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Although, with such a record, there is an urge to be such an expert in the nuances of harsh noise wall, that one could pick out a specific frequency and specify the individual source, I cannot help but feel that would rather defeat the intention of Threesome Slitting as a collaborative piece. Rather, approaches and aesthetics form an assemblage as constant as it is fractured: a battle in which all sides achieve ultimately the same ends.
Richard Ramirez and Romain Perrot, under their respective monikers of Werewolf Jerusalem and Vomir, emphasize notions of immobility in their work: the former labeling his output specifically as “static noise,” whilst Vomir’s various drives to categorize proudly the (or at least his) HNW aesthetic have included the pithy statement “no change, no development, no remorse.” Sam McKinlay as The Rita, especially in his more recent work, tied as often as it is to the topic of ballet, naturally conjures images of motion, even if these images appear in their own way frozen, as photographs of a whirling dervish, limbs appearing at once viscous and effervescent. An ectoplasmic multiplicity. Certainly, the influence cinema has had, at least on Ramirez and McKinlay, by virtue of their recurrent acknowledgement, if not use as a source, of giallo invokes certain questions of tensions between meanings located in horizontal vs vertical modes of temporality.
Accordingly, the violence of this record – and it is, most assuredly, a violent record – is the polar clash of a frenzied paralysis. Slamming against a door, locked from the other side, or struggling and failing to free oneself from bondage. A heart pounding against a chest. A body convulsing on the floor, bleeding out from the jugular vein. Threesome Slitting‘s invariable privileging of the lower end of the sonic register only furthers the affect of suppression, a sense of muffling, gagging, even when played at the appropriate, wall-shaking volume. And yet, there is not the air of introspection I have come to expect from each individual artist, in their own idiosyncratic modes. Rather, the sound forever retains a closeness, but one still of the most thinly bridged distance. The proximal, coercive alignment of a victim, and the killer, slitting their throat.
Wyrdsystyr 