high-pitched scraping noise, as well as a continuous rumbling bass in the background. The vocals are in the forefront of the music, and ar, in my opinion, the most important element of the track, with the outbursts of noises that sometimes come crushing your ears. All in all, maybe one of the best track I have heard from them, with a lot of changes and more structure than usual. A really good one.
"Arbeit nummer 12" by Carsten Vollmer is a dense and fast track of "cut-up noise" (this kind of Merzbow-esque noise sounding like a collage of ever changing very small saturared samples taken from absolutely everything that makes a sound). Of course, not much structure is to be found here, and the track is more of a relentless chaotic assault of things that make "bzzz" and "grrr", but the rules of the genre are followed, we find here the usual short vocal samples and TV sounds. All in all, the track gets a bit humoristic at its end,with a game of high frequencies and tones answering themselves: "grrr", "bzzz" "grrRR!", "bzzZZZ!" (now what is that for a music review!).
Like every other split 7" of noise, this is more for the fans and for people who know what they are going to get than for the curious, but this one is really good, and very enjoyable. One track of power electronics, one track of collage-like noise, a good recipe for a nice 7".