Perhaps it’s not in my best interest to admit that I am at a loss for a clever opening statement. Regardless, what’s done is done. So here we go…

Haisha and Mizuko both hail from the Los Angeles area, but the similarities end there. Haisha are a self-proclaimed «micro-ensemble» consisting of Sean Hogan on guitar, bass, and vox, and a guy named Arthur providing drums and all manner of studio wizardry. In short, listening to their 18-track contribution to this split is sort of like administering three steroid injections to a battering ram, then letting it run loose in your living room. It’s only a matter of time before your feeble ass gets blasted through the wall, so you might as well jump out from behind the couch and get it over with.

Initially kicking off with the deceptively slow tempo of «Loser», Haisha proceed to deliver one track after another of entheogenically-enhanced grinding thrash. While the speed varies a bit from song to song, their delivery is consistent in all its violent splendor. Of particular note is the interesting variation in guitar tones. The first two tracks (the aforementioned «Loser» and «Secondary Survivor») feature the fairly standard «crusty grind» distortion that we all know and love. However, the remaining tracks display a tone that somehow shatters my nerves and induces fits of euphoria at the same time. Sean refers to this shrilling cacophony as a «brain drill» guitar tone, and I couldn’t have said it better myself. The lyrics are well-written and pointedly humorous when necessary, with subjects ranging from egocentricity, to alcoholism, to crystal meth-addicted spouses. They may not be originators, but Haisha add an element of raw power to this genre that is sorely lacking in many bands who tread through similar territory. As it stands, Haisha are the best kept secret on the left coast, and you would be well-advised to click on the Crucial Blast link for info on how to obtain some of their material.

Next up is Mizuko’s half of the CD, and I apologize in advance if this part of the review seems a little lacking. For the most part, the entire ambient/noise/harsh electronics movement has eluded me over the years, so I have to confess to being a bit ignorant in this area. The press release states that Mizuko (meaning «abortion» in Japanese) derive much of their influence from pioneering industrial acts such as Swans and Throbbing Gristle. Being somewhat more familiar with the industrial genre, I can hear a few parallels to both of the aforementioned bands. But these occasional flashes of recognition are of little consolation amongst the terrifying soundscapes and disorienting instrumental passages which comprise this 13-track foray into total sensory overload. My understanding is that the band created these sounds (some of which do resemble actual music) through a combination of thickly-distorted bass lines, feedback from broken electronic equipment, and spoken-word recordings. This recipe for aural havoc is topped off with a heavy dose of sampled dialogue from miscellaneous film sources, few of which I can identify (and I thought I was an obscure film buff…). While Mizuko is definitely not for everyone, the more adventurous among you will find this stuff worthwhile.

Before closing, I’d like to mention that Crucial Blast’s reputation for providing unique packaging is upheld with «Happily Never After». Along with a three-panel placard (which contains the track listings and some excellent artwork), you also get a huge lyric sheet with some of Sean Hogan’s most disturbing Hentai drawings to date. I hate to drill this into your heads, but it’s worth repeating: contact Crucial Blast or visit their website for more info! Independent labels need your support, especially when they go above and beyond to ensure that fans get more than what they paid for.

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