(SOLD OUT)SCAR OO9: -Namazu Dantai "Nocturnal Veils" C-30 50 Copies

-Brand new recording done in Oct 2009. 4th release overall from this project. Namazu Dantai along with Izanami's Labour Pain, and Mazakon Tactics are all works of German creator Sascha Mendler, who's harsh noise focuses on topics related to Japan, Japanese culture, history or mythology.

-2 long maximum harsh noise tracks ala Richard Ramirez, The Rita, Macronympha, The Cherry Point, Sewer Election. Pummeling yet amazingly hypnotic.

-Price: $6(US/CANADA/MEXICO) $8(Rest Of World). Price is postpaid.


Copies can also be purchased from:

Malignant Records


Discorgaphy: http://www.discogs.com/artist/Namazu+Dantai

Namazu Dantai Myspace: http://www.myspace.com/namazudantai

"The “Nocturnal Veils” title may suggest lulling and grim ambient expanses, but there’s nothing darkly soothing or grimly subtle about this C30 tape- instead it ties you down & then gives you a detailed/thick noise battering. On offer here are two sides of raging and shifting Harsh noise with some very wallish like dwells taking over large sways of each side long track.Namazu Dantai is a Berlin based Harsh Noise and walled noise project that’s all the work of one Sascha Mandler whose other projects include the jarring harsh noise meets Japanese folklore themed sonic’s of Izanami's Labour Pains and Death Industrial/ Power Electronics of Mazakon Tactics.Both tracks here are made using a mixture of violin, cither and electronics which creates the detailed, shifting, rip ‘n’ roar sonic storms that Mandler lets loose with-in these two sides of tape. Side ones untitled track seems the most twisting, turning and shifting of the two sides here with Mandler mixing together: juddering 'n’ thick harmonic textures that may once have been violin or cither, bucking road drill like throbs, deep roaring engine like dwells, squalling & melted electronics locked inside cavernous judders, and caught ethnic like percussive drips mixed with junk metal like rips and hammers. Side two seem to concentrate more of roaring, crashing, tearing and thick sonic bombardments, and it gives you the feeling that Mandler has managed to harness the sound of ten or twenty thunder storms to play the track. This side is certainly the more set and wallish of the two tracks, through I’d still say this is deep ‘n’ thick psychedelic harsh noise with lengthy wallish dwells. Of the two sides I’d say the first is my favourite as Mandler pulls you through so much dramatic and crushing harsh noise matter. Side twos track is fine, but I don’t’ think it really stands as one of his best tracks because at times it almost feels like he’s treading sonic water and re-using similar noise storm & wall texturing tricks he’s used in the past. It’s hardly a bad track, I just expect a bit more from Mandler. So on the whole another good and brain melting release from this project that sits somewhere between Harsh noise & HNW." http://www.musiquemachine.com/reviews/reviews_template.php?id=2731

"Another brilliant addition to the world of Power Electronics, this is some uneasy listening, apocalyptic and esoteric as well, but amidst the turmoil also comes some deserted and unperturbed textures of a cratered and barren surface completely deviod of life aside from your own. The feel of a storm, complete with thunder and the pandemic of the down pour of rain told through audio. The use of tape loops and real hands on recording and production is present here, not to mention a completely intense and equally distinct atmosphere. There are many layers to this abyss of electronic sounds, each one delicately planned and placed, with surgeons precision in each cut made into the compositions, each type of instrument/effect/sample specially located to create the right incision into the conscious and subconscious reality of the listener. This is the type of stuff that doesn't need, but could very well contain hidden messages to warp your mind and slowly turn you into a true psychotic. A subliminal, explicit, and well crafted audio journey into the darkest cavities of your mind and soul, the genuine experience of meeting your evil side and facing it, but ultimately losing to it as you begin to slice through your skin with the blade-like object closest in reach. The authentic feel of losing yourself into a schizophrenic mind set where senses and perceptions are confused, some completely lost, as you dangle over the edge of sanity and want to let go and plummet, but can't yet. I really respect artists like this one, whose name I will leave out for a sense of anonymity, who are true to what they believe and speak. No hypocrisy here, no elitist shit, no bullshit, just honest Fuck you, humankind is worthless overall. I'm becoming more and more pissed off at labels and crap, NVS and anything supported on this site is against bullshit, the real DIY and independent spirit lives on!!!!!!!" (Janet from Defecation On the Divine radio) http://defecationonthedivineradio.blogspot.com/

"Namazu Dantai is a harsh noise wall project from Germany. The person behind it, Sascha Mandler, is also responsible for a couple more harsh noise/power electronics projects - Izanami's Labour Pains and Mazakon Tactics. From what I've seen and heard, it seems that he is one of those persons that you don't hear about everywhere, he is not constantly praised with every release, he's not hated for some reasons in the scene, he just creates noise according to his own vision and that's his strength, I'd say. His creations are associated with Japanese culture and mythology. You can see this if not directly in sound, but in artworks, song titles and so on. This cassette is my first acquaintance of Namazu Dantai. This project is not an exception in HNW scene and its' releases are thrown out only in very limited editions. This cassette is packed in typical (I think I could say that because it's the third release from NVS label where form of packaging is the same) for this label 7" plastic envelope with two sheets of thicker paper and couple of inserts. The cover itself radiates calmness of the night - meditating old man with beard is portrayed on it. Nice. But up till now I'm not sure whether I see solid bonds between sound and visual. But let it be. Material was recorded in October 2009. Violin, cither and electronics were used. Result is a powerful Ramirezque charge of noise when sonic wall does not isolate you in absolute static, but forces you to listen to the sounds with all your ears because constant movement, wars of microworlds are happening in between weaved noise layers and these important accents shows up in hardly audible changes in sound. Both sides of cassette has one long track each. In my opinion, the real nocturnal veil (veils not walls according to Namazu Dantai) is shown on the first side of the cassette - somewhat mystified, fearful vision of the unknown in the world. One massive layer of low sound covers the others like the curtain of the night. That way, impression of static is formed, but if you look deeper, it's not so. Here and there, especially when the track goes towards the end, you can hear clearer episodes of the track. The end of this side is weird. Wall of sound ends, then several seconds of silence and then several more seconds of noise on the right side. That's a nice one for the end. But as for me, I found the second part to be more interesting. If the first side was more meditative, the second one is more open and more aggressive. After some several seconds of rumble in the beginning, it seems that the sound explodes. When it goes from lower to middle frequencies, I get impression of openness and this side suits more for destruction and not for calm listening. Sonic elements are lighter, energizing and not pressing under the massive sound. This track is shorter too than the first one. All in all it is a good release. It should be interesting for HNW fans. Of course, you'll find no surprises in here apart from weird ending of the first side, but who wants to go looking for surprises in HNW? This record suits to enjoy the calmness and existence on this side of veil of darkness. Sometimes it's good not to know what's behind it. It's calmer that way". http://www.terror.lt/index.php

"As snow adds in the wake of the corn and soybean fields, their ruts become highlighted. These troughs seem deeper once accentuated at the base in white, with peaks of dark frozen mud waving into the next length of frost. Line after line they fool and mesmerize the eye. At once these fields are expansive, broad and encapsulating but then, simultaneously microscopic, effete and demure. The ratios flip flop back and forth. Looking at the whole begs for the detail. A single plough mark forces the entirety of the field.
Namazu Dantai (Sascha Mandler) bludgeons violin, cither and electronics with a similar finesse. Powering through this live recording is a tumult of noise, which too is impenetrable and effervescent. The two sidelong pieces are as full of death as they are life: heavy as they are weightless. Played at a high volume, the contents are crushing: void. Roll the volume down and the sounds are continuous confirmation: validation.
(This cassette is packaged in a 7” sleeve with one of the illest covers I’ve seen in a while. If I were in high school or had a locker somewhere I would totally hang this in there so that which ever one of the boring kids were my neighbors would have to look at it often and wonder about me when they can’t sleep.)10/10" John Collins McCormick http://www.foxydigitalis.com/foxyd/?p=4786

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