Gorgonized Dorks is a noisecore-duo that isn't afraid of experimentation, as was already proven on their split with xAOAx. This time their two tracks could be described as spacey noise, which explains why they're teamed with two songs from the Czech experimental noise-artist Paregorik (interviewed here).

GxDx's opener mixes long loops of spacey synths together with digital-sounding and more intrusive high-pitched signals to create a feeling of witnessing a massive gadget from some old sci-fi-movie slowly being destroyed. The signals and bleeps are backed with irregular bursts of harsh and grainy noisiness, which makes the song sound more underground. "Telemetry..." is a well over ten minutes long song which doesn't really evolve, it just mutates and pulsates forward without really going anywhere. The switching balances of lower-pitch white noise and the cleaner (although muffled) high-pitch sounds create the variation for the track. I'm not too sure what to think of it; it's not too noisy or invasive, but it's surely noisy, experimental and even bizarre, and the overall soundscape is enjoyable. I would've expected more violence from it, but then again the song might be more interesting this way; not an attack, but a description of something mysterious and intimidating.

Similarly to the opener, "Of Silverfish and Jazz" sounds like it's an old and lost recording that's been dug up from it's grave under rocks and dirt, where its soundscape has received a coating of muffled and grainy hiss. The song is more structured and less massive than the opener, and its balancing between the sci-fi-effects and harsh noise is used more creatively to create a switching and evolving balance of the two opposites. The song is a bit minimalistic, but the sounds have such an amount of character that it doesn't matter. I wish "Of Silverfish..." would've been longer, as now it has been enslaved to primarily work as GxDx's outro-song for their massive piece of droning harsh noise and retro-electronics. If the songs were more equal in length, they would've made a nice stand-alone tape EP.

"Feel the Pyramid" by Paregorik sounds suspiciously musical after the GxDx-side, but only for a fading moment. The opening song consists of layers of harsh electronic noise that's backed by some fleshy bass guitar-notes, which explains why the song sounds so "musical" at first - even though the bass is pretty well buried under the noise. The electronic wall of distortion receives some additional character and violent qualities by some microphone-feedback, and it truly gives an ear-shredding counterbalance to the bassiness, and also makes the track more varying due to its unpredictability. There might be some bits of really distorted vocals here and there, too, but I'm not too sure if that specific sound is human or not. Nonetheless, it fits. I think the bass sounds too soft and fleshy in comparison to the cold and shredding electronics and it doesn't please my ears the way it should, but on the other hand it makes the track more personal, bold and even perverse.

The song "Out of Oil" uses the same elements, but clearly aims for fiercer results. The bass is so buried under all the rhythmic electronic pulse that it mostly serves as a flash of a living mass between all the grain, and it truly works better this way. It's a simple song, a harsh noise wall, but the source sounds make it interesting and worth a few spins, for sure. Nothing new, but something usual done with style and a personal touch. This song convinced me that I need to find out more about Paregorik, as it seems to have an interesting approach towards harsh noise.

This one's for the fans of experimental lo-fi noise. Love it or hate it, but the release is justified either way, even if it's not a "future classic" or anything shiny or spectacular - it's "merely" experimental underground filth, as you can see right from the dull DIY cover arts.

7+ / 10