CDG NOIR: Static Momentum
Release year: 2023
Label: self-released
I’ll level with ya. When it comes to the harsher end of the industrial/post-industrial spectrum, my preferred style is without doubt power electronics. Typically, it’s got a bit more structure and internal coherence in comparison to harsh noise. The latter tends to lean in the direction of improvised, deconstructed chaos. And whilst there certainly are times and places where that does the trick, more often than not I’m not there.
This is very relevant background information for the release were putting under scrutiny now. As you probably guessed, cdg noir’s (the artist themself writes it in all lower case, so we follow suit) music is harsh noise. And definitely on that end of the spectrum: the description for Static Momentum states it was recorded in entirely improvised sessions.
So, you know, if you’re a sucker for that kind of stuff, definitely take into consideration that I am not.
Static Momentum consists of two parts: a three-part “suite” constructed from the aforementioned improv sessions, and five tracks recorded live. Both sections have a duration of over 40 minutes, so we’re talking about a truly massive release: 83 minutes. Massive to the point of daunting, but sadly, potentially also to the point of numbing. It might have been wiser to divide this into two releases, as even 40 minutes of chaotic harsh noise is a pretty heavy load. With this running time, Static Momentum is at times too massive for its own good.
cdg noir’s expression is abrasive, chaotic, massive and loud. Be advised to turn down the volume beforehand unless you want your neighbours to enjoy the blaring noise, too. Splicing in radio transmissions and bizarre, messed up percussive patterns into the music, Static Momentum has an almost schizophrenic or ADHD quality to it: it constantly breaks its own patterns with erratic, unpredictable and random elements. In a way, it’s extremely stressful music. If you’ve ever been on the point of mental overload due to too much sensory information and too many things you need to focus on simultaneously, you have a pretty good idea of what it’s like to listen to Static Overload.
Enjoyable music, this is not. But then again, I suppose it doesn’t strive to be. I’d be surprised if the aim of the music wasn’t something akin to what I described above. This is distressing music. Not in the same way as, for example, power electronics dealing with depraved sexuality, but in how it constantly throws the listener for a loop. It’s impossible to get a grip.
Now, considering what I wrote in the introduction, it will probably not surprise you that I’ve had a hard time getting under the surface of this. This is not the kind of industrial noise I listen to on my onesome. It’s far too all over the place for that. But picking the album apart, there are definitely plenty of things to like. In the sheer loudness and abrasiveness of the noise, cdg noir is like a steamroller thundering over the listener. The massiveness is impressive. And, I have to admit: if I have a hard time getting under the surface of Static Momentum, it has no problems getting under my skin. Listening to this, I can feel my stress levels rising.
And, to be fair, static momentum isn’t just about skittering, erratic, seemingly random chaos. There are moments when cdg noir approaches noise with a more minimalistic, slower and more controlled mindset. Drilling Operation from the live part is a slowly evolving piece of layers of white noise, static and subtle lower frequencies. It’s all about slowly changing and shifting layers of noise rather than abrupt shifts. And, perhaps less surprisingly, rises to become my favourite on the album.
All in all, Static Momentum is a release I have a hard time listening to. It triggers me the wrong way. But even so, and of course because it does that, I cannot but admit it’s a skillfully put together release. So there you have it: not my cup of mind-blasting noise tea – but if the above sounds like it is yours, then definitely check this out.
Only Death Is Real 