Nora Egloff has been unassumingly building an evocative body of death industrial plight since about 2014, small editions and an in-the-know audience quickly dispersing most past releases into the underground – but thank goodness for a well-stocked Bandcamp page.
Opener “Formalin” sets a cruder tone than earlier releases, the track a virulent spray of sinewy harsh noise with a sickly snarl sending thick dirt-encrusted tendrils deep into the bowels of my cassette player: an effect ‘Grey Chambers’ then can’t rid itself of.
What follows is cogged by caked-on grime, heaving lungfuls of emphysema gasping through “Scopophilia” as obscurely muttered samples slowly drag the piece into the freer synth modulation of “Air Hunger”, in which simple tone generations unsympathetically throb when put in contact, shimmering high-end netting and an irregular foetal heartbeat smothering the piece’s cleanliness and again triumphing polluted sound components over Spiteful Womb’s more familiar articulation. The piece then engorges with even harder rhythmic material and yet more sooted electronics gnawing, before dropping into the feared atmosphere of “Review Of The Fatal Videotape”: an extended cloud of grainy fog, barely perceptible low-end churn and impassive clanging; even in this familiar emanation the greyness of “Formalin” is still clinging to ‘Grey Chamberss’ final track of noxious powdered coating.
In a genre already about as subversive as it gets, ‘Grey Chambers’ upsets any natural order by feeding from the opening noise burn of “Formalin” smearing its ashes across this tape. The result may be less technically impressive, but it’s impossible to escape ‘Grey Chambers’’ consequential dismal centrality. One day this project will deservedly gain a bigger foothold, and visit those sings on the greater unsuspecting.
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