-Hate-Male Shower Radio Suite-
1) Hate-FM (11:44)
2) Long-Wave Hate (2:42)
3) Medium-Wave Hate (22:44)
4 ) Short-Wave Hate (6:30)
-Japan Only Bonus Track-
5 ) Killing America (4:20)
Total Running Time: 48:03
Format: CD album
Released: March 2007
'Harsh' really doesn't do this CD justice whatsoever. Put on headphones, crank up the juice and this is probably as close to a brain scrambling headfuck as you can get. Using radio signals as raw ingredients, the five tracks on 'I Want Your Sex' are an all-consuming, frequently suffocating, miasma of static electronic malevolence. This is what noise is all about - sounds which exhilerate, eviscerate and leave you gasping for breath.
Zero Tolerance magazine
This is the 7th album as Hate-Male by Lawrence Conquest. According to the author’s comments in the booklet, this album has been “constructed almost entirely using radio signals as source material”.“Hate-FM” begins with some alcoholized sample, quickly replaced by a white noise sound wall. This has some fuzzy echoed voices coming and leaving, after a minute the whole sounds seems to collapse and to get lower, it seems possible to perceive some rhythmic in this massive sound maze. The whole is much distorted, rather than white-noisy. The whole atmosphere created is some kind of industrial chaos. Most of the variations are made through the frequencies of the whole oscillating from higher to lower-pitched, some samples and some patterns that sometimes seem to loop, creating some kind of pseudo-rhythms. The parts with lower sounds are interesting as this one near 4.00 where there seem almost some drums rumbling: aural illusion. Some melodic incursions are quite common, as this one near 5:30, at the top of a rise to white noise.; or a t 7:30, quickly covered by an massive layer of distorted sound. Near 8:00 we can hear what seems to be metallic or machine’s noises, at the bottom of main oscillation. Finally, more white noises are added, then some kind of thundering loop crosses your speakers from left to right, slowly introducing some human voices’ samples, till the last vibrating tonal wave. The second track, “Long-Wave Hate”, starts with some famous sample quickly interrupted by a sound wall. Here, the sound consists of different things: less white noises, more parasites, and gratings.
Near 1:40 starts a rhythmic part with interruption of the sound, then with another metallic howling noise phrasing the whole with other parasites, glitches. Really fuzzy samples may be perceived, till everything abruptly stops.
The third track, “Medium-Wave Hate”, has really many high-pitched noises that remind FM radio signals. It begins with a chaotic melodic wave, then confirmed by some deformed heroic sample. This track is much calmer, tonal and ambient than former ones. Vibrations evolve, slowly modulated, with some parasites, slightly, with some gratings, but the whole remains far less aggressive than previous tracks. The structure consists of several parts separated by parts with lower volume. The transitions are all but wall noises hitting your eardrums: it’s fade in-fade out in a smooth way. But, at around 10:40, the sound gets closer to some huge metallic vibration, with ghostly voices behind… The main point of this track is the oscillating vibration that keeps on the relative smoothness of its beginnings.
The fourth track, “Short-Wave Hate”, begins with more classical indus/noise sounds. The track seems to be harsher. We can perceive an alternation between lower sounds parts and white noises saturated parts, both often populated with some voice sample much distorted and fuzzy. The rhythms consist of some mini-sound walls, variations of a specific sound layer rather than global interruptions, or than loops of specific noises. Anyway, talking about rhythm might be a bit pointless for this might be rather some inference of our brain, to try desperately to organize such a sonic chaos, than the reflection of reality. It ends with some rhythmic intervention of some high-pitched glitches, then accelerating, finally getting higher and building a continuous noise, while other sound are reduced to nothingness. In the end, the track crashes on a relatively mild sound wall…
The fifth and last track plays with stereo effect and destroys some melody, as soon as we could hear a bit of it… It keeps the melody’s rhythmic aspects to create a merry noise track… This track is called “Killing America”, a funny deformation of the “Calling America” song, by Electric Light Orchestra, “composed by Jeff Lynne and decomposed by Lawrence Conquest”, as jokily explained in inlay comments!
This album features an oscillation between white noise and lower distorted harsh sounds, between high-pitched sounds and low-pitched ones (first track) The sound is often consisting of white noises (1st track), but also on more industrial noises (around the middle of the long 3rd track). Some songs’, melodic incursions of songs (2nd track), or some harmonies created by FM gratings. On the whole, this is about a rather chaotic atmosphere, yet not anguishing or dark at all. So, one could question the “Hate” element, that should be present in all tracks. Actually, although the music is sometimes really harsh, there isn’t any hateful voice or dark atmosphere. There aren’t huge variations when a sound is established, almost no sudden bursts or sonic attacks, like in some Dissecting Table, for instance. Thus, it may seem not that aggressive to some noise-addicts, for the aggression is constant, it’s rather ambient, static, than moving, dynamic. The audio violence has several faces…
“Hate-Male” sounds as if there would be some wind coming out of your stereo (track 1), although I just admit I haven’t followed the recommendation to put this CD at maximum volume: I still need my ears. I guess this album played at maximum volume wouldn’t be non-listenable. Yes, this goes the same with mushrooms: no mushroom is non-edible, actually: all mushrooms are edible, but some are edible only once… So, if you want to listen to it several times, I guess it’s recommended not to listen to it at maximum volume. An alternate solution is also possible: putting some good earplugs and preparing to be expelled by your flat’s owner and neighbours with stones’ throws… Let’s summarize: “I Want Your Sex” is harsh noise, therefore neither the author, nor Heathen Harvest, nor your humble servant can be held responsible for any injury due to an inappropriate use of this record!