"MANIA / HAL HUTCHINSON CDDamn! I remember tape was good, but now listening from CD, it appears even better. HEAVY sound. Brutal clatter of metal junk, ultra deep bass frequencies, some vocals, feedback... yes yes, I admit it is like 1+1=2, meaning M+HH = this cd. No surprises, but it is not needed when it is simply this good."Mikko Aspa

" Featuring more Phage-sanctioned industrial violence, Wreckage pairs up Keith Brewer (aka Taint) and solo power electronics project Mania with UK junk-noise obsessive Hal Hutchinson; most of the material featured on Wreckage comes from the Kollaborative Wreckage cassette that came out on Hutchinson's own Savage Discharge label a year or so ago. These collaborative tracks deliver the acoustic violence that I'd been craving as a fan of both of these noise artists; the five tracks skillfully combine Mania's fearsome, psychedelic power electronics with the crumbling architectural structures and acoustic maelstroms of collapsing metal that Hutchinson has focused on with his solo work. Beyond the material from that tape, this disc is further fleshed out with additional solo tracks from both, showcasing each artist's brand of extreme noise. The disc opens with the Mania track "Deviosity", but it could easily pass for one of Hutchinson's own works, a grinding clanking symphony of mechanical noise, the harsh sound of dragging chains and pounding metal forming into rattling factory-floor rhythms. But when "Ignition" kicks in, the two artists come together to create a sinister assault of screamed distorted vocals and crumbling metal junk heaps, filthy violent power electronics aesthetics emerging from out of a rusting heap of crashing metal. Some of the tracks like "Flame Territory " skew more towards the pulsating PE side of their sound, with heavy distorted synths and streams of wormy electronics coursing through black veins of bass-heavy rumble while those monstrous, gasping vocals cry out over the nightmarish din. The horrific scrapescape of "Demolition" spurts black jets of distorted bass and fluttering speakershred, that desperate howling lost deep in the mix and drenched in delay, the sound blasted with beams of blackened static and crushing low-end heaviness. It's followed by the screaming feedback abuse, droning buzzsaw synthesizer drones and sheet-metal avalanche of the fifteen minute destruction epic "Warhead", which transforms into the album's most ominous and atmospheric piece. At its blackest and heaviest, this collaboration resembles some deformed fusion of K2 and Genocide Organ-style power electronics, and the mixture of harsh acoustic metal and crushing PE shares some similarities with the recent output of Finnish outfit Grunt. There's another new Mania track "Hole Up" that offers more random junk noise abstraction that shows up in the middle of the disc, a formless din of bending, creaking, moaning metal, bolts tightening, gears turning, objects crashing into other objects; to the untrained ear, it's a cacophony of random actions, but the more attentive listener will detect the processes occurring within this chaos, the recording rich with detailed layers. Lastly, Hutchinson drops a craneful of scrap metal on us via the closer "Factory Of Metal Sound (Corrosive Treatment)", another one of his sprawling acoustic metal junkscapes, all heavily layered factory chaos and crashing pandemonium, but as with many of his junkmetal symphonies, there's a rhythmic quality to this that gradually takes shape within the pounding, clanking destruction, with some faint melodic elements drifting out of the depths of the recording, eerie little musical ghosts that glimmer in the cracks of Hutchinson's rapid paced architectural deconstruction and sped-up entropic delirium. Issued in a limited edition of five hundred copies, featuring new collage art from Brewer."(CRUCIAL BLAST)