The concept of a "true mask" is quite an oxymoron, because what could be a "true" façade? I’m not entirely sure how that applies to this album, however, because while it is a very well done combination of black metal and power electronics/noise, neither of those seem like mutually exclusive genres. Regardless of that, the sound is a good mix of lo fi crunch and metal burn that might not be anything new, it’s something familiar done well.
The four tracks that make up this album stay on a similar path, never really doing anything unexpected, but instead give a good sense of familiarity. “Behind the Mask” mixes siren like sine waves and buzzing low frequency textures that recall the best of Maurizio Bianchi’s early work, even to the point of including muffled synth leads and sickly, anemic sonic textures. Vocals appear rather abruptly, mostly angered screams that sit between power electronics ranting and black metal growls.
“Human Skin” is a bit more metallic, pushing simple guitar noodling to the forefront along with clattering electronic sounds and a battery of digital delays. The vocals continue along in the metal direction, but the guitar becomes supplanted by queasy gurgling noises and scattershot death industrial percussive rattling, the sound of synths being attacked under the cover of reverb.
“The Wolf Smiles” moves more into power electronics, mixing shimmering feedback noise and reverberated loops. The most rudimentary stuttering rhythms appear, giving it a very mechanized character. The guttural metal vocals that pop up here are more of a distraction though, because they take too much of the focus away from the hollow organic sounds and power electronics pulse.
The ending “Mirror” is where the sound goes out into left field a bit, a multifaceted and layered expanse of pure noise, with constant sweeps of sound appearing and receding. The rain of noise occasionally relents, allowing some meditative and reflective passages to shine through, but the noise is never far behind. The uneasy mood and moribund textures of this track put it alongside the best of the Cold Meat Industries label, which is quite a feat.
Personally, the metal elements of this disc, especially the vocals, are more of a distraction than an asset, but that’s personal opinion. The sickly electronics definitely are the star here, and in the brief span of these four tracks, Lay recalls the likes of Brighter Death Now, Con-Dom, and early M.B., which is no easy feat. It’s not something noise fans haven’t heard before, but it’s still worth checking out.
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