This is the second compilation-release by the label Filth & Violence. Whereas the first compilation was focused on Finnish power electronics, this features more foreign acts and quite a bit of harsh noise as well.

The first track is a live-collaboration between Sick Seed and Above Suspicion. It's style is primitive oldschool power electonics, with the main focus on the high, noisy, and randomly varying screeches with occasional lower rumbles. The two male vocalists add a good dose of hostility to the crude filth, and I wouldn't have minded if the debauchery lasted longer. The song's end doesn't feature any vocals, just a messy of noisy rumbles, and is thus a bit powerless in comparison to it's beginning. It's just a minor flaw, though. Snuff is the original reason on me purchasing this compilation, and their track is simply superb. Really sharp high screeches vary in simple but effective patterns, and the distorted and though-out vocals add a final touch of oppression to the song. It's really minimalistic and primitive, mostly consisting of the high screeches and the vocals only, but it wouldn't need anything else either. All my expectations were fulfilled.

The untitled song by Last Rape begins with a dull and really grainy sample, and continues with even more grainy and messy mass of white noise and crude, rumbling distortion. It's a mass of grit with a little backing assistance from some lower humming, and despite it's simplisticity it's quite enjoyable for a spin or two. I just wish the samples were used for a greater effect. The track from Concrete Mascara is more reliant on analogue noise and a low and pulsating electronic loop, which gives the track a good part of it's character. It's a mess of harsh noise with some crude and distorted beats and other noises serving as the mass, and some clearer and electronic loops serving as the contrast which keeps the noise effective. It's a good and aggressive tune, but as it's predecessor, it doesn't offer much new.

Wince executes some really raw and crude metal junk noise, with a hint of screeching thrown in. It almost sounds as if the recording is broken because it constantly breaks, but it only makes the track sound more lo-fi and violent. The track is a quality snippet of harsh noise, and I would've gladly listened to more of it. After its cut-out ending we get to Bizarre Uproar's compilation material from '07, which operates roughly in the same waters as it's predecessor. The untitled song presents a dense wall of crude distortion and metal junk noise, with a couple of sudden PE-twists and breaks. The material doesn't really present anything new, but is high-quality traditional noise nonetheless. I really like how the sharpest sounds and the few vocal lines push through the distorted mess, making the track sound deeper and more original. After (again) a cut-out we get to the final band of side A. It begins with steady rumbling in the back, with equally steady drumming in the front accompanied by some pretty bizarre growling vocal bursts. The drums sound pleasantly heavy due to their echoed sound and lo-fi recording equipment, and the analogue drone in the back fills the soundscape so that nothing else is needed. As it's title "At one's own peaceful pace," the track continues forward with minimal variation for it's few minutes of lenght, and when the end comes I don't really know how I should feel about what I just heard. The track sticks out in a good way on the compilation and provides a good ending to the A-side, but as an individual track it doesn't offer much. It got me curious to hear more from the artist, though.

Mortuario opens up the B-side. After a short sample the song continues with low, echoed speaking in the distance, while some looping mid-pitch analogue synths provide the music. The songs's highly minimal and repetitive, but stays pleasing for it's whole length due to its shady and even perverse feel. Quality filth overall. Halthan continues with even stronger, looped rhythms and grainy, droning noise, all of which slowly turn into messier form as the track progresses. The track's pretty controlled despite it's structure, and the muddy vocals and samples further add to this feel. The song gives a dedicated and perfected image, and I'm very glad that the compilation features this end of the (compositional) spectrum as well.

Up next is Coma Detox with two tunes. The first one begins with something sounding like slow and really grainy electric guitar notes, backed by a mass of improvised-sounding analogue noise and as well as harsher sounds. The track continues in a relatively calm manner until it's similar follower; distorted vocals, backed by a mass of not-too-violent noise slush with some sharper electronic sounds pushing through the mass to reach the surface. Even though the songs sound even "neutral" in some aspects, they carry a lot of determination and power hidden under their surface. The tunes are not the most memorable ones, but are otherwise really good.

Pogrom opens up with sharp layers of distortion clashing together with harsher ones, while some really odd, high-pitched and manipulated vocals are on top giving the track a more experimental feel. Aside of it's vocals, the track is quite a basic PE/harsh noise-tune; it's good and shows the artist's talent, but not especially memorable. I like the artist's daring though, as he employed some cleaner electronics to the track to break its structure of lo-fi grit. The songs's just too lenghty.

The compilation's final song is performed by Mania. The song has a clearer soundscape than most of the other stuff on the compilation, so it's good it was reserved as the ending one. It's shaped from some sharp screeches, really low and messy rumbling, and anguished vocals in the distance. The track sticks out in a good way due to its clear structure and amount of violence, but it's clear it would've worked a lot better if it was surrounded by similar songs instead of a lot more lo-fi material. When viewed from this point, it's good that the song wasn't any longer.

I guess it should by pretty clear to anyone by now, but to sum it up: this compilation is of overall good quality, has a good flow, and presents a rather wide variety of artists. I can warmly recommend it to anyone with a soft spot for noise filth, aside of the easily offended.

8½ / 10