This tape is the third split between the two prolific Californian acts, of which I'm previously familiar with Endometrium Cuntplow only. Unlike their earlier two splits, this one features the groups remixing each others' works on the A-side, and side B has a single collaboration track from them.

AQ remixes AC:
The opening song is a mixture of traffic noises and harsh and muffled drone, which I personally count as one of the most pleasing moments of the whole tape. It's simplistic but obscure, and the lo-fi soundscape suits the song's structure perfectly. Song two mashes together electro-beats and bass-pulse, and coats them with screeching noise-signals and other minimalistic droning. After the full-sounding opener, this one seems a bit too basic, safe and flat; some bolder noises don't take over the electro-elements before the song's very end, and by then it's too little too late. Song three is similar, but better; the beats sound sharper, more organic, and even jazzy due to the many different percussion-sounds and their rhythms. The looped beats go hand in hand with gritty noise which, again, could be louder to actually stand out, but the combination still works way better than on "Crap Standard."

EC remixes AQ:
Whereas the first three songs were about adding noise to different beats, the following three reverse the equation. "425 Rays..." has a noise-ambient backing topped with a sturdy electronic beat; imagine a picture taken on sunny summer day, but morphing and all distorted. An another short piece continues right off with a similar electronic drum-beat, but with an bleeping synth-melody and more focus on the beats than the minimalistic and grainy background. There's something intriguing here, but it could've been taken way further. The following piece spits out loud drum-beats, again backed by some light and warm but somehow morphed and eerie noise-ambience. The track doesn't seem like much at first, but as the background gains more volume the song becomes more interesting. It's followed by some pretty decent harsh noise wall with some random clanging thrown in, and I have to say I liked it. It's got some stylish switches between electronic and organic noiseing and enough detail, although the lo-fi soundscape diminishes their force. A good track to finish the A-side, even though it starts to feel a bit lengthened near its end.

Collaboration track:
Side B holds just one track, a 25-minuter the bands crafted collaboratively. Noting the A-side's reliance on beats and other prominent sounds, it came to me as a surprise that "Fake Leather G String" is a fairly minimalistic and abstract piece. Calmly droning and hissing industrial ambience claps hands with edited beats and clangs, creating a soundscape that's both soft and abrasive. It's a nice listen on the background and has a pleasing smell of dust, but doesn't really deliver anything especially noteworthy until it's end when the noises get louder and harsher. It's stylish and atmospheric, but safe, and seems to lack direction.

The tape seems to be home-dubbed, which gives everything a nice coat of hiss and harshness. I'm not sure whether it was intentional or not, but the somewhat lo-fi and crude outcome really suits the songs' obscure feel, and makes them deeper and less easy to fathom fully during the first couple of listens. On the other hand the harshest noises are severely softened and dampened by the dubbing, so it's not all positive. The tape certainly needs to be played loud.

My opinion about the tape is conflicting. On the other hand I highly appreciate its dusty and lo-fi sound, and on the other I would've wished it to have more details and punch; sharply screeching noises and deeper basses. Thus, the grading is something of an average between the two; negatives for the unneeded softness and not taking the collaboration's possibilities to their furthest, and positives for the raw grit and tasty noise-ambient.

6+ / 10