Liebliches Gescherbel aus Spanien. Eine Wand aus Geräusch in Form dreier überlanger Titel. Das Genre erfinden Mixturizer nicht neu, doch sie machen ihre Sache ganz ordentlich. Ihr Noise Ambient ist ein Stück mehr Noise als Ambient: Es geht ordentlich zur Sache, Gefangene werden keine gemacht. Auch wenn die Stücke zwei und drei eher rihig beginnen, lasst Euch nicht täuschen, es wird am Ende wieder ordentlicher Krawall! Eine eher untypische Tosom-Veröffentlichung.

Harsh Noise Wall (HNW) upsets many people which I maintain here & now is not from a cochlean aesthetic but from a deeper neurosis (disease – dis-ease) from which they hide.. that is the hiding of modernity, culture, civilization which at other times they appear to find ecologically now and now too late – problematic. I live in a town, lying awake in bed I can hear the sound of a train, against the distant rumble of the traffic, and the noise of the water in the heating system, there is a stillness and in this each of these sounds signifies something. And of course that is the problem, and if there is a problem then there is a philosophy, whether you like it or not, that is unavoidable. “Why are there essents rather than nothing?” (Heidegger) the most important and deepest of questions at the source of all signification, the fundamental question of metaphysics, one which is never answered, for in any answer lies the question, which is why philosophy is always incomplete. Put elsewhere, this arises from the space of chora on which the thinker establishes a plane of immanence, that question, the most important of questions, its not the first, and is often ignored, and is never answered other than by the act of genuine ‘being’ in the world. It marks an essential break or return from modernity. Sound that ceases to signify will/must *be* this pre-oedipal chaos, and the opprobrium for such is the very act of repression which is the un-curable psychosis of the ego and super-ego – i.e. culture, music, art, even philosophy itself. I have followed “the progress” of Mixturizer away from ego/super-ego towards- but not yet lacking all structure and signification, a space where Vomir ‘moves’ – i.e. ‘Chora’ “The earliest stage in your psychosexual development . this pre-lingual stage of development. You did not distinguish your own self .. the stage, then, when you were closest to the pure materiality of existence, or what Lacan terms “the Real.” . ” ‘Untitled’, the overcoming, overwriting of the repressions of ego and super-ego – which is music, by that which “never alters its characteristics.. the unchanging form, uncreated and indestructible, admitting no modification and entering no combination..” -( Plato Timaeus) If my argument here is true and HNW is ‘the real’ what does this imply for the other..what then does merit this cassette? than it has something beyond metaphysics? (Jliat)

La primera cinta en la historia de la disquera española R.O.N.F. Records corresponde a un split entre la banda de la casa, Mixturizer y el proyecto francés Vomir. Con su inamovible pared de estática, Vomir, ataca sin piedad con un tema de poco más de veinte minutos de duración. El tema está centrado en el eterno retorcerse circular de frecuencias graves y medias y, bueno, nada más. Puro HNW, sin ninguna intención compositiva o seguimiento remotamente rítmico o tonal de ningún tipo. Estática pura convulsionándose hasta el hastío.
El tema de Mixturizer, "Negrativo," tiende, por su parte, al dinamismo, empleando también obliterantes paredes de ruido, aunque haciéndolas variar constantemente con ligeros cambios de frecuencia en los caóticos movimientos de su masa sonora. Los vuelcos hacia las frecuencia bajas son abismales y tienden hacia la proyección de zumbidos grotescos que van de estar cubiertos de gis a presentarse desposeídos de cualquier vestidura. Su alternancia va seguida de deslaves de herrumbre metálica, sofocante. Dos visiones opuestas y complementarias del ruido más puro se presentan en este split. La exploración sonora en este trabajo se va, así, sin escalas, directo a los extremos, totalmente absorta en sus visiones de nihilismo sónico cerrado y radical. No hay más. Además, cabe señalar el fantástico trabajo de edición que le adorna con el que, me atrevería llamar, mejor arte para cintas que he visto en mucho tiempo. La calidad de impresión es perfecta, así como la elección de los materiales y los visuales. (S.S.)

Nothing like a good collection of noise to get your blood flowing in the morning!! Prolific Spanish experimental musician and R.O.N.F Records co-owner, Manuel M. Cubas, unleashes his opus of ear-ripping, mind-melting, skin-brittling sound exercises on this CD-R compilation.
This work, entitled “mxtrzr” is a compilation of work he’s done over the course of this project’s 4-year existence, across his already very expansive discography. Mixturizer has yet to release a full CD-album, but you can definitely regard this compilation as a complete work. An introduction to the nerve-shredding psychosis that is Manuel’s specialty.
I’ve listened to quite a number of noise artists, perhaps have witnessed more live acts than have actually bought albums, but very few work so efficiently at getting under your skin the way this guy does. Even at low volumes, I’ve often walked away from this CD feeling more than a little light-headed. The textures and frequencies he uses work in such a way that you feel you are being peeled, layer by layer, rather than having sounds drilled into your head as with many of the Japanese artists. He will start off subtle, then use repetition while gradually becoming more and more course and discomforting, and just when you feel you’re becoming used to it, he will turn up the frequency, or do something else to push your mind to the snapping point. It’s actually quite ingenious.
The first song is a great example of this. It uses the medium of high-frequency crackles and whines over it’s length to numb, unnerve, and finally strip the mind of all resistence, before climbing right up into the highest frequencies before changing gears and descending into a clamor of low sounds and subtle amorphous textures resembling the sensation of hearing voices in the wind.
Each track uses a different medium of hypnotic sounds to work in different ways of turning the knobs of your mind the wrong way.
I was once introduced to the power of theta wave technology, and I wouldn’t doubt it if it was being employed here. The frequencies can be sheerly overwhelming at times. My cheap ass CDJ set tends to crap out any time I try to play this CD. Also, the transition between the tracks is definitely NOT subtle and occasionally startling during sudden changes as the previous track fades out.
The second track features escalating waves of oscillating spacey sounds, while the next track is a full-on blast of low-high frequency deafening static that comes on as a roar and leaves you with no escape, it slowly morphs into something resembling metallic explosions.
Track four contains some very simple ghostly organ sounds that rise, fall, and cut out in volume as the sounds suddenly switch from one pitch to another. There’s one track that features samples from underrated experimental music guru Maurizio Bianchi, which comes off as an enveloping clamor of all forms of metallic objects.
This CD would definitely appeal to all fans of noise, experimental, and even musique concrete, but is most definitely NOT for the timid. It’s also got a definite surreal side to it, and with it’s variety of different sound textures used, it will never bore the listener. Different sounds resemble different objects and shades of paint used in portraying a very vivid jarring landscape of color and texture. Beautiful, but in no way whatsoever tame or gentle.
A rewarding experience awaits those with an open mind and appetite for surrealistic sound. Perhaps I SHOULD tell you that if you’re new to noise, to start off with a tamer record, but the true noise music fan inside me honestly tells you no introduction would be better!!

This solo project from Spanish noise demon Manuel Cubas is a purely digital effort compared to the guitar/drums/noise catastrophe that he creates with his grindnoise bands Potabilizadora and Genital Masticator, but the crushing harsh noise and bleak minimal dronescorch that he creates as Mixturizer is just as confrontational and abrasive as any of his other projects. mxtrzr is one his latest discs, nine tracks of tense static buzz, grinding blocks of blown out death-synth, sputtering distorted wall noise, and chopped-up clusters of creepy pipe organ tones that are orchestrated into towering symphonies of apocalyptic drone and electronic noise blast. Fast paced blasts of brutal choppy noise segue into minimal drill-tone drones, symphonies of malfunctioning sped up cassette tapes and primitive abstract electronica; there are also recurring rhythmic elements that lead the harsh noise into sections of pounding, jackhammer force, and even delves into some brutal gabber-like rhythmic pummel (as on "Desgarradora Realidad"). He's clearly influenced heavily by the fearsome black isolationism of Maurizio Bianchi's early work (and indeed one of the tracks that appears on this disc is a remix of Bianchi material called "Reconstructed"), but Cubas infests his oppressive blocks of noise with radioactive breath and tortured feedback, summoning alien melodies out of battered electronic equipment, unleashing maelstroms of sheet-metal/machine-shop chaos and carnivorous galactic locust swarms, and sculpts dark drones from slabs of carefully arranged noise arranged into distinct movements, which leads me to believe that the classic UK industrial sounds of the Broken Flag label probably inform these works as well. Harsh and menacing stuff, but with a dynamic and varied approach that leans more towards old school industrial noise than pure wall. The disc is a compilation of tracks taken from the previously released and ultra-limited "Internamente", "Actos Inhumanos", "Æternus Saturationis Innatus", and "Exploratio - Saturatio" Cdrs, as well as comp tracks, some previously unreleased material, and the Bianchi remix track "Reconstructed". Limited to 50 copies.

My only previous exposure to the music of Manuel Marrero Cubas' Mixturizer project was as part of a split release also on his R.O.N.F. label on which I described him as issuing forth a 'cretaceous fuzzy roar'. Well upon hearing a full length I stand by my words. Obviously there's more to it than just that but as a baseline description it holds quite a lot of water.
Noise is Manuel's passion. Harsh digital noise at that. This is anything but music for the faint of ears. The screaming, screeching, careening shards of grit that avalanche from each track are great fun. His noises are some of the sharpest edged that I've heard in a long time, in places piercing even. This is a wonderful change from the standard po-faced, guttural belch of much noise music as it seems to have the biggest, cheesiest shit-eating grin on it's face as it throws itself at you and slam dances on your eardrums.
Regular readers will now by now that with each passing month I'm becoming less and less interested in full-on noise assaults and most of the pieces that hit my player do so only the once. Now and again though I get one that reinstates my belief in noise as a vibrant genre. This is one of those times.

I thought I had reviewed more than just a comp but then perhaps I'm not thinking.. Here the electronics go through slow processing and manipulations - slow enough to be predictable and almost precisely atypical of any conventional western music. Compare with Spruit where the chop up offers a different more open approach to the development of forms more akin to their digital genesis. There is a massive hour and 8 minutes here - some latter tracks of almost sheer harsh noise others play with rhythms devices and real feedback. The more "live" the pieces the better, the human as opposed to microsecond digital manipulations. This focuses on an important issue - to engage in change today the need is to rely on the hyperfast logic switching of cybernetics or else deny change in the move to HWN. To "hear" the foot moving the wah wah or hear the hand turning the filter / oscillator is to remove us back into a past which is dead and gone. So the last track is the most successful of the 9 apart from the needless fade into reverb. Still the old gods work - "The old habit, however, of associating a goal with every event and a guiding, creative God with the world, is so powerful that it requires an effort for a thinker not to fall into thinking of the very aimlessness of the world as intended. " (jliat)

Breves despuntes de tonalidades se desprenden de entre un caústico líquido sonoro. Señales tan torcidas entre sí que forman un estanque de ruido blanco difícil de escapar y que sólo hacia un rato dejan pasar los zumbidos y los sonidos degradados hasta el gis. Así comienza "Mxtrzr," la más reciente oferta sónica del proyecto de Manuel Cubas, Mixturizer. "Energía Adormecida," primer corte, no para de apuntar hacia arriba, inhibiendo cualquier traza de pensamiento, absorbiendo con sus abromadoras señales cualquier reacción o sentido. "Electroshock Incesante" y "Decipher Dementia Decay" son cortes que uno podría más regularmente esperar de Mixturizer, por su ya bien conocido empleo de guitarra saturada de efectos corriendo contra un marco flexible de ruido relativamente ligero. Lo que hace de "Mxtrzr" un trabajo tanto más sorprendente se trata en realidad del empleo que Cubas hace del harsh noise en cortes como "Torturexploitation," "Pre-Senile-Dementia" o "Desgarradora Realidad" o del industrial más mecanizado de "Sin Forma Determinada." En "Desgarradora Realidad," precisamente, es donde mejor puede apreciarse el trabajo instintivo e inédito que Cubas realiza, atacando efectos con frenesí, creando sonidos que revolotean como aves eléctricas y que chocan con gigantescas moles de ruido o con totalmente imprevistas cacofonías cuasi beats. Por su parte, "Pre-Senile-Dementia" bordea en el HNW con su muralla impasable de distorsión y herrumbre. Ante todo, "Mxtrzr" se constituye como el trabajo más variado de Mixturizer a la fecha, uno que dicta caminos a seguir y grandes despliegues de nuevos talentos y de oficios bien aprendidos. No se engañen, es en formato digital y tiene un arte fabuloso, pero este trabajo es pura brutal energía análoga. (S.S.)

Cuando uno ha oído ya tantos trabajos de música industrial, no espera encontrar en cada trabajo algo nuevo e innovador y esto se radicaliza cuando la faceta del industrial es la más ruidosa. Simplemente disfruto de lo que este sonido tan extremo me transmite, para muchos simple ruido y para otros mágico y maravilloso ruido. Yo valoro más lo dinámico que sea el trabajo, lo que el artista se empeña en que la obra sea algo vivo, algo fresco y no una obra anodina e inescuchable por la contundencia de sus distorsiones. En este aspecto Mixturizer realiza un buen trabajo, regalándonos un disco muy variado, donde hay momentos oscuros y densos, sin renunciar ni un momento a la experimentación e improvisación con multitud de sonidos y samplers electrónicos, creando pequeños colapses sonoros llenos de vida propia. Por otro lado es imposible que su vena ruidista no asome y de vez en cuando nos sacuda con alguna que otra oleada sónica que nos recuerde que estamos ante una de las bandas más en forma de la escena industrial ruidista. Quizás lo que se hecha de menos sería más aportación vocal, en forma de sampler o de viva voz, le daría mayor cuerpo al conjunto , ya de por si bastante sólido. En cuanto al tipo de sonido no podemos reconocer en todo el trabajo un sonido característico, ya que el artista utiliza cualquier fuente de sonido a su alcance, que si por un lado es quizás una falta de identidad por otro lado da una mayor libertad a la hora de realizar los temas, permitiendo una composiciones más independientes entre ellas.
Detrás de Mixturizer hay algo más que una banda, ya que su único miembro, también es el titular de Ronf Records un interesante sello nacional dedicado a las propuestas más extremas y que se está haciendo un hueco por su propuesta y por su buen hacer. Antes de irnos fuera a buscar propuestas industriales underground deberíamos recordar que en nuestro país hay muchas alternativas, que son igual o más validas y que seguro que se lo han tenido que currar más para ver la luz. Mixturizer y Ronf Records en general presentan una más que interesante alternativa, llena de calidad y ayudándome del tópico, “lleno de sonidos industriales en su faceta más extrema”, sencillamente tienes que atreverte.

There is a 'joke' which relates to the title on the outer tracks, 1 & 6 - however this is layered between with harsh noise sedimentia which marks an apoapsis not only for Mixturizer -who should quite rightly be congratulated - but is therefore as a noise apoapsis - an apoapsis of colonialist phallogocentric western hegemony. That this might prove problematic for this artist, we must wait and see, but if I can offer some advice to Mr Cubas - "The bird that would soar above the level plain of tradition and prejudice must have strong wings. It is a sad spectacle to see the weaklings brused, exhuasted, fluttering, back to the earth" (Kate Chopin)... (jliat)

If the darker and more atmospheric end of noise music is your bag then you'll already be well aware of R.O.N.F. Records. Last month I featured their excellent 'Altered Neurologycal Function Vol.1' comp and this month sees a cool split seedee from three bands who are all new to WWR. First up are Bisturi who open the album in a surprisingly psychedelic way with various half-melodies and broken rhythms scattered and roaming around the mix. A droning noise slowly builds in the mix along with some amorphous voice samples before the whole thing comes to a close with a birth. Second and third are Vril with a pair of erratic and acidic constructions of razor-edged noise. It's great restless fun that'll nicely soundtrack your next armageddon. Finally we have Mixturizer who, despite sounding like they're going to be a hip hop act, wrap things up with a cretaceous fuzzy roar.

Packaged in a high quality paper sleeve, with colors ranging from the darkest, slimy green to brilliant black, it doesn’t take much to predict what is lurking inside this album. Sharing the general aesthetics of many other noise acts, one would be very surprised to find anything but ear piercing, speakers molesting noise. The three Spain-based projects, Mixturizer, Vril and Bisturi have gathered under the request of R.O.N.F records and each project, at its turn, is trying to win an undeclared competition to find the most painful and hostile batch of frequencies that is humanly possible.
Bisturi opens up with a blood chilling and nerve-bending track. Powerful drilling power electronics serves the basic foundation for ringing bells, somnambulist glitch slopes and tormented vocals, mixed with babies crying. Soon this whole wave of mutilation becomes one abstract cloud of vile and tormenting sounds. Is this effective? Well, not for full one hundred percents of the track, but for most of it does. And in case the sounds of crying babies, all mixed with the voices of apparently deranged lunatics do not sound tempting for you, the credits claim that this whole track was l recorded in a hospital by three doctors. NOW you should read this paragraph again, it has a completely new meaning with this tiny bit of information! Vril has two tickets in this ride and begins with "Animal Wave" – a straight forward (Not that Bisturi were too coy themselves!) rusty needle down the tooth. The first one or two minutes gives away the impression that this is going to be a static, 100% powerful track, but it then shifts and turns into higher and higher peaks of terror. When it fades out, the mind is already empty and the brief second between this and the next track is barely grasped at all. Beefy form is, well, more beefy than the previous number. The pain is "fatter" and more widespread than before, it holds more elements and is richer with textures and dynamics.
Mixturizer hits off with several bombastic feedback manoeuvres that crunch down into one destructive assault. As the minutes pass, Mixturizer let the track sound like a burning flame, a justified ending to these four tracks of sonic corruption . Mixturizer manage to push the limits and bring more and more wrath, and with great skills . In the end, all that's left is silence, tainted with low hums and a short breath. So who won this thing? Find someone else to make the judgment or better yet, do it yourself. My brain is all fried up from this joyride.

... The BVM split was more industrial – aural landscapes in which noisy objects emerge. The Mixturizer track (4) being the more substantial wall of (fairly) harsh noise. For some reason I cant get enthusiastic over these – I suspect its more my own depressive state rather than the snippets of over enthusiasm in which these releases seem to float. “irreverent orgy of guitar noise, tightly controlled feedback…. to make the dead walk full of mean and sick killer energy perfection…16 minutes of audio agony dealing with harsh feelings and clinic methods…”? (jliat)

Mixturizer is the experimental noise project of the co-owner of Spanish label, RONF Records. "Exploratio–Saturatio" is the first Mixturizer album to be released by Australian label, Smell the Stench. "Exploratio – Saturatio" is a collection of five songs, ranging between 5 and 20 minutes in length.
With "Exploratio–Saturatio", Mixturizer manages to find an equilibrium between structure and chaos. The chaos, often what sounds like guitar-generated noise, becomes a dynamic voice of its own; a polar-opposite of the stability provided by the ever-churning rhythm. It is easy to fall into an uneasy trance listening to this album, only to have all peace ripped away at the slightest change in structure.
"Exploratio–Saturatio" takes a different angle than I have previously been exposed to in Mixturizer's work. The sound of "Exploratio–Saturatio" is a mix of dominating, rhythmic layers of stability accompanied by dynamic, harsh screeching tones of chaos. Each track is writhe with sounds, densely compacted, and neatly exploding at the seams. Mixturizer's "Exploratio–Saturatio" is definitely a worthwhile addition to an already worthy discography of sounds. (Shaun Phelps / Rated: 5/5)

Mixturizer es el proyecto del multi-instrumentista español Manuel M. Cubas. En "Exploratio Saturatio," su más reciente trabajo para Smell The Stench, parte de sonidos relativamente austeros, como guitarras y efectos análogos, para dar forma a una base sonora constante y relativamente sencilla. Ésta al poco se ve intervenida por efectos al tope, reventando con perforadores zumbidos modificados y un incremento pasmoso del volúmen. "Revelación Amarga," corte con el cual comienza este cdr, es brutal y abre el apetito noisero sin más. En este mismo track puede advertirse como el fuerte de Mixturizer radica en el empleo de sonidos poco convencionales y repetitivos sobre los cuales deja cimentarse los más extraños caminos sonoros.
"Monotonía Diversa" y "Private Renegade Performance" nuevamente abordan los caminos circulares en tiempos muy extensos, durante los cuales todo es árido. Y aunque nada es realmente estridente, las incidencias de todos estos sonidos deshumanizados hacen del total una masa oscura y angustiante repleta de confusión. Hacia la mitad de "Private Renegade Performance," Manuel incluso arremete con una extraña suerte de largo solo de guitarra sicodélico, pero sólo para regresar al embotamiento anterior. "Sin Forma Determinada" se acerca un tanto más al usual bagaje del noise, aunque aún con sus sustanciales distancias. Este corte comienza con una especie de beat cortado y absorto en distorsión al cual, conforme va avanzando, Manuel le agrega violentas modulaciones. Por momentos corta el volúmen engañosamente. En otros se vuelve abiertamente hostil. En total, la caótica pieza cierra en repeticiones que no dejan distinguir si es que existió una dinámica.
El cierre del trabajo, "Revolution Hard Sweating" va directamente a la médula. Con sus vigorosos ataques de pulsos distorsionados y sus grotescos cambios de velocidades, este corte devela una dinámica mucho más aguerrida que la que se mostraba en los cortes iniciales. Apenas cinco minutos bastan para mostrar la agresiva destreza de su autor. Lo más interesante de Mizturizer, quizás sea el hecho de que no pretenda seguir los lugares comúnes del ruido. Concentrado en su constante búsqueda por nuevas posibilidades, Manuel obvia las rutas sencillas, encontrando con dificultad y ahínco nuevas maneras de crear sonidos. (S.S.)

... And in the Mixturizer disk we have if anything more, though not of the same, as being a singleton (Manuel M. Cubas) its more unified in the exploration - not exploitation- of thematic beats which might range across an experimentalist/industrial genre, are if anything more well placed, well balanced, produced in a sparkling and at times surprising clarity of sound. Why then the schizophrenic worry, maybe I like the Event Horizon we / I have become divided - into two and detached from the horrors of post-modernity in a new and comfortable "rescue"- mourn the failed evil of technology and feeling in the comfort of the rescued a little too secure, a little too like I'm becoming a child? (jliat)