Since 32 years old Tim McCarthy discovered an undying, somewhat obsessive relationship with noise music and sub genres like dark ambient, power electronics, etc. With a background in more traditional dark and extreme forms of music and variations of metal, roughly 5 years ago following this new found love, the project Maligna Cerebra is formed. Residing on the East Coast, currently in the state of Delaware, Tim creates from a place of isolation which is one of the most obvious energies that his brand of what I would call “power electronics” possesses. The project has yet to perform live, although everything is recorded live off the floor, which is something that I get a little deeper into.
With the latest release, Repulsion, Tim shows us how far he can go and exactly what he is willing to endure. There is a familiarity in Maligna Cerebra’s sound, which stems from the fact that it’s recorded live with a small arsenal of analog/digital hardware, synthesizers, and junk metal collected over the past 3-4 years. There is a departure from the previous catalog as the sound is refined, a ritual has been set as the practice is evolving – though no mistake to be made, the pure terror and emotional/mental pain that lives in this project is on full display. Spastic, heavily distorted and presented with rage filled screams that fall directly into the sound structures with no intentions of creating melody. The abstract is bleak- intense & stark imagery is crafted juxtaposing a feeling of immediacy, often anxiety inducing. As if there is something imminent, ready to give out from the bottom at any time. No real discernible words within the vocal methods; though they act as an instrument within themselves. Heavy electronics are thoughtfully curated, and consistently well balanced. Where there is a pulsating ultra sub bass drone or high end sporadic feedback frequencies, every variation of sound is visceral, and like the vocal delivery – guttural. Slow and hypnotic mid – high frequency swells, cascading oscillators and cold feedbacks bleed together. Each track is thoughtfully minimal, employing analog synthesizers and textures in the vein of Atrax Morgue. As each track is recorded live, including the vocals, the decision making and commitment to the mix is a crucial part of Maligna Cerebra. It pays tribute to a time where computer recording didn’t exist, and if you were lucky you had a 2-track reel-to-reel where you do not have the privilege of doing multiple takes. A piercing and high resonance oscillates creating a percussive element, without taking up too much space and allowing the drone to continue to consume the listener. At times you can hear an influence of early Brighter Death Now & Cold Meat Industry. Mutant electronics paled by airy and unhinged high feedback responses gently struggling together in somewhat harmonious tonalities.
CHECK OUT OUR REVIEW OF BRIGHTER DEATH NOW: ALL TOO BAD – BAD FOR ALL
It is important and equal parts delicate to give context of the work, to give listeners an idea of where the energy of MC comes from. While Tim is not shy to speak openly and plainly about his past, it does not neglect the sadness in knowing that he lost his sister, father and mother all within a reasonably small time frame. Tim is also on a path of recovery from substance abuse, and deals heavily with depression and often suicidal thoughts. On this topic, Tim states:
“The theme of Repulsion is disgust / hatred but expanded (on) and as always very personal – disgust for my past, things I’ve been forced to endure, things I’ve done, things that have been done to me, sexual trauma, excruciating pain (both mental and physical), abuse (self-inflicted or afflicted by others), disgust for the human body and the overall human condition.”
If you take the time to sit down with the lyrics, which could easily be translated to a poetic prose, and read them while listening to McCarthy’s chaotic chants – these themes are conveyed in a way where it’ll take you as deep and far down the darkness you are willing to go.
“My aim with this album was to convey those as best I could from where I’m currently at in my progression as an artist.”
With a selective and well curated discography that dates back to the projects inception in 2020, we see releases from Deathbed Tapes, Cruel Symphonies, Black Artifact, Putrescent Tapes with releases focused on the process of grief and death, we see this clearly in MC’s body of work. For some, the subject matter may seem cliche for the genres in play, though in this case it is particularly organic and authentic. “I wanted to take a short break from the focus on themes of death – although loss and grief are things I struggle with daily, I have other things that needed to be expressed. I realized that a lot of my favorite noise has similar subject matter, I guess what I’d call more “human” emotions – pain, hatred, disgust, trauma etc. These are unfortunately things I am all too familiar with and felt I needed to get out. The best way I saw fit to express these was vocally which led me into a more power electronics approach, or at least an attempt. I think Repulsion stands as my best work thus far and there will be more from me on these topics in the future.”
While we are blessed to (for the most part) have the privilege of receiving access to 100’s of different releases within these noise and industrial realms, there is undoubtedly no storage. With a seemingly solid and steady geographic & passion for cassette tapes – there is what seems like an onslaught of material coming out all the time. Some say there’s some over saturation although I’m not quick to agree. I think especially in marginalized communities, we need to support each other and have respect for everyone’s process as there is no manual on how to make subversive and transgressive art. Often these individuals are living with their own set of issues, are neurodivergent and can be as intense as their sonic output. One thing I find admirable is Tim’s honest approach with no agenda to fit into any particular scene. His focus is inward, and while drawing influence from our predecessors his practice is personal and parallels his reality, the world’s reality. It takes immense vulnerability to expose our deepest pain in such a raw form of expression. I am grateful to have developed a personal friendship with Tim where we are in regular contact and by proxy he has been there for me in my own chaos – with the extraordinary ability to relate and lack of judgment.
In essence, what you see is what you get – though if you dig a bit deeper into what I am already considering to be one of the best releases of the year, you won’t be disappointed in your findings. Just like the man behind Phage Tapes, Sam Stoxen, the work is as down to earth as the person. No ulterior motives here but to present and reveal oneself in one of humans greatest forms. As expected, all of the artwork and collages are original by the artist – including blood as paint. The release comes with a full 4 panel j-card and insert with images & arrangements by Tim McCarthy. Mastered by the go to Grant Richardson at Hex Audio Labs. Limited to 100 copies, in which you can purchase the limited and remaining copies at the link below, if quantity lasts.
Engage with Discipline Mag
If you would like to engage with Discipline Mag, you can do so in the following ways:
- Visit the Discipline Mag Shop (ISSUE 1, T-SHIRTS AND MORE)
- Submit music for review
- Release announcement or music premiere
- Interview request
- Donate to Discipline Mag
- Write for Discipline Mag
To keep up-to-date with the latest from Discipline Mag, follow us on Instagram.
Support independent media to ensure the underground survives and thrives!
