Cherry Blossoms At Night - Street Meat [Required Rate Of Return - 2015]Street Meat presents the listener with two slices of bleak ‘n’ lengthy wall-craft. The release comes in the form of a CDR on Frances Required Rate Of Return- it was ltd to 30 physical copies, but it’s also available in digital form via the labels band camp site. Cherry Blossoms At Night is a project from the northern Britain, and has been creating a brand of truly hopeless HNW since early-to-mid 2015. So far the project has put out seven physical releases, as well as few digital only releases. First out of the gate we have the very fittingly titled "No Hope"- this track comes in at just shy of the 38 minute mark. The tracks starts out been built around a even line of galloping ‘n’ wintry low-end, and semi jittering sweeps of bitter sleet storm like static. At just over the 11th minute mark a fixed yet feasting haze of thinner 'n' taut static grain appears over the top of everything, as the low-end galloping seems to pick up pace a little bit- all this creates a tense feeling in the terminal bleak & wintery wall. As the track progresses the feasting haze seemingly picks up pace & becomes more tense, while the galloping gets more barren, grimly purring & crude in its feel. Second up we have the title track, and this is just slightly shorter in length at just over the thirty five minute mark. This track opens with a dense & battering mixture of looped winter storm like billowing, which is set in a thick, cruel, & truly bone chillingly mesh of lashing winter raining like textures. Both textures here have a similar lower to mid range setting to them, with the whole thing creates a very spiteful & truly hope-less walled noise cocoon to wrap yourself in. At around the 15 minute mark we get a more pronounced & slight searing roast/ looped out down pourings coming from the centre of the ‘wall’, and this remains through-out the rest of the track. The rest of the ‘wall’ stays fairly firm in its dense attack, save for the last ten minutes where you get effective lines of circling galloping & thick ice like slicing moving through the mass of noise.
So in summing up this release offers up two very bleak & hope-less examples of walled noise. I’d say the first track stands as my favourite of the two tracks here due to the textures used & the way the tension builds. But the second track is still satisfying enough in it’s dense & battering bleak-ness.
   Roger Batty
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