Axebreaker’s Brutality in Stone starts with the track “Disorder (for Alan Berg)”, which begins with echoing sweeps of high-resonance-filtered noise, which gives way to an ever approaching wall of noise which mixes with it and becomes stronger on the lower-end of the frequency spectrum, then a little higher, then stops.
“Ghost Skins” starts with echoing cries which accompany a heavy, thundering multi-layered distorted tone repeating itself. The vocals reach a crescendo, then delayed tonal guitar sound disharmoniously fills the mix, progressing toward solitary playing, as the thundering tone fades out and we are left with the guitar briefly, and then the song is over.
A lumbering bass tone plays under pulsing noise which is filtered in multiple different ways, and then tonal sound is made through high-resonance filters as a wall of noise comes in, but does not fill the frequency spectrum entirely. The resonance is played like an almost-melancholy-sounding melody, and a two note sequence plays and breaks down into chaos with high pitched tones playing overhead.
In “New Nobility”, distorted bass tones play a not quite chromatic melody, and then some vocals say something, and whistling noise plays with an almost gentle wave-like wall of sound. Then, echoing vocals come in and have their say over the sound. When they stop, a resonance-tone is sustained over the mix for a quite long period of time. Then the wall drops out, leaving the resonance, which seems bigger than it did before the drop out.
“End of History” begins with a mid-toned melody with a delay effect on it repeating itself, and after a time a not-too-harsh noise wall appears, and then a harsher one joins it. Then, a resonant drone appears along with a beeping tone. This continues for quite some time until the beeping and some of the sound drops out, leaving a mid-strength noise wall and the resonance, which then breaks down and is modified a bit. Then, a wave of static is pitch-shifted upward, and the song is over.
The track “All Monuments Fall (for Heather Heyer)” begins with a rich drone, which is then distorted, providing a lot of harmonic content which moves around, and then the song drops out.
“Murrah” starts with vocals and a low, distorted, bassy tone which is accompanied by a filter sweep through some noise, and occasionally there are some sparse spoken vocals with a delay effect on them. The filter sweep develops a bit, and then a powerful tone appears, accompanied by stormy, booming noise and shouted vocals. Then all of the noise drops out with the vocals echoing, and then it starts up again with the vocals growing more intense and multi-layered. A filter-sweep occurs. Then the noise drops out again, and then starts up again with a more refined sound, with a droning synth tone in the background becoming apparent, and then even more apparent as all of the sound drops out one by one except for it, and then the song ends.
“The State of Terror” starts out with high pitched sound, which then drops out leaving a fast-tremoloed melody-like progression of sound. More high pitched sounds play, but more subtly. Occasionally the sound breaks up a bit and there is clicking. The curious high-pitched noises become louder over time, until they are the main focus of the mix. Changing, but not evolving, the sounds are suddenly overcome by shouting vocals, and then they drop out and a booming bass with a fast whirring noise appears.
This all drops out and strangely distorted vocals accompany more booming bass and tonal noise. Eventually, a crescendo of sound is threatened to be reached but is extended as electronic sounds accumulate. Then, much of the sound drops out except for an almost-melody which plays over a higher distorted drone. Then, the drone drops out and a reverb-laden wall of noise becomes apparent. There is a filter sweep, and then the song and the album is over.
(https://axebreakerpowerelectronics.bandcamp.com/album/brutality-in-stone $8 for digital, $11 for CD, $15 for CD + T-Shirt bundle)
