Reviews

Apparently the result of an extended period of serious mental unrest, the sound on “Wretch” is for the most part distant and murky. The well constructed and well executed tracks sound like an interesting mix of Power Electronics and Dark Ambient with occasional hints of CMI style Darkwave and post-Industrial (track one, “The Warm Body Complex”, could be an MZ 412 out-take). The deliberately muddied sound isn't so much lo-fi retro as a restraining force on the otherwise harshness which gives a sense of claustrophobia and a feeling of being trapped. It's an important part of the whole album. Low lying synth patches, bursts of carefully tailored static, crackling and crunching, vicious distorted vocals, metal scraping and plenty of feedback – all through a layer of grime. Knowing this, it's important to keep in mind that there are serious differences between the tracks, thanks to their meticulous composition that gives the album a genuine diversity and drama. What happens, then, is the aggression becomes thoughtful, and the album becomes more considered and more demanding of concious listening. It's mainly PE but far removed from the usual cliches and attempts, the most typically furious track being the last, “Power”, an aptly titled rising from the ruins that itself ends with similar crackling that the album begins with. This is a considered and worthy work that may even help point the way to new attempts for the future of the genre. Taken from IAM

Andy Grant is a name that’s been making a regular appearance on my personal playlist as of late. Besides running his own Danvers State Recordings label and being one half of US PE outfit Bereft, he’s also been a busy boy as of late with his own releases, all of which seem to get progressively better, “Wretch” being the jewel in his crown so far.
This disc is a co-release between Aussie noise label Cipher Productions and the US Force Of Nature label, who just happens to be owned by Grants partner in crime from Bereft, Peter Lee. As with the previous tape I’d grabbed, the split with Houston’s Concrete Violin, Grant seems to have found that perfect blend of Death Industrial bleakness and pure Power Electronics attack.
The disc begins with “The Warm Body Complex”, a slow builder that sounds like a jet revving up from LAX on a non-stop flight to the Ninth Circle. Subtle synth rumbles give way to heavily filtered vocals that seem to come at you from all directions. The whole track sounds like it was recorded over some scratchy old 78. “Until Death”, as the title would suggest, has a foundation of Italian Death Industrial, but adds the 1-2 punch of aggressive PE vocals and lengthy strains of heavenly feedback. There’s even a hint of some junk abuse. The beginning of “A Moment Of Clarity” reminds me a lot of Texas DI legends Steel Hook Prostheses, but again that injection of feedback that keeps you from getting too comfortable. There’s just enough noise to keep you from relaxing, but not excessive enough to be that vomit inducing ear rupture. The short and subtle “Time Passing” is actually one of my favorites. A simple old school Industrial rhythm coupled with slithering tendrils of synth, or guitar, I’m not sure and it doesn’t really matter. It’s an amazing track, I just wish this one was a bit longer.
“The Light” begins as this beautiful, piano based melody, but almost as a reminder of who and what your dealing with, enter the heavy static rumble. About the halfway mark things turn really ugly as the PE-style shouts begin and the deterioration continues. I love the juxtaposition of light and dark through the first half and always enjoy when artists explore that method. “Beating And Twitching” is a more standard PE offering, heavy rumbles and yelled vocals. one of those tracks that sounds best really LOUD. The disc closer is “Power”. This one seems to be almost an extension of the previous track, but adds some noisier moments so things go out with a bang. The last couple of minutes end the disc perfect with more subtle synth work over the stuck end groove of an LP, which by the way, this release would be perfect for.
I know I sling the “not to be missed” slogan around a lot, but mainly because I buy those things I’m pretty sure I’m going to love. This is one. But hell, don’t take my word for it, you can preview the whole disc at the FON website . Do it, then buy it. Housed in a cardboard slipcase with minimal but appropriate art work. Taken from Plague Haus

This album is definitely worth getting ahold of. I would mainly put it in the Death Industrial realm, as nothing is too overly harsh. For some reason i expected full-on Power Electronics. It has some touches of classic MZ412 and the vocals kinda remind me of IRM a bit, but it definitely has a very original charm as well. For sure, peoplewill definitely find this release relevant. I have tons of new stuff sitting here and simply can't get through it all because i keep popping this disc back in. Taken from Stephen Petrus

The coelacanth was a mystery until human understanding dragged it from the depths and killed it. Knowledge is power, and power is death, understanding destroys in two ways, the subject it destroys literally but the act of understanding gives a limit, a limit to life. Literalism and understanding are what separates the artistic act from that of the therapeutic, of which the latter is what Wretch is about. A personal description which sounds like many others, the "Alien" sound track. If it posited anything other than that is would be clichéd. As its not its more like a diary than a novel.
Taken from Vital Weekly