tag:blogger.com,1999:blog-44211176456260855072024-03-13T14:46:05.352-07:00Killing BirdsReviews of Experimental and Noise Music by PBKPhillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.comBlogger21125tag:blogger.com,1999:blog-4421117645626085507.post-77320259597315831352012-12-13T18:42:00.000-08:002012-12-14T04:10:26.258-08:00CDR's: Caaldruun, Dave Fuglewicz, Gnarly Sheen, Triangle And Rhino<div class="separator" style="clear: both; text-align: center;">
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CAALDRUUN - Headstone CDR </div>
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(Foxden Recordings FD02; Ltd 25; USA) 2012</div>
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Sometimes a record is not easily defined, or interpreted in words. I can't gauge the metaphors correctly for this release by <a href="http://www.discogs.com/artist/Caaldruun" target="_blank">Caaldruun</a>, the project of Eric Kessel, a new noise artist, or formerly unknown to me at any rate. Maybe these sound-structures were created using field recordings, maybe contact mics attached to unusual objects, maybe they are cleverly programmed analog synths, it's really hard to tell. The very refined use of his sound sources creates otherworldly, ambient spaces, mixed intelligently with a few pseudo-melodic textures and some abrupt cuts along the way that teeter the structures in upon themselves. One thing is for certain, this is one of the best debut releases I have ever heard, Kessel's work comes fully formed and mature, a superb release that must be heard. Limited to 25 copies this may already be out-of-print, inquire about it <a href="http://www.tothefoxden.com/" target="_blank">HERE</a>.<br />
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Caaldruun Excerpt</div>
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DAVE FUGLEWICZ - The Wizard's Porch CDR </div>
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(Self Released; USA) 2011</div>
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<a href="http://www.discogs.com/artist/Dave+Fuglewicz" target="_blank">Dave Fuglewicz</a> continues his creative streak with this excellent release. The inception of this album is explained in the liner notes: "I originally recorded this in 1996 as part of a collaboration, but that fell through and it stayed buried in my tape library until late 2010. I added some more to it with several VST synthesizers and so I present the two versions (from) 1996 and 2011". Each track is a little less than 30 minutes, both satisfying listened to separately, but I like it better as one long, cosmic trip, in two parts, running an hour. The structure is abstract and languidly paced, never moving far from the primary looping repetitions. Analog synths, bells, chimes and chirping/tweeting sounds create a minimalist, but well-textured evocation of a stoned evening (crickets, wind chimes and psychotropics) on "The Wizard's Porch". Get it <a href="http://davefuglewicz.com/" target="_blank">HERE</a>.<br />
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Dave Fuglewicz Excerpt</div>
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GNARLY SHEEN - Transit Of Venus CDR </div>
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(DumpsterScore Home Recordings DSC#089; Ltd 50; USA) 2012</div>
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One of the most bizarre albums to have crossed my path in 2012 was this oddity, "Transit Of Venus", by <a href="http://www.discogs.com/artist/Gnarly+Sheen" target="_blank">Gnarly Sheen</a>. Gnarly is the solo project of Morgan Rankin, who runs the <a href="http://www.huskrecords.blogspot.com/" target="_blank">Husk Records</a> label with <a href="http://www.discogs.com/artist/Josh+Lay" target="_blank">Josh Lay</a>, but this album is on the <a href="http://www.discogs.com/label/DumpsterScore" target="_blank">DumpsterScore Home Recordings</a> label, which has already brought out about a hundred limited edition releases since 2004. There is a definite horror film soundtrack quality to these compositions. Utilizing lo-fi synths, guitar, and drum machines, the mastering here is very strange, with some sounds unexpectedly loud and distorted in the mix and even, at times, seeming to be at odds with the structure they are coalescing with. Like this was made at the end of a psychedelic trip, these compositions are wobbly, unstable, the product of a mind that is still unhinged, emerging from an altered state. This is an excellent example of 4 a.m. bedroom isolationist music with each track fascinating, intense and moody. Get it <a href="http://www.dumpsterscore.org/" target="_blank">HERE</a>.<br />
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Gnarly Sheen Excerpt<br />
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TRIANGLE AND RHINO - Diamond Slime CDR </div>
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(TNR Tapes; USA) 2012</div>
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<a href="http://triangleandrhino1.bandcamp.com/" target="_blank">Triangle And Rhino</a>, the post-rock duo consisting of Jake Lexso and Matt Rappa, have another excellent release under their belts with this one, "Diamond Slime". I've compared their work before to <a href="http://www.discogs.com/artist/Sun+City+Girls" target="_blank">Sun City Girls</a>, but i think it's their eclecticism that bears that resemblance the most, otherwise these guys are definitely unique and getting better all the time. This release is one of their best and also one of my favorite releases of 2012. From the hyperactive opener, "I Will Protect You From The Mouths Of The Liars" to the epic half hour noise-rock title track, to the prank-call facetiousness of "Teenage Brain Fucker" this album will leave you devastated in it's wake. Time for some larger indie label to grab this band up, you hear me Sub Pop? Get it <a href="http://triangleandrhino1.bandcamp.com/album/diamond-slime" target="_blank">HERE</a>.<br />
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Triangle And Rhino Excerpt </div>
Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-39421927745096199672012-12-08T17:20:00.000-08:002012-12-08T17:51:49.168-08:00Marax Mini CDR ReleasesThe <a href="http://www.discogs.com/label/Muchausen+Sound" target="_blank">Muchausen Sound</a> label, run by Eric Crowe, has been putting out a bunch of 3" cdr's, most of them split releases featuring <a href="http://www.discogs.com/artist/Marax" target="_blank">Marax</a>, Crowe's long-running sound project, and other international noise acts. They are all ultra-limited, probably out of print by the time you read this since most of them seem to be in editions of only 12 copies! These are very interesting little releases with real nice graphics on the cover inserts. Marax puts away the atmospheric, horror-industrial approach he is sometimes known for and stays in a severe and punishing PE/HNW mode. Track titles such as "Tumult OF The Mind" and "<span class="track_title">Ad Nauseam Of Rage</span>" show the philosophical direction of his work on these mini cdr's. <a href="https://soundcloud.com/azimuth-brandon-clark" target="_blank">Coma Centauri</a> (Brandon Clark, Japan) performs raging, extremist pedal and contact mic noise; <a href="http://satoricat.blogspot.com/" target="_blank">Dao De Noize</a> (Artem Pismenetskii, Ukraine) slow building synth sputterings and electroacoustics; <a href="https://soundcloud.com/elle-l-1" target="_blank">Elle</a> (Ludovica Corsini, Italy) molten, confrontational she-fuckery that seems to owe a debt to Debbie Jaffe's <a href="http://www.discogs.com/artist/Master%2FSlave+Relationship" target="_blank">Master/Slave Relationship</a>; <a href="http://music.centipedefarm.com/" target="_blank">Distant Trains</a> (Charles Hoffman, USA) with a fascinating lo-fi, bedroom approach utilizing odd voice clips, distorted guitars, all sorts of kitchen sink ephemera; and <a href="http://www.discogs.com/artist/Molting" target="_blank">Molting</a> (Moe Lest(h)er, USA) conjuring up whirling, electronic firestorms. To check on availability contact Muchausen Sound <a href="http://muchausensound.blogspot.com/" target="_blank">HERE</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHfT0ULW2YoyUtLs4AQQxRRcFLmpe0Wu_4LLHCn28ZnBwStRV8SFMpz44wy6OtvOmHaWK-lNPqM5yIyNCE0waStOxZch23IAt6iJen51U6uKS-D3t5JG6PaWV6g9d1-RFOrQC64u2i8Ag/s1600/Marax_Coma_Centauri_Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHfT0ULW2YoyUtLs4AQQxRRcFLmpe0Wu_4LLHCn28ZnBwStRV8SFMpz44wy6OtvOmHaWK-lNPqM5yIyNCE0waStOxZch23IAt6iJen51U6uKS-D3t5JG6PaWV6g9d1-RFOrQC64u2i8Ag/s320/Marax_Coma_Centauri_Cover.jpg" width="307" /></a></div>
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MARAX / COMA CENTAURI - Split </div>
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Mini CDR (Muchausen Sound MS 09; Ltd; USA) 2011 </div>
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MARAX/DAO DE NOIZE - Untitled (Split)</div>
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Mini CDR (Muchausen Sound MS 36; Ltd; USA) 2012</div>
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MARAX / ELLE - Untitled (Split)</div>
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Mini CDR (Muchausen Sound MS 34; Ltd; USA) 2011</div>
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MARAX /MOLTING - Untitled (Split)</div>
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Mini CDR (Muchausen Sound MS 36; Ltd; USA) 2011</div>
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MARAX/DISTANT TRAINS - Napalm Zombie (Split)</div>
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Mini CDR (Muchausen Sound MS 06; Ltd; USA) 2011<br />
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<object height="81" width="100%"> <param name="movie" value="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F69499018&show_comments=true&auto_play=false&color=ff7700"></param>
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Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-89330370028771291922012-11-29T18:02:00.001-08:002012-11-29T18:29:20.445-08:00Amigo, Crippling Deficincey, Charles Rice Goff III, Michael LaGrega, Pregnant Spore, Thirteen Hurts<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioNPGsrdHi3jFENkiFFG3yhkyNvh6VUUM0u8DuHNGcVu1PmFjwjffLDH4CJEkoR2pl53FmHwRaYl79NpFEV6MVWCSMlf37yfaEyePnwRLuXJolV0A-ofo4brf6hWW_8-WPnOmvW-6-zxo/s1600/amigo_on_the_sun_cover_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioNPGsrdHi3jFENkiFFG3yhkyNvh6VUUM0u8DuHNGcVu1PmFjwjffLDH4CJEkoR2pl53FmHwRaYl79NpFEV6MVWCSMlf37yfaEyePnwRLuXJolV0A-ofo4brf6hWW_8-WPnOmvW-6-zxo/s320/amigo_on_the_sun_cover_2.jpg" width="316" /></a></div>
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<span style="font-size: small;">AMIGO - On The Sun </span>2xCDR </div>
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(Self Released; USA) 2012</div>
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<span style="font-family: inherit;">Amigo</span>, from Flint, Michigan is Tim Flynn, <span itemprop="description"><span class="fsl">the drummer for many Flint punk bands: Rats Of Unusual Size, The Freakies, Drat, etc. This is his first noise release, to my knowledge, but quickly establishes Amigo's humorous stance against the self-serious noise artist cliché. "On The Sun", the sole track on the album, is a joke- the track begins as our protagonist combusts when his wormhole sets him down smack dab in the middle of our solar system, and is gone in six seconds! After that, you'll be glad you've got the "Demos and Outtakes" disc that comes with this: a half hour's worth of guitar feedback and FX pedal experiments. Amigo's musical approach is akin to such artists as Emil Beaulieau, Crank Sturgeon, and other neo-dadaist noise performers. At the Flint Festival of Noise, in October, Amigo began his performance onstage, played for less than 10 minutes, then abruptly picked up his suitcase of gear and a battery powered mini-amp still blurting out feedback, walked out of the venue and down the street until he was out of sight! it's that kind of irreverence that is sometimes needed to keep it real in any art/music scene. I don't know if Amigo has an official site, but there is a Soundcloud account <a href="http://soundcloud.com/amigoforever">HERE.</a> </span></span><br />
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<span style="font-size: small;">CRIPPLING DEFICINCEY - I Am Terror's Snootiness CDR</span></div>
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(Self-Released; USA)<span style="font-size: small;"> 2011</span></div>
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Not much known about this project, no information available on the net, so can't say who is responsible for it, or where to acquire it. The name is pretty funny, that's not my misspelling. Sounding like a lot of noise releases I hear these days, possibly done with no-input mixer and scads of pedal FX with the occasional distorted vocal. Fairly heavy in places, definitely worth a listen. Write cripplingdeficincey at hushmail dot com.</div>
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<span style="font-size: 13px;"><object height="81" width="100%"> <param name="movie" value="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F69312847&show_comments=true&auto_play=false&color=ff7700"></param>
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<embed allowscriptaccess="always" height="81" src="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F69312847&show_comments=true&auto_play=false&color=ff7700" type="application/x-shockwave-flash" width="100%"></embed> </object><span style="font-size: small;"> <a href="http://soundcloud.com/soundgenetic/crippling-deficincey-03-less">Crippling Deficincey - Less Soft Habitat</a></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiv5e7eSctNy9A5TNm0xLWd41NAKFQN7FdRW8YC2p64XGgQIMuC3s0zdyz5SBbrD1Clhb7010_ZjJRoahIN5vjcjKF7BDpjYI6Nmtv2eKu4MAwswo5O_m9CUOnA3pCyzfg5PZcBWA-cS0/s1600/pregnant_spore_experiments_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiv5e7eSctNy9A5TNm0xLWd41NAKFQN7FdRW8YC2p64XGgQIMuC3s0zdyz5SBbrD1Clhb7010_ZjJRoahIN5vjcjKF7BDpjYI6Nmtv2eKu4MAwswo5O_m9CUOnA3pCyzfg5PZcBWA-cS0/s320/pregnant_spore_experiments_cover.jpg" width="320" /></a></div>
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PREGNANT SPORE - Experiments In Putrid Putrefaction Satisfaction CDR </div>
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(Rainbow Bridge RB-124; USA) 2012</div>
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A <a href="http://www.discogs.com/artist/Pregnant+Spore" target="_blank">Pregnant Spore</a> release is always going to have the most extraordinary noise sounds. Maybe it's because the project founder, Justin Marc Lloyd, circuit bends so many of the pedal FX he uses in his gear setup. Whatever the case, his noise releases are among the most exciting out there."Experiments In Putrid Putrefaction Satisfaction" is no different, the spectrum of bass drones, squealing upper range pitches, and glitching, destroyed sounds form an extremely varied sonic canvas. The tracks on here don't sound the slightest bit "composed", but the randomness of these improvisations work for me as metaphors of cellular worlds, or electric charges feeding through networks of wires, things we can't necessarily make logical sense of. If still available get it H<a href="http://hellorainbowbridge.blogspot.com/" target="_blank">ERE</a>.</div>
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<object height="81" width="100%"> <param name="movie" value="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F69312848&show_comments=true&auto_play=false&color=ff7700"></param>
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<embed allowscriptaccess="always" height="81" src="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F69312848&show_comments=true&auto_play=false&color=ff7700" type="application/x-shockwave-flash" width="100%"></embed> </object> <a href="http://soundcloud.com/soundgenetic/pregnant-spore-03-untitled">Pregnant Spore - Untitled</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgzgKsg4GFa7uFgkLl89bJ4yFBXzoLUwGe1WEaGx1r6Qyo9jtXaAe7FwM-CmwKSqYxGp3wz4wQX5CRtipcCA1Mf1jr9c9xxN3rIO9YkqvTutYo63jlP2aWygYyeD-71f9BasUJNNPdDI8/s1600/thirteen_hurts_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgzgKsg4GFa7uFgkLl89bJ4yFBXzoLUwGe1WEaGx1r6Qyo9jtXaAe7FwM-CmwKSqYxGp3wz4wQX5CRtipcCA1Mf1jr9c9xxN3rIO9YkqvTutYo63jlP2aWygYyeD-71f9BasUJNNPdDI8/s320/thirteen_hurts_cover.jpg" width="320" /></a></div>
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<tr><td class="tr-caption" style="font-size: 13px;"><span style="font-size: small;">THIRTEEN HURTS - Threshold CDR </span><br />
<span style="font-size: small;">(Self-Released; USA) </span><span style="font-size: small;">2011</span></td></tr>
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Richard Adams, aka Thirteen Hurts, released "Threshold" in 2011. This is a journey into extreme states of mind and body via noise. Very well textured compositions with rhythms emerging occasionally, not programmed rhythms, these are very primal and seem to have emanated from power electronics process, at times glitching uncontrollably, only maintaining time for moments before changing direction abruptly. Track 5, "Percolate", reveals the more controlled side of his improvising, as drones are stretched out in long form, with tonalities fluxing in and out of the mix, at 17+ minutes this is a very impressive slowly building electronic storm. Recommended! Get it <a href="http://www.facebook.com/pages/Thirteen-Hurts-13Hz/273233096049035?ref=ts&fref=ts" target="_blank">HERE</a>. </div>
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<embed allowscriptaccess="always" height="81" src="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F69312849&show_comments=true&auto_play=false&color=ff7700" type="application/x-shockwave-flash" width="100%"></embed> </object> <a href="http://soundcloud.com/soundgenetic/thirteen-hurts-06-thrombosis">Thirteen Hurts - Thrombosis</a> </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2KQn4bnAALUuyyjZM0wiDajTpdsZnyQt_1fwUzdjLfQqgTwPX9vRg1jvOeg1t6UR7M_BklqiQdo0IXKXG7EM6LMx2B4OvT7CcVBqZ3IS_Q0dpssMnaspXGMO0soOGpYuY4jhDvneo7o0/s1600/Four_Compositions_C_R_Goff_MLagrega_cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2KQn4bnAALUuyyjZM0wiDajTpdsZnyQt_1fwUzdjLfQqgTwPX9vRg1jvOeg1t6UR7M_BklqiQdo0IXKXG7EM6LMx2B4OvT7CcVBqZ3IS_Q0dpssMnaspXGMO0soOGpYuY4jhDvneo7o0/s320/Four_Compositions_C_R_Goff_MLagrega_cover.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">CHARLES RICE GOFF III / MICHAEL LAGREGA - </span><br />
<span style="font-size: small;">Four Compositions For The 2011 Kansas City Electro-Music Festival CDR </span><br />
<span style="font-size: small;">(</span><span style="font-size: small;">Taped Rugs Productions; USA) </span><span style="font-size: small;">2011</span></td></tr>
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<a href="http://www.discogs.com/artist/Charles+Rice+Goff+III" target="_blank">Charles Rice Goff III</a> has been a name I have known since the early 90's when he had some of his electronic music released on the Ecto Tapes label out of Oklahoma. Charles is based in the Kansas City area and the music on this CDR was performed for the Kansas City Electro-Music Festival in 2011. These compositions were created in collaboration with Michael LaGrega who performs on synthesizer. The aesthetic here is one that Goff knows very well, he's been doing this sort of thing for over 20 years, equal parts space rock, avant garde and sound collage. Here he adds, as well, his voice in places, utilizing a vocoder effect. The vocal parts are hit-or-miss for me, but the compositions built up between sequenced parts and textural, sweeping synth tones sound very good. The use of turntable loops from rare records adds another interesting element to this music. Get it <a href="http://tapedrugs.com/" target="_blank">HERE</a>.</div>
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<object height="81" width="100%"> <param name="movie" value="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F69312850&show_comments=true&auto_play=false&color=ff7700"></param>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">CHARLES RICE GOFF III / MICHAEL LAGREGA - Records Music CDR</span><br />
<span style="font-size: small;">(Taped Rugs Productions; USA) 2011</span></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td></tr>
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<span style="font-family: inherit;"><span style="font-size: small;">This release documents the preparation and development of themes to be performed at the Kansas City Electro-Music Festival in 2011(see review above). There are some differences in these compositions to the live performances but the overall sound is the same, a sort of throwback to space rock, ambient music and cassette underground weirdness. Get it <a href="http://tapedrugs.com/" target="_blank">HERE</a>.</span></span><br />
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<object height="81" width="100%"> <param name="movie" value="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F69312851&show_comments=true&auto_play=false&color=ff7700"></param>
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Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-55784390567838248702012-11-28T17:59:00.000-08:002012-11-29T18:25:24.943-08:00Tapes: Arvo Zylo, Flesh Coffin, Hal Hutchinson, Matthew Reis, Orgasm Denial, Torturing Nurse, Vullmoxx, Zanstones<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlWpy2eAGW2-Ftd3gUf04ARiOYOHFDMT1UOndBd55SlJO8aLniySN5C1mnJVNpjKwDEDmixXX17uRdaLuPh1_m6ZxCNbf8vK0N_KQG4lOo9IyCy_G4FEcqrU6CS1fSIOCf09RDaVDjUBg/s1600/4_way_split_grayscale.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlWpy2eAGW2-Ftd3gUf04ARiOYOHFDMT1UOndBd55SlJO8aLniySN5C1mnJVNpjKwDEDmixXX17uRdaLuPh1_m6ZxCNbf8vK0N_KQG4lOo9IyCy_G4FEcqrU6CS1fSIOCf09RDaVDjUBg/s320/4_way_split_grayscale.jpg" width="233" /></a></div>
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TORTURING NURSE / 梅志勇 / ORGASM DENIAL / 李剑鸿 - 4 Way Split </div>
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(Fuzztape FT-001; Ltd 50; China) 2011</div>
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<span style="color: #0000ee;"><span style="color: black;">Earsplitting power electronics from several of my favorite Chinese noise artists. The Asian scene outside of Japan is really growing fast, very fresh stuff coming from that part of the world, and this is an exhilarating example<span style="color: #0000ee;">!</span></span> </span>Get it <a href="http://site.douban.com/fuzztape/">HERE</a>.</div>
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<object height="81" width="100%"> <param name="movie" value="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F69227297&show_comments=true&auto_play=false&color=ff7700"></param>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm0HRDdevmkPgSZNFaVZ1JlS10ObwSVYHbuF5T5qcDzOKYsPMY5jQHWRodGcmcNLVRUzlnL9Bc2HFgb_8Hh25DKqge_pMs3oCNotLcJEgvBWSXqN3lL4lX3k-SUe8L9mrc9mCkVfJxyQ4/s1600/flesh_coffin_grayscale.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm0HRDdevmkPgSZNFaVZ1JlS10ObwSVYHbuF5T5qcDzOKYsPMY5jQHWRodGcmcNLVRUzlnL9Bc2HFgb_8Hh25DKqge_pMs3oCNotLcJEgvBWSXqN3lL4lX3k-SUe8L9mrc9mCkVfJxyQ4/s320/flesh_coffin_grayscale.jpg" width="320" /></a></div>
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FLESH COFFIN - Devil Worship In The Slaughterhouse </div>
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(Out-Of-Body Records O-O-B R-002; Ltd 100; USA) 2011</div>
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Extremely lo-fi, yet harsh, junk noise combines with ambient textures and atmospheric soundscapes on this excellent cassette. Much to discover in <a href="http://www.andreasbrandal.com/">Andreas Brandal</a>'s large discography, but this is my first encounter with his soundwork. A harrowing journey into the lunatic fringe. If still available, check <a href="http://outofbodyrecords.blogspot.com/">HERE</a>.<br />
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EXECUTION SUPPORT ACT - Scumkrieg </div>
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(Der Bunker Records; Ltd 100; U.K.) 2011</div>
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Hal Hutchinson leaves behind his junk metal and composes HNW sounds for this limited edition release. Extremely oppressive and unchanging wall of heavy static power electronics. Der Bunker Records label seems to have gone under, so probably best checking for this on <a href="http://www.discogs.com/Execution-Support-Act-Scumkrieg/release/3662831">Discogs</a>. </div>
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MATHEW REIS - CC038 </div>
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(Community College Records CC038; Ltd 50; USA) 2011</div>
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Enigmatic foray into noise minimalism on this superb tape release from Matthew Reis. Tape deck hissing and gentle motor whirring become the background for this soundscape adventure, intercut with glitching noises, contact mic sounds and occasional noise crescendos. Studies in solitude, like being in abandoned factories with dripping water, rats scurrying, sounds of the pipes humming. Can't recommend this enough, but it is sold out. Originally on <a href="http://www.communitycollegerecords.com/">Community College Records</a>, but better scope for this one on <a href="http://www.discogs.com/Matthew-Reis-CC038/release/3005170">Discogs</a>.</div>
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ARVO ZYLO - Saint Street </div>
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(No Part Of It; USA) 2011</div>
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Arvo Zylo's creative streak continues with this awesome foray into heavy noise and power electronics. Recommended! Check for it <a href="http://nopartofit.blogspot.com/">HERE</a>.<br />
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VULLMOXX - <span style="font-family: inherit;"><span style="font-size: small;">Jektin Skvmm</span></span></div>
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(Mind's Eye Bloom Productions; Limited: USA) 2011</div>
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No paper cover or insert, no artist or title info- only a hand-painted shell on this cassette release by the mysterious Vullmoxx. This is the sound of death pains as expressed through distorted synths, no-input mixers and shortwave radios that create this yelping, croaking, screeching, and writhing soundscape. A helluva ride on this frantic and powerful release! Check for this at <a href="http://www.discogs.com/artist/Vullmoxx">Discogs</a>. <br />
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ZANSTONES - Für Berlin<br />
(Staaltape/ZH27 1106; Limited; Germany/USA) 2011<br />
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Zan Hoffman live performance at Staalplaat in Berlin, Germany in 2011. All sounds recorded in and around the city during the day/hours before the performance. Clanking, raking, battering, sirens, scraping metal, droning vocals and random electronics amongst all the clatter. Occasionally sounding like lo-fi gamelan orchestra with droning throat singers as Zan loops his vocals in real time in front of an audience. Excellent and recommended! Very limited, make inquiries to Staalplaat on this one: <a href="http://staaltape.wordpress.com/zanstones-fur-berlin/">HERE</a>.</div>
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Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-87752186137081466232012-05-04T19:19:00.000-07:002012-05-05T15:23:55.967-07:00ILSE Label: Dave Fuglewicz, Billy Gomberg, Anne Guthrie, Nick Hoffman, Half An Abortion, Richard Kamerman, Hal McGee, Violent Pink, Aaron Zarzutzki<div class="separator" style="clear: both; text-align: left;">
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DAVE FUGLEWICZ / HAL MCGEE (Ilse, 14) Synergistic Reconstruction (2011) CDR </div>
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One of the foremost American noise artists, the superhumanly prolific <a href="http://www.discogs.com/artist/Hal+McGee">Hal McGee</a>, teams up with another stalwart of the U.S. cassette underground, <a href="http://www.discogs.com/artist/Dave+Fuglewicz">Dave Fuglewicz</a>, to create "Synergistic Reconstruction". The original sound source material by Fuglewicz, composed on software synthesizers, was remixed and added to by McGee on a bunch of analog synths and circuit-bent instruments producing all manner of electronically derived sounds. McGee, as mixer, really sticks to his Burroughsian guns on this one, using chance tactics to slam sound fields against one another, creating their own unintentional logic. These compositions (there are four) are built from such disparate sonic events that they seem to be always moving towards some impossible destination. Fuglewicz's looping textures reign in McGee's more excessive tendencies as, amidst all the chance happenings and bombardments, a directional line will emerge moving towards a cohesive structure, centering the composition with McGee's squabbling sweeps and chattering seeming less reckless and more integral to the overall fabric. Fascinating and recommended! Get it <a href="http://ilse.bandcamp.com/album/synergistic-reconstruction">HERE</a>.</div>
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HALF AN ABORTION (Ilse, 11) Naked Math Machinery (2011) CDR </div>
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With astonishing power, Pete Cann, aka <a href="http://www.discogs.com/artist/Half+An+Abortion">Half An Abortion</a>, creates nightmarish paintings from the colours of his sonic palette. The images conjured on "Naked Math Machinery" are fantastic, though completely abstract and from unrecognizable sound sources. These are very harsh, caustic sounds with little low-end, feedback-derived noise possibly composed using contact mics and no-input mixers. Whatever the humble, or not-so-humble, origins of these sounds, they create structures where every event is magnified to monstrous extremes and unleashed with blistering savagery. The second track, "Paused Growl", with its false ending is particularly dynamic, and the final track titled "During The Swim" has a more varied structure, with its stop and start framework, but it's still a very stern sound and an engrossing one. Cann is onto something here, he's found a new way of expressing the noise paradigm. No cliches, just a beautiful cacophony! Get it <a href="http://www.ilsemusic.info/releases.html">HERE</a>.</div>
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AARON ZARZUTZKI / NICK HOFFMAN (Ilse, 4) Lost Corner (2011) CDR </div>
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The pure sound invention of <a href="http://www.discogs.com/artist/Aaron+Zarzutzki">Aaron Zarzutzki</a> and <a href="http://www.discogs.com/artist/Nick+Hoffman+%282%29">Nick Hoffman</a> using various noisemakers on this album, "Lost Corner", is quite remarkable. Looking at the inner sleeve photo it appears the compositions were created using synthesizers, (circuit-bent?) drum machines, fx pedals, and contact mics on various objects, including a sewing machine. These improvised environments are created from small sound events that overlap, many of the sonics have percussive qualities and appear for a few seconds in the mix to disappear or come back later. Reminds me of <a href="http://www.discogs.com/artist/Roscoe+Mitchell">Roscoe Mitchell</a>'s "<a href="http://www.discogs.com/Roscoe-Mitchell-L-R-G-The-Maze-S-II-Examples/master/235779">The Maze</a>" or some of <a href="http://www.discogs.com/artist/Anthony+Braxton">Anthony Braxton</a>'s more esoteric compositions for percussion. The two improvisers are throwing a lot into the mix, but never latch on to a theme, the whole thing plays like Dadaist poetry à la <a href="http://en.wikipedia.org/wiki/Kurt_Schwitters">Kurt Schwitters</a>, but not having any crescendos wears on the concept by the end. Through and through its directions seem tentative. Still remarkable if only for the sheer scope of the varied palette. Get it <a href="http://www.ilsemusic.info/releases.html">HERE</a>.<br />
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BILLY GOMBERG, ANNE GUTHRIE, RICHARD KAMERMAN (Ilse, 10) Blue & Gold, Delicate Sen (2011) CDR</div>
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<a href="http://www.discogs.com/artist/Billy+Gomberg">Billy Gomberg</a> collaborates with french horn player, <a href="http://www.discogs.com/artist/Anne+Guthrie">Anne Guthrie</a> (Director of the S.E.M. Ensemble in Brooklyn) and <a href="http://www.discogs.com/artist/Richard+Kamerman">Richard Kamerman</a> in the trio project, Delicate Sen. "Blue & Gold, Delicate Sen" is a superb album of beautiful sound worlds created by these artists. Four long tracks of improvisation, similar in intent to the Zarzutzki/Hoffman release reviewed above. Both albums are made by artists who are, apparently, very familiar with improvisation and have the daring to pull off what they attempt. It's a fine line and doesn't take much, in either case, to succeed or fail aesthetically, but where this album succeeds in a stronger way, for me, is by finding correlations in the audio stream between the improvised parts that cements their structure. These compositions are not extremely driving, or dynamic, but the languid flow of ideas across the sound field is, nevertheless, very satisfying. Whatever themes appear are very minimalist, usually a fluxing note, or multiphonic, that slowly stretches the composition as other quiet strands enter and dissolve. An absorbing listening experience. Get it <a href="http://www.ilsemusic.info/releases.html">HERE</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEZE3CZJeNn01BL6hh8bW3PMLdcWTMV0D2WDOrUtEJfTacZksk_k0PfbVend5_KhvUMCRgs2m2dQAfEetEeG4ALLukjfSKwqNsjCn1WUUFOhBHcvW9jlEqcmoWIqWi0El2apJNkSmZ5eo/s1600/violent_pink_cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEZE3CZJeNn01BL6hh8bW3PMLdcWTMV0D2WDOrUtEJfTacZksk_k0PfbVend5_KhvUMCRgs2m2dQAfEetEeG4ALLukjfSKwqNsjCn1WUUFOhBHcvW9jlEqcmoWIqWi0El2apJNkSmZ5eo/s320/violent_pink_cover.jpg" width="320" /></a>VIOLENT PINK (Ilse, 5) Propaganda Of The Deed (2011) CDR </div>
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<a href="http://www.discogs.com/artist/Violent+Pink">Violent Pink</a> is the noise project of Tyler Keen, from Augusta, Georgia, active since at least 2009, with several CDR's and cassettes to his credit, including one on AMK's Banned Productions label. This album, "Propaganda Of The Deed", starts off with an old-school, industrial style sound-clip montage, then speeds off like a rocket into a violent world of noise. His feedback based vocal approach is familiar, from Masonna to Prurient to Torturing Nurse, calling forth the psychedelic elements of this style as well as, in this case, the more dominant metal origins. The two tracks with Pete Cann, aka Half An Abortion, whose contributions are easily discerned, are the high points of this album as the heavy solidity of Cann's source material anchors the compositions. It's quite a trip, one that noiseheads will love. Get it <a href="http://www.ilsemusic.info/releases.html">HERE</a>.<br />
<br />Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com1tag:blogger.com,1999:blog-4421117645626085507.post-2494929535094050192012-04-07T20:25:00.001-07:002012-04-09T16:09:21.391-07:00SPLEENCOFFIN Label: Embarker, GX Jupitter-Larsen, Arvo ZyloThe <a href="http://www.discogs.com/label/Spleencoffin">sPLeeNCoFFiN</a> label, out of Baltimore, MD, has been releasing limited edition noise on cassettes, CDR's and vinyl since 2003. Co-founded by Marlo Eggplant and Timothy Wisniewski, the label's philosophy of releasing albums of "raw experimentation in diverse forms" endears me to them right away. Their discography is extremely diverse and many of the out-of-print items from their catalog are now available as free downloads (including several by <a href="http://www.discogs.com/artist/Marlo+Eggplant">Marlo Eggplant</a>, one of my favorite women on the noise scene). Some of their recent releases look really interesting, several Hazardous Guadalupe albums (an early Marlo Eggplant band project); <a href="http://www.myspace.com/kreacepeeps">Kreace Peeps</a>, described as "crudely recorded and sloppily improvised excursions into tropical free-jazz, inept folk, harsh world beat, dissonant new age... (etc.)"; and <a href="http://www.discogs.com/artist/Arrington+De+Dionyso">Arrington de Dionyso</a>'s "Music For Two Tape Recorders", a 2 tape set that is meant to be played simultaneously on two separate cassette players to achieve it's effect. Give this label a visit <a href="http://www.spleencoffin.com/catalog/">HERE</a>.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6TrUClULgOhTsELs1fALK3s-GpGPuSJbc0EmlC0-E33Gs6ciVi9ldtX6c2BaOZ-38P212MAgTdaNnvi1fT1bjqEn8AbnovdA9Uz_8577e3d5DPP73ymsJZH8diWPcxH_wHbfQrPiXzJE/s1600/embarker_spleencoffin_tape_cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6TrUClULgOhTsELs1fALK3s-GpGPuSJbc0EmlC0-E33Gs6ciVi9ldtX6c2BaOZ-38P212MAgTdaNnvi1fT1bjqEn8AbnovdA9Uz_8577e3d5DPP73ymsJZH8diWPcxH_wHbfQrPiXzJE/s320/embarker_spleencoffin_tape_cover.jpg" width="320" /></a></td></tr>
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<a href="http://www.last.fm/music/Embarker">Embarker</a> is the solo project of audiovisual artist, Michael Barker, from New York. This tape, "Big Gary", comes packaged in a very unassuming lined yellow legal-pad cover that looks to be hand typed. The cover, even with the fine line-drawing, provides no indication of what this will sound like, so I push play and the tape begins with a synth filter slowly widening, moving up in pitch, rising like that for a while, then abruptly ends. Sounding for a moment like the tape is being eaten by the cassette player, but then a strange pattern of synthetics emerge forming another composition, adding glitched, out-of-key elements, high-pitched exclamations, sample & hold overloading of repetitions. All these sounds overlapping and building slowly into new arrangements. Then the patterns draw apart, becoming separated from their origins. Like random machine sounds convening, or music created by coordinated mechanical events. The B side begins more rhythmic, with a bass drum/cymbal, filtered and banging over and over while making slight timbral changes. This rhythmic structure is built up with random-sounding synths that often move in to the mix for a moment only to disappear. Definite link here, sound-wise, to the early cassette underground stuff like that of Carl Howard's <a href="http://www.discogs.com/artist/Nomuzic">NoMuzic</a>. In the more recent context maybe this is a sort of minimal breakcore. Difficult to define, yet very interesting and unexpected. Get it <a href="http://www.spleencoffin.com/catalog/index.php?main_page=product_music_info&cPath=4&products_id=116">HERE</a>.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBrOpdyKkPTUiohhqkMHIHuJmUNQAltfs3kktuEKG-DJZbAMsx8LjrLHZPoiqRvuCf09_cNmuOgbCbY6s9qs_4u0JmEiuHxBM1mi6otcRJJMyM5SwmDUER1HVtKWG402kNY5siHVeMiA4/s1600/gx_zylowave_cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBrOpdyKkPTUiohhqkMHIHuJmUNQAltfs3kktuEKG-DJZbAMsx8LjrLHZPoiqRvuCf09_cNmuOgbCbY6s9qs_4u0JmEiuHxBM1mi6otcRJJMyM5SwmDUER1HVtKWG402kNY5siHVeMiA4/s320/gx_zylowave_cover.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">GX JUPITTER-LARSEN / ARVO ZYLO (Spleencoffin, SP-27-CS</span><span style="font-size: small;">) Xylowave/Zylowave (2012) Cassette</span></td></tr>
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<a href="http://www.discogs.com/artist/GX+Jupitter-Larsen?anv=GX+Jupitter+Larsen">GX Jupitter-Larsen</a> needs no introduction, to anybody even in the periphery of the noise scene, Larsen's project, <a href="http://www.discogs.com/artist/Haters%2C+The">The Haters</a>, is legendary as one of the defining artists of the genre, up there with the likes of <a href="http://www.discogs.com/artist/Hal+McGee">Hal McGee</a>, <a href="http://www.discogs.com/artist/Merzbow">Merzbow</a>, <a href="http://www.discogs.com/artist/Whitehouse">Whitehouse</a>, etc. This split tape with Arvo Zylo, titled "Xylowave/Zylowave", is a 2012 release on Spleencoffin. The first side belongs to GX and here he creates an urgent sound, though to the ear the basic patterns do not change and there are no clever editing tricks, there's something beautiful in these long stretches of wind-licked, barren machine-noise. This is crushing, bruising, yet when listened to in a certain way can be heard as ambient sounds. Rising frequencies punch holes in the structure, power tools shower sparks, until in it's final incarnation it becomes crunching rhythmics that descend to an abrupt ending. As awesome as you'd expect!<br />
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<a href="http://www.discogs.com/artist/Arvo+Zylo">Arvo Zylo</a> is a distinctive noise artist, though not yet well known, I've reviewed his work favorably <a href="http://killingbirds.blogspot.com/2011/09/cd-reviews-acclimate-allan-zane-arvo.html">HERE</a>. This is quite different from the crazy combination of prog, krautrock and industrial forms I heard in Zylo's other work. His B side, "Zylowave", starts with staccato 8-bit repetitions, charged electrons fluxing throughout, then partial dropouts in the mix on one side of the stereo frame or the other. My <a href="http://www.oaktreevintage.com/web_photos/Stereo_Speakers/Sansui_S-930_Stereo_Speakers_web.jpg">Sansui S930</a>'s are put to the test, but they're used to this kind of noise abuse, since I've had 'em for 30+ years! Midway through, it all becomes hissing and constant crescendos with no means of resolution. Another wondrous slab of power electronics! <br />
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Finally let me say this has one of the better conceived cover graphics I've seen of late, handsomely printed in black and silver, a nice art package. Recommended! Get it for $5 (!) <a href="http://www.spleencoffin.com/catalog/index.php?main_page=product_music_info&cPath=4&products_id=132">HERE</a>. <br />
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</div>Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-71478259066475068072012-04-04T19:57:00.000-07:002012-04-04T19:57:17.514-07:00MOONLIT SUN - Transmissions From Beyond, 2011<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigATZsY8yFT-tAoBOxJK-Z_m47t2opWCmbdhTy3NRnCa0tbaB0XcMrGJCdJUCojd47bc8QrNXDjoLYxpWONGa-_lsOHk_Gpa-SYdEGtEtkczqoMseN0ztpqykepROkRhyphenhyphenxmVcbnNWzqck/s1600/moonlit_sun_cassette_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigATZsY8yFT-tAoBOxJK-Z_m47t2opWCmbdhTy3NRnCa0tbaB0XcMrGJCdJUCojd47bc8QrNXDjoLYxpWONGa-_lsOHk_Gpa-SYdEGtEtkczqoMseN0ztpqykepROkRhyphenhyphenxmVcbnNWzqck/s320/moonlit_sun_cassette_cover.jpg" width="320" /></a></div>
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MOONLIT SUN (Night Of Solitude, No cat. #) Transmissions From Beyond (2011) Cassette</div>
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<a href="http://www.discogs.com/artist/Moonlit+Sun">Moonlit Sun</a>, from Canada, is the industrial noise project of Jason Mauricio, a committed artist of the younger noise generation. Not a lot of material is available currently from this artist, but Mauricio has been primarily dedicated to recording for several years now, with less emphasis on releasing his work. Taking a purist approach, he often works with raw sound sources, recorded electroacoustically with contact microphones and little, if any, post effects. This tape, "Transmissions From Beyond", was created using scrap metals and, as it points out in the liner notes, "no computer based synthesizers or effects were used" in all but one of the 13 tracks here. Unlike fellow Canadian, <a href="http://www.discogs.com/artist/Knurl">Knurl</a>, whose junk metal compositions explore microbic/geologic worlds, or <a href="http://www.discogs.com/artist/Hal+Hutchinson">Hal Hutchinson</a>'s "<a href="http://www.discogs.com/Hal-Hutchinson-Taste-Of-Iron/release/2513964">Taste of Metal</a>", which embodies the ancient ritualist aspect of scrap-metal, Moonlit Sun stands apart for it's stern metaphor of a dystopian society and the post-modern artist living in a complex but outwardly superficial environment. The vocal work on this is really interesting, only snatches of lyrics are readily discerned, so a lot of the overall vocal effect is that of another instrument in the mix. The strong use of live echoplexing creates in many tracks a sort of shuddering, warbled sound. Sounds move about freely in their environments. Often the tracks center on rhythm but these aren't drum machines playing samples, it's Mauricio bashing away at metal sheets or barrels. So there is a definite DNA here from classic 80's industrial music, like Test Department, except in this music the lyrics aren't rallying cries, but ghostly warnings, barely emerging from the surrounding mist, these cryptic and covert admonishments. Beautiful cover graphics inside and out. Recommended! Get it <a href="http://nightofsolitude.wordpress.com/">HERE</a>.</div>Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-39723483449737179992012-04-02T18:27:00.002-07:002012-04-02T18:27:44.784-07:00ACCLIMATE - Songs For The Dead, 2011<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxQz_umGqcWUEz129MhSwftuyVkS2bt1AqKQdHW99ghiMvOlEJyVmSJcEo3M2XRQu67sYQT3rimomRH3QXgvFx22eYQ-T9ZYyv9YxnCf2qtY-VGIWCz1cxkocgpfb64X2WBB8oN5_Yhc8/s1600/acclimate_songs_for_the_dead_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxQz_umGqcWUEz129MhSwftuyVkS2bt1AqKQdHW99ghiMvOlEJyVmSJcEo3M2XRQu67sYQT3rimomRH3QXgvFx22eYQ-T9ZYyv9YxnCf2qtY-VGIWCz1cxkocgpfb64X2WBB8oN5_Yhc8/s320/acclimate_songs_for_the_dead_cover.jpg" width="320" /></a></div>
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ACCLIMATE (<span class="album-label" id="ctl00_rightColumn_lblRecordLabel">Samboy Get Help! Recordings</span>) Songs For The Dead (2011) CDR</div>
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Acclimate's last album, "<a href="http://www.samboygethelp.co.nz/#%21worldsend">World's End</a>", released early in 2011 (and reviewed <a href="http://killingbirds.blogspot.com/2011/09/cd-reviews-acclimate-allan-zane-arvo.html">HERE</a>), displayed composer, <a href="http://www.discogs.com/artist/Artemis+K">Artemis K</a>'s, talents for creating lush soundscapes sandwiched between dynamic rhythmic sections. On this new release, "Songs For The Dead", the rhythms are, largely, foregone but replaced by a richer exploration of the cinematic aspects of his music. These deeply atmospheric sound worlds are created by all means of invention, synthesizer pads are drawn out into swelling ambient textures, samples are piled up, noises throb, drones seem to form out of these varied sounds but all around the stereo field are sonic events morphing into the aural equivalent of some kind of closed-eye hallucination. Indefinable, cutup voices frequently become a part of the textures, whispering, begging you to listen, small segments of emotional outbursts, sometimes the voices chastise and warn against an inevitable future. It occurs to me that these songs are not, so much, "tributes" to the dead, as nothing sentimental can be found. Ending the album with the track, "Silence", however, cements the whole concept so perfectly, and it's a point well made. Fans of Dark Ambient/Industrial genre will love this album. Limited to 100 copies. Get it <a href="http://www.samboygethelp.co.nz/#%21songsforthedead">HERE</a>. <br />
<br />Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-7035587111880079922012-03-06T18:34:00.001-08:002012-03-06T18:59:57.343-08:00CEREBRO MORTO Label: Andrew Coltrane, Gianluca Becuzzi, N.<a href="http://cerebro-morto.x10hosting.com/">Cérebro Morto</a>, based in Portugal, is releasing some very interesting exploratory sounds these days. As label owner, Tiago Jerónimo says: "Cérebro Morto is interested in manifestations of the so called experimental, unconventional, or exploratory music, with special focus on electronics, electroacoustics, and improvisation." I like everything about this label, the sounds they are putting out, the snap-shut plastic cd cases, the artwork graphics, even their logo! Not to mention their name translates to "Brain Dead", one of my favorite over-the-top horror movies ever (early Peter Jackson). Besides the three excellent albums reviewed below, this label has also released another favorite noise project of mine, <a href="http://www.discogs.com/artist/Pregnant+Spore">Pregnant Spore</a>, and very soon <a href="http://en.wikipedia.org/wiki/Maurizio_Bianchi">Maurizio Bianchi</a>. Cérebro Morto is one to keep an eye on.<br />
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ANDREW COLTRANE (Cérebro Morto, CM007) Urge To Kill (2011) CDR </div>
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I've favorably reviewed <a href="http://www.discogs.com/artist/Andrew+Coltrane">Andrew Coltrane</a>'s music before (<a href="http://killingbirds.blogspot.com/2011/05/noise-minimalism-disintegrating-minds.html">HERE</a>). His work is always fascinating, recorded under a variety of guises and informed in equal doses, it would seem, by the noise movement, free jazz and the German electronicists (TD, Klaus Schulze, etc). It would be damned near impossible to hear everything he has released over the last ten or more years, just due to the huge scope of it, numerous small run/limited edition releases in various formats, but noise fans/collectors should do themselves a favor right now and acquire all they can of his varied and inventive discography.<br />
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His new release on Cérebro Morto, titled "Urge To Kill", is another superb effort, this time with Coltrane putting his stamp on the "horror noise" sub-genre. The nearly 18 minute (untitled) opening track begins with grim electronics and voices like out of a Fulci movie, frantic, strained emotives, fever rising, and then jump cuts into a sweeping synth filter opening and closing ever so slowly. Small events happen within this minimal structure, echoey noise attacks poking, phased and pitch-shifted voices droning almost invisibly in the background. The synthetic tones become more assertive as analog textures modulate and recede. Essentially what I would call a "noise-ambient" composition, forbidding but with many interesting sounds happening inside the dense sound structure. A palpable metaphor of a lunatic mindstate on the edge and about to do something terrible. The second track is shorter, about 11 minutes with a more propulsive sense, an unfurling center that seems to burn, random high pitched whistles flying past like harpies. Only more volume can do this track justice as it rushes along breakneck, all hissing and frenzied. This is the point where rationale has become undone by a compulsion too great. What was foreshadowed on the first composition becomes real, with a malevolent ending dead-end cutoff. RECOMMENDED! Get it <a href="http://cerebro-morto.x10hosting.com/#/2011/04/30/andrew-coltrane-urge-to-kill/">HERE</a>.<br />
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GIANLUCA BECUZZI (Cérebro Morto, CM008) Haunted (2011) CDR<br />
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<a href="http://www.discogs.com/artist/Gianluca+Becuzzi">Gianluca Becuzzi</a> has been around since the early 80's working in the areas of electroacoustic and noise music. His creative activities under such guises as Kinetix and Noise Trade Company, in collaboration with industrial band, <a href="http://allmusic.com/artist/pankow-p13899">Pankow</a> and with another Italian noise composer, <a href="http://www.discogs.com/artist/Fabio+Orsi">Fabio Orsi</a>, have resulted in a wide range of experimental releases. "Haunted" consists of four untitled tracks, the middle two longer compositions are the same length, 12:48, and they are bookended by two shorter compositions also both the same length, 2:33, creating a sort of magickal symbol, or equation. The longer two compositions inhabit a similar space, long reverbs and expansive ambient textures rising/falling in the mix with striking atmospheric punctuations and scraping sounds. Even with a flair for the cinematic touch, the clanking of chains, pots and pans rattling, junk metal being dragged around, are typical filmic devices that create a "haunted" ambiance. In correlation to the title, however, this seems a little shallow, it's got all the trappings right, but it doesn't scare, so the payoff isn't quite there for me personally. But when considered apart from the album title's allusions, this is still an interesting, even extraordinary, excursion into electroacoustic soundscaping. Get it <a href="http://cerebro-morto.x10hosting.com/#/2011/09/24/gianluca-becuzzi-haunted/">HERE</a>.<br />
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N. (Cérebro Morto, CM006) Macabre Lust/Destination Morgue (2011) 2xCDR<br />
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The mysterious <a href="http://www.discogs.com/artist/N.">N.</a>, aka Davide Tozzoli, has been active in the Italian noise community since the late 1990's. Known for his work in the death industrial/noise genres, one look at his discography and such titles as "Hospital Murders", "Asphyxiating" and "Born To Die", you know what to expect. My expectations were confounded, however, on this release because, where one would expect clichés, there are none. This is an inspired approach to the noise aesthetic.<br />
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Macabre Lust, recorded in 1998, begins with a synthetic loop, repeating rhythmically, very minimal, the changes in the structure are small and happen incrementally which makes for a good sport of active listening. The second track lets you know that the rest of the album is not going to follow along the same sort of repetitive approach as the first. All the voices are up close in this environment, with distorted synths talking, singing, sometimes mourning, other times clutched in fear. These sound structures have a twisted, chattering life to them. The heavy (digital?) distortive processes wrenching the subtext here, each composition is it's own holographic image of a world that may be a part of the one we are in, or may not. The second half of this set, consisting of a single 22+ minute track titled "Destination Morgue", was recorded live at a 2007 festival of the same name. Seems to me the mysterious N. has not significantly changed his approach in the nearly ten years that separate the two discs. This noise shows possibly more of a debt to <a href="http://en.wikipedia.org/wiki/Maurizio_Bianchi">MB</a> in it's stern conception. It is very strange to hear audience members having what sounds like casual conversation during N.'s live set. As it went on, the voices captured became another element of the experience and I found it quite invigorating, the ending applause is enough to realize there were many who really were listening! Much recommended. Get it <a href="http://cerebro-morto.x10hosting.com/#/2010/10/10/n-macabre-lust-destination-morgue/">HERE</a>.</div>
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</div>Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-49543905825861983502012-02-16T12:27:00.000-08:002012-02-16T12:31:41.522-08:00SWAMP HORSE - Subtle Dementia, 2012<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLUDtw_dapDXWx9gAUc3JNBP1X-44dTxr6C0epipgWZYlw1-cIxyNiLa0Uvb6-dGMWvqu4xbbD6pX6ggDH9c_hLKHW3l8EtuEI0czubROvyS-335tlOUBcK02dxHIfqLGdKwRWa4UEV08/s1600/swamp_horse_ep_front.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLUDtw_dapDXWx9gAUc3JNBP1X-44dTxr6C0epipgWZYlw1-cIxyNiLa0Uvb6-dGMWvqu4xbbD6pX6ggDH9c_hLKHW3l8EtuEI0czubROvyS-335tlOUBcK02dxHIfqLGdKwRWa4UEV08/s320/swamp_horse_ep_front.jpg" width="310" /></a></div>
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SWAMP HORSE (Husk Records, H#102) Subtle Dementia (2012) EP, Ltd. 100 </div>
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<a href="http://www.discogs.com/artist/Swamp+Horse">Swamp Horse</a>, the co-project of <a href="http://www.discogs.com/artist/Josh+Lay">Josh Lay</a> and <a href="http://www.discogs.com/artist/Morgan+Rankin">Morgan Rankin</a>, has gained a lot of recognition over the last couple of years. After a handful of superb, but now hard to find, cassette releases, they put out the brilliant "<a href="http://www.discogs.com/Swamp-Horse-Perpetual-Drip/release/2558934">Perpetual Drip</a>" (3" cd-r), one of my personal top ten of 2010. Their style of synth-drone noise sounds primal, yet unearthly, and just when you think you know them, Swamp Horse will defy expectation. Theirs is an enigmatic sound world, not locked into any kind of self imposed dogma, each new manifestation another facet of their combined, twisted visions.<br />
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This new 7" single, "Subtle Dementia", does not disappoint. Here Swamp Horse have created a bizarre little tribute to the horror soundtrack genre. A comparison has been made elsewhere to the group, <a href="http://en.wikipedia.org/wiki/Goblin_%28band%29">Goblin</a>, and I hear that, but where Goblin couldn't really reign in their dazzling prog-rock excesses, this minimalist thing is just black... and bleak. For me a better comparison is the <a href="http://en.wikipedia.org/wiki/Nekromantik_2#Soundtrack">Nekromantic </a>soundtrack, or even Coil's <a href="http://en.wikipedia.org/wiki/The_Unreleased_Themes_for_Hellraiser">"Unreleased Themes for Hellraiser"</a>.<br />
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Side one begins more synth than drone, with a repeating melodic pattern, the tension in the piece building through a repetitive process, with sustained notes wavering sickeningly, the track pulsing as more synthesized elements enter one after another, then a psych-guitar buzzing like some krautrock track minus the drums. Whereas side one seems to take as it's starting point the soundtrack music of 80's/90's horror films, the flip side is a different beast, starting at the point where sound effects become soundtrack. There is still a circular effect to the composition, samples/synthetics piling up, water sounds(?), voices(?), indefinable sounds, the structure becoming more and more dense. Detached synth lines float through the mix, remark on it for a moment, then disappear until the next exclamation. A fantastic howling, rattling, wind-blown harbinger of terrifying events to come, like some scene from Fulci's "<a href="http://en.wikipedia.org/wiki/City_of_the_Living_Dead">Gates Of Hell</a>". Although filmic, there is no pretense in these compositions of dramatic tension and release. It's ALL tension, NO release, in a perfect lo-fi mix that is compressed and claustrophobic. This bleak sound establishes, just as the title implies, a world where thoughts, or remembrances, are indistinct, out of focus, yet perched on the outskirts of some kind of dread comprehension. The same song playing over and over through a fog bank of mental deterioration, the sensations burying themselves in the ooze of decaying cerebral tissue, this is the sound of Swamp Horse trudging through your brain. You're gonna love it. <br />
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Limited edition of 100 copies on colored vinyl, this will sell out fast. GET IT <a href="http://huskrecords.blogspot.com/">HERE</a>.<br />
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<br />Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-4569641031392280562011-11-19T12:07:00.001-08:002012-01-14T04:36:09.317-08:00Animal Machine, Avrorin, Booby Mason, Brent Gutzeit, Buoyhood, Dmitriy Zubov, Frans De Waard, Merzbow, Mystery Hearsay, Troj<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNUZZp6eZLiLu3YbAny5rAC7K3bhGXfq9jVrjooCBS2_YYxNWzwScvoKWqP8SFvAOm0qDBy64M7y2xsub2lmHSwin7x-WMgj8WRci32Ufr-qxXRULmfjA7eivJ-6VIyCMXrpRFzeQBVdk/s1600/merzbow_april_1992_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNUZZp6eZLiLu3YbAny5rAC7K3bhGXfq9jVrjooCBS2_YYxNWzwScvoKWqP8SFvAOm0qDBy64M7y2xsub2lmHSwin7x-WMgj8WRci32Ufr-qxXRULmfjA7eivJ-6VIyCMXrpRFzeQBVdk/s320/merzbow_april_1992_cover.jpg" width="318" /></a></div>
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MERZBOW (Green Records, GR146) April 1992 (2011) Cassette</div>
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Here's a very nice tape from Michigan label, <a href="http://www.greenrecordsmi.blogspot.com/">Green Records</a>: Masami Akita, aka <a href="http://www.discogs.com/artist/Merzbow">Merzbow</a>'s "April 1992". This has all the characteristics of Akita's work from that time period, the skittering, slashing, pounding, ear-splitting violent sounds, overloaded energy dynamics with random plosives. A crushing live session, remixed in 2010 by Akita, who also created the effective cover graphic. This is a great example of how Masami Akita has applied the ideas of <a href="http://en.wikipedia.org/wiki/Kurt_schwitters">Kurt Schwitters</a>' concept of the "<a href="http://www.artsprite.com/resume/javascript/merzbau/Merzindex.htm">Merzbau</a>", a structure that grows and changes constantly, to his own musical expressions. There is no beginning, no end, no recurring theme, just one boundless wave of noise after another, washing senseless over the senses, unfinished yet somehow complete. A must-have for noise freaks! Get it <a href="http://www.greenrecordsmi.blogspot.com/p/catalog.html">HERE</a>.<br />
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MYSTERY HEARSAY (Mystery Hearsay, no cat. #) Flesh Tomb (2011) Cassette</div>
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Flesh Tomb was released in 2011 as a CD on Dmitry Vasilyev's label in Russia. Mike Honeycutt, the mastermind behind <a href="http://www.mysteryhearsay.com/">Mystery Hearsay</a>, sent me this cassette version, I don't know if it's available for sale/trade or what, but one can still obtain the digital version through <a href="http://www.monochromevision.ru/">Monochrome Vision</a>. Mike has been making experimental sounds since the early 80's and if this album isn't proof of his mastery of soundscaping I don't know what could possibly be! It starts out spacey and ambient, and from there traverses all manner of atmospherics, weird rhythms, cinematics, deep reverberations, electroacoustic textures, deafening crescendos, you can easily get lost in this filmscape for the ears. This is a superb and brilliant work of art, the stories told are fascinating and each composition offers it's enigmatic riddles as their own answers to penetrate the mystery in every possible combination of sounds. A real treat for lovers of dark ambient music and film soundtracks.</div>
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AVRORIN (Pekopa Records, no cat. #) Untitled Split (2010) Cassette</div>
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<a href="http://www.discogs.com/artist/G.+Avrorin">G. Avrorin</a> is a noise musician from St. Petersburg, Russia, active since
1997. Other than a <a href="http://www.myspace.com/avrorin">MySpace</a> site, there is little else to be found on the web about Mr. Avrorin, although Discogs lists several split releases with some interesting younger artists such as <a href="http://www.discogs.com/artist/Torturing+Nurse">Torturing Nurse</a>, <a href="http://www.discogs.com/artist/Vomir">Vomir</a> and <a href="http://www.discogs.com/artist/Booby+Mason">Booby Mason</a> (see review below). This tape begins with sheet metal noise performed during a live show with a very excited audience in attendance. Feedback-based, screeching, shredded, droning scrap-heap noise breaking for a moment into media clips, continues into choppy sounds with moments of silence, then blasting back with more synthetic thunder. Use of contact microphone and over-amplification turns every small sound into something monstrous and animalistic. Everything stops suddenly to applause and a heated conversation, in Russian, between artist and audience. Avrorin doesn't break any new ground here, but it certainly is one hell of an exhilarating listening experience! To obtain this and other recordings by Avrorin, email: kuhelgarten (at) gmail.com. </div>
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AVRORIN & ZUBOV / BOOBY MASON (Pekopa Records, no cat. #) Untitled Split (2010) Cassette</div>
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On side one of this split cassette, the aforementioned Avrorin collaborates with Dmitriy Zubov, better known for his dark ambient sound-project, <a href="http://www.discogs.com/artist/Hypnoz">Hypnoz</a>. The sound here is feedback-based harsh noise with vocals, think <a href="http://www.discogs.com/artist/Whitehouse">Whitehouse</a>, or <a href="http://www.discogs.com/artist/Prurient">Prurient</a>. Sounds like some possible contact microphone use as well. Whirling noise vortexes, looped voices, high-pitched squeals, a fairly brutal, in-your-face mix. Since the point of view is largely missed on me due to my lack of knowledge of the Russian language, the sounds considered on their own would merit a heads-up for harsh noise fans, but there's certainly nothing unique here. Crashing, unrelenting noise crunch goes on for about 20 minutes or so. I like it.<br />
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<a href="http://www.discogs.com/artist/Booby+Mason">Booby Mason</a> is 24 year old Anton Gudkov, from Omsk, Russia, who began his noise project in 2009. He makes trashy collages in the vein of Hanatarash, utilizing both analog and digital noise and mixing it with recordings that have been made using a dictophone. Booby Mason has about 30 or so, recordings under different names and in different genres, from harsh-noise and lo-fi electronics to dark ambient and primitive techno styles. His side of this split tape has a more varied approach, adding what sounds like incorporation of sheet metals, the vocals are more shrill and less hidden behind walls of static than the Avrorin stuff. The ear starts to long for anything but this barrage when it shifts gears abruptly, into a standard rock trio with vocals! Of course, the vocals are still maniacal, laughing, hissing... The second track is a sound collage that contains all manner of pre-recorded ephemera: a Russian television announcer, children's songs, pop music, even a Madonna commercial(!) which then evolves into drone put through a phaser, abstracted underwater sounds, ending in an English language news report about illicit drugs. Another weird lo-fi band track with devolved vocals closes the side out, sounding nothing if not like a bootleg Suicide recording. Very strange and convoluted stuff from the Russian scene! To obtain this and other recordings by Avrorin, email: kuhelgarten (at) gmail.com.<br />
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BRENT GUTZEIT (Neon Blossom Records, NBR23) Rocks And Blows (2010) Cassette</div>
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This cassette, released on <a href="http://www.discogs.com/label/Neon+Blossom+Records">Neon Blossom</a> in 2010, limited edition of 50 copies, is now sold out but deserves more exposure. (i.e. hopefully there is a re-release on the horizon) My friend and collaborator, <a href="http://www.discogs.com/artist/Brent+Gutzeit">Brent Gutzeit</a>, a stalwart of the Chicago improvised music scene, is one of the founding members of <a href="http://www.discogs.com/artist/TV+Pow">TV Pow</a>, has collabed and performed live with numerous experimental musicians and has many solo releases to his credit. This tape, "Rocks And Blows", an extremely diverse collection of improvised compositions, cannot be encapsulated as belonging to one certain style, or genre. There are elements of drone, space rock, world music here and all are knit into a quilt of invention that captures the mystifying essence of his sound world. The first side is more diverse, almost eclectic, beginning with stringed instrument sounds, otherworldly exotica, gaining cohesion as it develops into a spacey, pitched drone that hovers and continues to add to the structure in very subtle and beautiful ways. Side two creates a drone out of fractured organ textures reverberating and echoing around, still has that hovering feel, with ingeniously crafted twists entering at different moments, sounding something like <a href="http://en.wikipedia.org/wiki/Terry_riley">Terry Riley</a>, or <a href="http://en.wikipedia.org/wiki/La_Monte_Young">La Monte Young</a>. An abstract painting that transcends it's minimalist structure in a mosaic of complex hues.<br />
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BUOYHOOD (NNN Coalition, NNN#24) The Seance Of Nonchalance (2011) Cassette</div>
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<a href="http://soundcloud.com/buoyhood">Buoyhood</a> is the experimental sound project of Zach Katonik, a young artist from the Pittsburgh area. Little is known about Zach, his work is not listed at Discogs, this is likely one of his first releases and a good one at that. Beginning with a lo-fi, sparse rhythm and spacey synthetics, the beat persists as the mix becomes aquatic. Some very snaky synths and patterns move in and out, only to reappear in severely altered form. The structure is constantly evolving, after a while seeming like a megamix of rhythmic evolutions. The drum patterns are skewed, but also organic sounding, possessing a similarity to some of <a href="http://en.wikipedia.org/wiki/Brian_eno">Eno</a>'s, or <a href="http://en.wikipedia.org/wiki/Jon_Hassell">Jon Hassell</a>'s work. This is some sort of post-modern exotica, with side one ending in a cartoon orchestra hit. Side two starts out with more orchestral samples building up into a classical motif, rhythms hover and struggle to emerge through the mix until, finally, an urgent machine beat comes to the fore against the nearly melancholic textures. A variety of exotic sounds and voice snippets combine, so lo-fi and compressed that they merge together creating a sonic fabric that somehow becomes progressively spacier and more atmospheric as it (d)evolves. This tape reminds me of classic 80's-era cassette network stuff like Nomuzic or If, Bwana. The definition of homemade experimental music.Get it <a href="http://nnnco.bandcamp.com/album/seance-of-nonchalance">HERE</a>.</div>
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FRANS DE WAARD (Banned Productions, BP151) Arrel/Juur (2010) Cassette</div>
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Here's a quite unique cassette release by <a href="http://www.discogs.com/artist/Frans+de+Waard">Frans De Waard</a>, whose long career in noise and experimental music includes such crucial projects as <a href="http://www.discogs.com/artist/Kapotte+Muziek">Kapotte Muziek</a> (begun in 1984!), <a href="http://www.discogs.com/artist/Beequeen">Beequeen</a>, (more recently) <a href="http://www.discogs.com/artist/Freiband">Freiband</a>, and many others. This tape is part of <a href="http://www.discogs.com/artist/AMK">AMK</a>'s "Banned Cassette Series" on the <a href="http://www.discogs.com/label/Banned+Production">Banned Productions</a> label. Using synthesized sounds, radio waves and, perhaps, field recordings, this is probably the quietest tape I have ever encountered. Normally I would say such a work requires the pristine digital format for it's best representation, but in the case of "Arrel/Juur", De Waard has cunningly used the cassette format as one more sound source, incorporating tape hiss into the compositions. The mix on both sides are extremely low volume, raising the level reveals the inaudible sound sources but also raises the tape hiss, which I found very interesting. Small squiggles of sound, especially evident on side two, enter a little at a time, as well as many indefinable frequencies. A fine work of art release that requires active listening and ends the way it started: quietly. Get it <a href="http://www.bannedproduction.com/dewaard.html">HERE</a>.</div>
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TROJ / ANIMAL MACHINE (<a href="http://welcome.to/kifrecording">Kifrecording</a>, Kifrec-91) Structural Failure (2011) Cassette</div>
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This is a one-sided split tape between <a href="http://www.discogs.com/artist/Troj">Troj</a> and <a href="http://www.discogs.com/artist/Animal+Machine+%282%29">Animal Machine</a>, limited edition of ten, so you'll likely never obtain a copy of it, but it's a fantastic release with two distinctly different approaches to a single idea. The first track is by Troj, also known as Man Troj, a newcomer on the international scene hailing from Singapore. I love everything I've heard by this artist, his work traverses between industrial, noise, dark ambient and breakcore. This track, titled "Santet", begins with pitch-shifted vocals and ambient drone slowly rising and falling while digital fluctuations and rapid-fire repetitions loop over and over in momentary exclamations against a spacey backdrop. This creates a beautiful effect where the soundscape never lapses into meaningless atmospherics, since there are plenty of variants entering the mix at all times. These sonics are best for late night listening. Metaphorically, in relation to the album title, this "structural failure" results in a craft floating through space in a vacuum, time running out for the crew, who are left dreaming as death approaches. Abstract vocal samples appear from afar mixing with gamelan orchestra type sounds, manipulated to become alien and, as the spacey sonics fade out, we find ourselves in the midst of some ancient/future ritual... very beautiful, very satisfying.<br />
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The second track here is by Animal Machine, an extremely prolific Polish noise artist. This is the title track and also the exact opposite, in sound, of Troj's composition. As the metaphor for "Structural Failure" reveals another possibility, this time of a spacecraft slamming into some planetary atmosphere, the sound of the satellite burning on re-entry. Heavy, heavy noise! Slamming, slashing, descent into maelstrom that ends abruptly after 13 minutes. Equally as beautiful, in it's own way, as the Troj track but infinitely more destructive. <br />
<br />Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-21811700697682316082011-10-29T18:28:00.001-07:002011-10-30T14:41:13.977-07:00Ini.Itu Label, Vinyl Releases: Anaphoria, Blindhæð , Cornelia Hesse-Honegger, Dave Phillips, D'Incise, FreibandThe <a href="http://ini.itu/">Ini.Itu</a> label, founded in 2008, has released eight LP's. With a focus on field recordings, extended techniques for acoustic instruments, drones, rhythmic collages and crossing of Eastern and Asian musical structures, this promises to be a label to watch. The quality of their music releases are superb, vinyl pressing is very quiet and rich in detail, the excellent cover graphics also set their albums apart. Following are reviews of five of their albums. For more information on Ini.Itu or to purchase any of these items please check <a href="http://www.iniitu.net/">HERE</a>.<br />
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ANAPHORIA (Ini.Itu, #0902) Footpaths And Trade Routes (2009) LP </div>
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"Footpaths And Trade Routes" is an LP by <a href="http://www.discogs.com/artist/Kraig+Grady">Kraig Grady</a>, aka <a href="http://www.discogs.com/artist/Anaphoria">Anaphoria</a>. This composer, born in California in 1952, studied with <a href="http://en.wikipedia.org/wiki/Nicolas_Slonimsky">Nicolas Slonimsky</a>, <a href="http://en.wikipedia.org/wiki/Dean_Drummond">Dean Drummond</a>, Dorrance Stalvey and Byong-Kon Kim before meeting up with <a href="http://en.wikipedia.org/wiki/Erv_Wilson">Erv Wilson</a> in 1975. Wilson is an esteemed Mexican-American music theorist who has written extensively about microtonal music and just intonation. I have not studied all the specifics of these tuning forms, but I have heard a bit of this type of music (<a href="http://en.wikipedia.org/wiki/Harry_partch">Harry Partch</a> and <a href="http://en.wikipedia.org/wiki/Wendy_Carlos">Wendy Carlos</a>, for instance) and, for the uninitiated, it consistently sounds exotic to these ears and able to achieve moods very different from western music and the common musical scale we all grew up listening to. At some point, apparently, Grady also became inspired by indigenous music forms, perhaps specifically the music of Aboriginal Australia (?), and this album seems to reflect those studies. The first track, "Zephyros" is a minimal composition beginning with chiming bell sounds that are created by a vibraphone using a once forbidden tuning. On this track we hear the basic blueprint for the rest of the album, as the overtones created by Anaphoria's acoustic music instruments dynamically rise within the tracks, sometimes very ambient, in the background, other times floating up directly in the mix only to disappear momentarily. Although the music is minimalist, the patterns aren't repetitive and he's not using obvious loops in the structure either, the movement in the composition is slow paced and without dramatic effect. "Zephyros" sounds like a prelude and, indeed, proves itself to be so as it weds to the beginning of the followup track, "Hierophone A341", which is immediately more dense, more complex. This track too contains some of the same sort of instrumental tones with rhythmic bell-like percussives being most prevalent. Here the rising overtones are more apparent, becoming buzzing atmospheres that rise up in the mix behind the closely miked instruments. Nice, quiet LP grooves are essential when listening to such music and this LP is mastered perfectly, pressed on superb quality vinyl. "Ostaelo", the long single track that takes up side two, is the inventive re-imagining of the previous tracks, using all the same instrumental configurations in an effort to find a music balanced somewhere between Balinese gamelan orchestras and the minimalist droning of <a href="http://en.wikipedia.org/wiki/Lamonte_Young">LaMonte Young</a>. A beautiful, meditative album, particularly good for morning listening.<br />
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FREIBAND (Ini.Itu, #1101) Stainless Steel (2011) LP</div>
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Freiband is a sound project of the prolific <a href="http://www.discogs.com/artist/Frans+de+Waard">Frans De Waard</a>. De Waard is very well known in the noise community for his vast review document, Vital Magazine, which he started producing in 1986, later evolving into the internet journal, <a href="http://www.vitalweekly.net/">Vital Weekly</a>. He has also created excellent noise/experimental sounds as <a href="http://www.discogs.com/artist/Kapotte+Muziek">Kapotte Muziek</a> and <a href="http://www.discogs.com/artist/Beequeen">Beequeen</a> (amongst others). Freiband, however, is quite unique from De Waard's other projects, here the glitching of computer hard drives create loops of different recordings, mainly it seems, pop music of one sort or another. This album was created by De Waard between 2009 and 2011, and then the tracks were mastered by <a href="http://www.discogs.com/artist/James+Plotkin">James Plotkin</a>. Some of these structures are very minimal, musical and acoustic to the ear, others have a more fractured and complex electronic feel. The post production on the sources seem to give them their environment, as the reverbs set up a habitat for the unusual sound loopings. The result, on side A's "Stainless (Software)", is a montage of strange and wonderful miniatures, at times with jarring cuts and unusual rising of volumes. It all adds to the invigorating quality of the sound material here, as you never can expect what will come next. Especially when you get to the end of the side and you are so tranced out it takes five minutes to figure out that it's a lock groove! Side B, "Steel (Hardware)" can supposedly be played in 33 or 45 rpms, and is considerably different from it's companion. Extremely minimal but not without interest as the sounds intertwine into an infinite loop that, seemingly, has no beginning and no end (in actuality has no end since the needle finally settles into another lock groove). I've had conversations with turntablist, <a href="http://www.discogs.com/artist/AMK">AMK</a>, about our mutual fascination with skipping records/cd's and this album is a perfect way to explain it's appeal. Because the post-modernist disconnect with the actual creation of these glitching textures, the surprise content, or potential of pure chance is unlocked by such experiments, then to take those experiments of chance and make them into something more compelling than their technical origin, that is the accomplishment of a true artist! This is fresh, unique work by one of the icons of the noise underground.<br />
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D'INCISE (Ini.Itu, #1001) Rivages Sur L'Antipode (2010) LP</div>
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Laurent Peter is an experimental musician from Switzerland, operating under several pseudonyms: <a href="http://www.discogs.com/artist/Diatribes">Diatribes</a>, <a href="http://www.discogs.com/artist/Heu%7Bs-k%7Dach">Heu{s-k}ach</a>, and the better known, <a href="http://www.discogs.com/artist/D%27incise">D'Incise</a>. As D'Incise, Peter has been releasing sound material since 2005 on many different European labels. "Rivages Sur L'Antipode" is something like the 14th or 15th album that's been put out and, judging by the quality of it, I can certainly see the justification. Again, we are treated to a superb electroacoustic work, but this one based entirely in rhythms. His approach is a, sort of, left-field/free hip hop setting but with deeper textural qualities. The sounds are ever changing and what might, in another context, be drum rhythm sounds, are here created by any possibility of sonic reference. Because many of the samples are edited into "hits", i.e., short bits of sound that can be used rhythmically, you<i> feel</i> the reference but do not get enough of the sound to exactly identify it. So this myriad of possibilities is always flashing by and morphing, from noisy static to cracklings into gamelan orchestral things, or analog synthesizers, ethereal pads and so many more. Also it seems like many different samples are used in every "hit" of sound, layers of them, as I hear it. Cleverly programmed and utilizing some interesting glitch techniques too, these rhythms are deeply imbedded with underlying references. Mastered by James Plotkin, this is a superb sounding album, filling the sonic spectrum from bottom to top and it's also one experimental album you could play at a party or could be used in some DJ mixes.<br />
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DAVE PHILLIPS & CORNELIA HESSE-HONEGGER (Ini.Itu, #1002) Mutations (2010) LP</div>
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An astonishing work of art recorded by <a href="http://www.discogs.com/artist/Schimpfluch-Gruppe">Schimpfluch Gruppe</a> member, <a href="http://www.discogs.com/artist/Dave+Phillips">Dave Phillips</a>,with paintings and inspiration provided by Swiss scientific illustrator, <a href="http://www.wissenskunst.ch/en/biographie.htm">Cornelia Hesse-Honegger</a>. This album is packed with amazing sounds from start to finish! Recorded by Phillips in Thailand, Vietnam and his home of Switzerland between 1994 and 2007, the field-recordings already provide a tremendous personal diary, but then through "mutations" the stories in the sounds are transformed by Phillips into metaphor for some kind of microbial sound world, in this case the most likely correlation(via the eye-popping artwork of Ms. Hesse-Honnegger) are insect habitats. The noises here, clickings, pops, whistles, animal/bird sounds, howling, jabbering, sawing, wind, etc- while listening to this surrealist melange I can't help but wonder if every sound on the album could just as well have been made by Phillips' own voice? But their origin doesn't matter in the end, as he has transformed these sounds with great mastery into one of the most compelling albums I have ever heard! There are jarring moments here, but it's not a typical noise album, those moments provide drama, even a fearful element that creeps in. It's absolutely visual, but what you visualize is so bizarre as to destroy any preconceptions. As with most of Ini.Itu's output, this album is also mastered by James Plotkin and the sound is fantastic. This definitely makes my Top Ten list for 2011.<br />
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BLINDHAED (Ini.Itu, #0801) Whether That Will Make People Want To Become Archaeologists, We'll Have To See (2008) LP<br />
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What to make of an album with such a title? But this one-sided LP turns out to be a brilliant excursion into the world of electroacoustic sound. This has some of the air of the classic musique concrete sessions of Paris in the late 40's/early 50's, but where fascination with process at that critical moment seemed to overpower the composer's imagination sometimes to the point of silliness, here the aesthetic is never divided. The purity is impressive, the composition always unfolding in lushness, layer after layer, the composer's intent: a cinema for the ears. With the apparent ability to capture alien sounds, most of which seem like they are actually created using everyday objects, or tiny musical instruments, with such intimate presence and in many different environments, <a href="http://www.discogs.com/artist/Blindh%C3%A6%C3%B0">Blindhæð</a> then refashion these sources into a remarkable sonic painting! Totally absorbing and listenable to over and over again on this pristine vinyl. I can't say enough about this fascinating album, but for my noisehead friends, there is no violence here, just the languid rise and fall of sonic textures like water lapping shores.</div>
</div>Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-68187622042882721282011-09-10T18:52:00.000-07:002011-09-19T06:08:27.504-07:00CD Reviews: Acclimate, Allan Zane, Arvo Zylo, Chefkirk, Eric Lunde, Dave Fuglewicz, Hal McGee, K2, Knurl, Maaaa, Mandom, Marlo Eggplant, Noisepsalm, Norcal Noisefest, Triangle And Rhino<div style="text-align: center;">
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ERIC LUNDE (Trait Mediaworks, TMW030) Mimefistofele (2011) CD <br />
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I've been following <a href="http://www.discogs.com/artist/Eric+Lunde">Eric Lunde</a>'s creative endeavors since the mid-80's and his work is always very interesting. From his beginnings in the industrial band, <a href="http://www.discogs.com/artist/Boy+Dirt+Car">Boy Dirt Car</a>, to his co-projects with <a href="http://www.discogs.com/artist/Jeph+Jerman">Jeph Jerman</a> and <a href="http://www.discogs.com/artist/Illusion+Of+Safety">Illusion Of Safety</a> (aka <a href="http://www.discogs.com/artist/Holeist">Holeist</a>) in 1989/90, his noise works are intellectually rigorous and, yet. poetic all the same. A period of transition followed where little was heard from Lunde, but more recently, mostly via his own <a href="http://traitcentral.com/">Trait Mediaworks</a> label, a burst of activity and numerous releases have become available, many in limited editions. </div>
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"Mimefistofele" is "based on a recording of <a href="http://en.wikipedia.org/wiki/Boito">Boito</a>'s <a href="http://en.wikipedia.org/wiki/Mefistofele">Mefistofele</a>, itself based on the play Faust by <a href="http://en.wikipedia.org/wiki/Goethe">Goethe</a>". This is another exercise in what Lunde, a devotee of the deconstructionist theories of <a href="http://en.wikipedia.org/wiki/Jacques_Derrida">Jacques Derrida</a>, refers to as "analogue tape reduplication", an elaborate process of recording and re-recording that he uses for disintegration of his sound sources. The cover is satirical, from the EMI Classics look, to the insert illustration of Mefistofeles flying with a tape recorder in hand, to the humorously thought-provoking liner notes: "Faust is himself merely a copy of a copy..." Lunde, seemingly, finds a correlation between his working process and
the mythological struggle of good and evil as embodied by the characters
of divinity (shaking your head? read the liner notes). But the sounds themselves, apparently cracked and broken re-recordings of the original opera, are another thing altogether. The 14 tracks here share a common tonal characteristic, the sound of pitched feedback soaring like wind through ruins and barren landscapes. The dramatic characteristics of the original orchestral recordings are destroyed and Lunde turns them into spectres of themselves. His work with disintegrative process is unique and, even as the process is entropic, the sound sources broken down way beyond their origins, the approach creates a distinctive new sound world that is complete in it's own way. Noiseheads will dig this. A must have! Get it <a href="http://traitcentral.com/mimefistofele">HERE</a>.</div>
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VARIOUS ARTISTS (Norcal Noisefest Org. NCNF014) 2010 The Junk Drawer Is Open, Norcal Noisefest Compilation Document (2010) CDR <br />
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Compilations aren't as numerous as they once were. Seems like I see a lot more "split" releases these days. But there are two things special about a compilation: first the possibility of hearing many different, individualistic approaches to a common theme, second is discovering an artist you weren't aware of. Since this isn't a "themed" compilation, I was looking for new faces and there are a number of those here. "The Junk Drawer Is Open, Norcal Noisefest 2010" is an excellent introduction to the northern California noise scene and
includes many different styles of sound expression. <a href="http://www.myspace.com/overdosethekatatonic">Overdose The Katatonic</a> are new to me, contributing a weird track that, despite dipping into the overused film-snippet device, comes back in the last 1:45 with an astounding array of loops, sudden stops, crescendos and ends in strangled machine-death. <a href="http://www.myspace.com/chopstickband">Chopstick</a>, <a href="http://www.instagon.com/">Instagon</a> and <a href="http://noisepsalm.bandcamp.com/">Noisepsalm</a> all create beautiful, atmospheric, dark-ambient tracks. <a href="http://www.cranksturgeon.com/">Crank Sturgeon</a> provides another of his eccentric, chattering noise pieces. Another new face, for me, was <a href="http://www.thomashelton.org/">Thomas Helton</a>, who brings an electroacoustic twist to his brilliant composition, via stringed instruments. <a href="http://www.myspace.com/ennihil">En Nihil</a> is very heavy, about as devastating as power electronics gets! The real find here, for me, is the superb track by <a href="http://www.myspace.com/hypnoticinjection">Hypnotic Injection</a>, "Insectual", with it's fluxing, overlapping textures, exploring a microminiature world populated by all sorts of active life. Noise doesn't get better than this! With 18 artists and links to each of their websites, this is a great way of becoming more informed. I found the compilation to be well-paced and listenable, each track unique from the other, an affirmation of the exhilarating sounds being created deep in the U.S. basement noise scene. Produced as part of the Noisefest event, likely sold as merch at the shows, this is a limited edition of 200 copies, probably mostly sold out. Get it <a href="http://www.norcalnoisefest.com/merch.html">HERE</a>.</div>
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CHEFKIRK / MARLO EGGPLANT (Controlvalve.net) Split (2011) CDR<br />
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This album really took me by surprise. Knowing Chefkirk only from his bizarre <a href="http://www.pulsewidth.ca/?p=167">no-input mixer</a> album with Hal McGee, titled "<a href="http://www.discogs.com/Chefkirk-and-Hal-McGee-Nimbus/release/2366112">Nimbus</a>", I wasn't expecting such a minimal piece as the first track on this album, "Overcoming Computer Anxiety". But there it is, a very controlled tone, changing pitch occasionally, and buzzing along for upwards of 12 minutes in an environment where little quirks and slivers emanate from around the edges. Then of a sudden, a very loud burst of mere seconds and what is left is a ghost, winding through various tonal stages to be pulled down at the end by a digital vortex. Where "Nimbus" found me correlating the swirling, crashing sounds to microbic worlds, this definitely has the feel of being inside the computer, like some sort of covert exchange being whispered between digital bytes only to be destroyed by the antivirus software. A mighty track!</div>
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The next three tracks are by <a href="http://www.discogs.com/artist/Marlo+Eggplant">Marlo Eggplant</a>. Marlo co-founded <a href="http://spleencoffin.com/">Spleencoffin Records</a> in 2003 (with Timothy Wisniewski) and, more recently, has been running her own label, <a href="http://www.corpuscallosumdistro.com/Front.html">Corpus Callosum Distro</a>. She has been a major figure in promoting the noise and experimental sounds of women in the international underground, both with her series, "<a href="http://www.discogs.com/Various-Ladyz-in-Noyz-Australia-Volume-1/release/2974569">Ladyz In Noyz</a>", and in her label catalog. Marlo Eggplant is an abstract expressionist, casting her pigments in smeared layers on a sonic canvas. The tracks sound like they were created out of improvisations, but they have a composed quality about them, not only due to some very potent edits, but because there is a sense of deliberate intention here. When I say "composed", that word may well mean something different to each set of ears. In the case of Marlo Eggplant, however, even as abstractions, these tracks have driving forces behind them, very interesting types of noises that evolve, multiply, create rhythms, destroy those rhythms, quite often there is a backdrop that seems to be created with some sort of looping. The reverb also gives a touch of atmospheric quality, well captured in the digital recording, and the impact of some of the expressionistic gestures is stronger because of it.<br />
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This is an excellent album. Get it <a href="http://www.controlvalve.net/">HERE</a>. </div>
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ACCLIMATE (Samboy Get Help! 001) World's End (2011) CDR <br />
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When Artemis K, of <a href="http://www.discogs.com/artist/Acclimate">Acclimate</a>, moved with his wife from the U.S. to New Zealand in 2002, he began recording an album that represented his feelings and impressions on living in (and out of) the states, post-9/11, the isolation of being very far away from home and his thoughts on the evolutionary possibilities of a form he loved: industrial music. Thus began the long saga of "World's End". With the project completed, the master tapes ended up in the archives of <a href="http://bizarrenz.blogspot.com/">Mark Wallbank</a>, the founder of the <a href="http://clubbizarre.co.nz/">Club Bizarre</a> label in New
Zealand, who had plans to release the album. By 2005, Artemis' marriage had broken down, he was separated from most of his musical equipment, in the process of becoming a helicopter pilot and somehow the record had still not been released. Two years later, Club Bizarre ceased operations and the album never saw the light of day. Artemis took a five year break from anything having to do with music, didn't buy any albums, didn't really listen to anything, moving back and forth between NZ and the states doing various flying gigs, he was away but hadn't forgotten about his music. In 2010 he returned from his self-imposed exile to reclaim the one and only master from Wallbank and release the long postponed album on his own label.</div>
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Some of the sounds on "Worlds's End" are holdovers from the early days of Acclimate, a lot of media and film clips of obscure origin provide a sort of post-modern libretto to this and, most assuredly, you're going to be reminded of some <a href="http://en.wikipedia.org/wiki/Wax_Trax">Wax Trax</a> and <a href="http://en.wikipedia.org/wiki/Nettwerk">Nettwerk</a> electronic/industrial projects like <a href="http://www.blogger.com/goog_1342662501">Greater Than On</a><a href="http://en.wikipedia.org/wiki/Greater_than_one">e</a>, or <a href="http://www.discogs.com/artist/Manufacture">Manufacture</a>. Of course, it's been many years since those Wax Trax days and Acclimate's work also reflects the influence of the new-millenial noise generation. Acclimate's rhythms always had that martial feel, but here the drum programs display an increased technical assurance and as Artemis explains there is "so much noise and shit evolving around (them) you don’t feel stuck in the same place". But, nonetheless, you couldn't feel "stuck" in these compositions at <i>any</i> point as they are fluxing at every moment in a mix that is full and lush, each track with
dozens of textures montaged together in a dramatic, filmic soundscape. In fact, this is the
most cinematic work to date from Acclimate. These compositions were built with a minimal setup using a <a href="http://www.roland.com/products/en/SP-606/">Roland SP-606</a> sampler, the now obscure <a href="http://en.wikipedia.org/wiki/Ensoniq_Fizmo">Ensoniq Fizmo</a>(only a hundred of the rackmount units ever made!) and multi-tracked on a 16 track recorder, mastered by <a href="http://www.roland.com/products/en/SP-606/">Thomas DiMuzio</a>, the album sounds potent. The track titles, "Transition", "Evolution" "Introspection" etc. find Artemis K meditating on the possibilities inherent in every journey, his has just taken him farther than most. It should be very interesting to see where this prequel leads, with some anticipation, to the forthcoming "Songs For The Dead" to be released later this year. A superb album. Available <a href="http://www.acclimate.co.nz/#%21">HERE</a>. </div>
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NOISEPSALM (Auricular) Death Masque (2011) CDR<br />
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"Death Masque" is the latest release from <a href="http://www.discogs.com/artist/Noisepsalm">Noisepsalm</a>, the sound project of Matthew Lewis. According to the liner notes the project took nearly two years to be completed and, when you listen, you will understand why. This isn't just another improvisational slopfest, it's a meticulously produced album, full of nuances and musicianship. Special guest appearances from <a href="http://www.discogs.com/artist/Alan+Herrick">Allan Herrick</a>(electronics), Lacey LaPointe(cello) and a host of others broaden the colours of Noisespalms's sound palette. If you dig the sound of <a href="http://en.wikipedia.org/wiki/Coil_%28band%29">Coil</a>, you'll dig this, because it has the luminance of <a href="http://en.wikipedia.org/wiki/Peter_Christopherson">Peter Christopherson</a>'s recording process and also the sort of sick, downward spiraling within the compositions. It's a fascinating listening experience, one for the headphones maybe, but also very powerful on the house system. Of course, for those in the know, it is <a href="http://www.biblestudytools.com/nrs/psalms/100.html">Psalm 100</a> that states "<span class="versetext" id="ps100-1" style="display: inline;">make a joyful noise to the Lord, all the earth", i.e. Psalm 100 is the "noise psalm". Don't let my correlation mislead however, this isn't Christian, or religious music, yet it is somehow spiritual and contemplative beyond it's wellspring. One of the best albums of the year. Get it <a href="http://noisepsalm.auricular.com/store.shtml">HERE</a>.</span></div>
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MANDOM (Controlvalve.net) All The World Loves A Lover (2011) CDR <br />
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Mandom is the duo project of Roger H. Smith (<a href="http://www.discogs.com/artist/Chefkirk">Chefkirk</a>) performing on <a href="http://www.pulsewidth.ca/?p=167">no-input mixer</a> and Don Haugen (<a href="http://www.discogs.com/artist/Warning+Broken+Machine">Warning Broken Machine</a>) on audio oscillator, electronic switcher, and broken function generator. Everything I've yet heard by Chefkirk has been captivating and this release is no exception. Beginning very low with background dronings and a strange rhythmic pattern that reminds me of something on a <a href="http://en.wikipedia.org/wiki/This_heat">This Heat</a> record, it doesn't take long for the first crescendo which sounds like a passing jet, but there still are the rhythms, nevertheless changed, evolving all the while. The thing I love about Chefkirk is how he has managed to use a most simple device for creating feedback, but with this device there is, at any moment, the possibility to become overblown in your statement. I never feel that way with Chefkirk, his sounds are brilliantly controlled and have the feel of pureness of intent. Towards the end of the composition a structure emerges out of a repeating figure that is so powerful it will leave your jaw dropped as you suddenly hear the audience applause at the end and recall that the cd did, indeed, say "recorded live". A marvel! Get it <a href="http://www.controlvalve.net/">HERE</a>.<br />
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<img alt="" border="0" id="BLOGGER_PHOTO_ID_5642356577480246882" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSOfRGLOBUz9ryifgkML_uHH_3p7zLJTPDgx3SR18mZEbgBBd3nplTmqvJxvn4MrgzGgivGBjH3_SG0bG7mhqnTthTWuGKPefwRsI6ApOUaZ35dYRwLpeGjD1SiCYuHJoVpPby8V-m8ic/s400/allan_zane_cdr.jpg" style="display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 397px;" />ALLAN ZANE (<a href="http://www.discogs.com/label/%2811.5%292+Anti-Music">(11.5)2 Anti-Music</a>) Nihil Obstat (2011) CDR<br />
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<a href="http://www.discogs.com/artist/Allan+Zane">Allan Zane</a>, founding member of the experimental ambient duo, <a href="http://www.discogs.com/artist/Wyrm">Wyrm</a>, is an accomplished artist who pays closest attention to details in his work. Zane is acutely aware of the precedents for his soundwork, he is equally fascinated by electronica, industrial and noise genres, but his work never sounds derivative, every project I've heard has been unique.</div>
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"<a href="http://en.wikipedia.org/wiki/Nihil_obstat">Nihil Obstat</a>" is Latin for "nothing hinders", but the term is used more by the Catholic censors as a way of specifying that
a book is not offensive to the Church. Released in an edition of only 13 copies, if you don't already have "Nihil Obstat", you'll likely not get your hands on it. Instant rarity here, but Zane seems comfortable releasing quite a few of his albums in ultra-limited quantities. This cd presents Zane at his bleakest state, it's certainly not the listenable dark-ambience of Wyrm, nor the playful psychedelia of <a href="http://www.discogs.com/artist/Sir+Bear+Trapper">Sir Bear Trapper</a> (another of Zane's pseudonyms). This is a dense noise maelstrom, sounding to my ears digitally created, with some kind of underlying tonality being obliterated. A minimalist/maximalist death threat created as a response to the connotations expressed in the title. Contact Allan Zane to check if this is still available, <a href="http://www.myspace.com/allanzane">HERE</a>. </div>
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<a href="http://nopartofit.blogspot.com/">Arvo Zylo</a> was an unknown name to me before I received his package of releases. Info on the net is sketchy, but Zylo's press release emphasizes his presence on the Chicago independent radio scene, live shows in and around the windy city and an association with the legendary <a href="http://www.discogs.com/artist/Illusion+Of+Safety">Illusion Of Safety</a>.</div>
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"333" is a really interesting release that combines krautrock, prog, electronica and noise (sometimes all on the same track!). Very well paced with a real affinity for the dramatic buildup. These compositions are created from some of the strangest, oddball sequenced patterns, followed on by chattering noises, psychedelic synth tones, more harshness and stunning, rhythmic driving-forces that reshape the sound structure again and again. If this is breakcore, it's creating a new definition for it. It's a devilish sort of music that, at first, makes for the raised eyebrow and then the dropped jaw as this thing grows into a behemoth before your ears! I really cannot recommend this one enough. Likely to leave noise purists skeptical but this is for more open minded listeners. Get it <a href="http://nopartofit.blogspot.com/">HERE</a>.</div>
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<a href="http://www.davefuglewicz.com/">Dave Fuglewicsz</a>'s new work, titled "One", is a collaboration with one of the foremost U.S. noise artists, <a href="http://www.halmcgee.com/">Hal McGee</a>. In 2010, the ever-prolific McGee posted 60 one-minute sound clips to the Internet Archive for any artist to use in possible collaboration. The intention was to spur collabs with artists from around the world who were contributing to his <a href="http://www.halmcgee.com/IEAAP.html">International Email Audio Art Project</a>, a multi-volume collection of one-minute compositions. But where most people, like myself, worked with only one specific source track, Dave Fuglewicz decided to take a different path and use <i>every</i> one of McGee's sources, mix them together and process them to create a one hour composition. I've heard McGee's <a href="http://www.archive.org/details/HalMcgeeCollaborationAudioMaterial">source material </a>derived from feedback looping mixers, most were fairly harsh, but he's a master at creating organic, even microbial sounding environments. Fuglewicz's mission here is to take all those random-but-related pieces and create something that is significantly more than the sum of it's parts and I'm pleased to say he succeeds on every level! Extremely listenable and quite varied all the way through, the piece evolves at every moment into something else. The stereo spectrum is well utilized on this, listen on your house system with speakers wide apart. For those who dig the occasional retreat from heavy power electronics, but still want to listen to noise (i.e. noise-ambient), this collaboration is a rare treat! Inquire about it <a href="http://www.davefuglewicz.com/index.htm">HERE</a>.</div>
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Here we have a riveting split cd of driving, psychedelic noise textures this one released on the <a href="http://trianglerecords.blogspot.com/">Triangle</a> label in Poland. <a href="http://www.discogs.com/artist/Maaaa">Maaaa</a>, a Polish husband/wife duo, begins the first set here with the closeup sounds of a flying insect, a momentary bit of human voice, then smashes high-speed into a wall of noise like a head-on car crash. Their sound world is one of terrifying, but beautiful, machine noises. Extensive use of the <a href="http://www.vintagesynth.com/korg/ms20.php">Korg MS-20</a> synthesizer's analog sounds, feedback and metal junk(on track 4, "Drunken Skinhead") create a soundscape of unusual brutality. Everything is mixed with a wide stereo image and enough compression to expertly delineate their powerful abstractions.<br />
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When you come up next to the great <a href="http://kinkymus.ojiji.net/kinkymus.htm">K2</a>, you better come correct! This guy, by day known as Dr. Kimihide Kusafara, a pathologist, is one of the originators of the Japanoise genre. He used to make sounds with scrap/sheet metal for his classic style, but now has removed any possibility of self-reference in his sounds by creating a vast arsenal of noise weaponry that sounds so otherworldly, it might as well be the sounds of an alien planetscape. Not a peaceful place, mind you, more like the howling thousand year storms of Jupiter's red spot. At times, a voice is audible as the trigger for feedback and, like Maaaa, K2 also utilizes a Korg MS-20, but whatever analog synth sounds are here aren't discernible processed through these huge slabs of distortion and feedback. With K2 it doesn't really matter what the origins of the sounds are when listening glued to your seat with the fascination of their sheer awesomeness. Get it <a href="http://trianglerecords.blogspot.com/2011/02/sooner-or-later.html">HERE</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2KzIcDCyRVvqC2-Gzcvw6HoysqUVLCdd7ilduvkljotml55p4MBn_LRV-Q4jgPhvp_8GCLyiieCLl22E7p-pVRa-HFvdAWZN4-ioxT63OuwHoOLU6GGm6noMoGowTRnkHuprFZ3RqZ78/s1600/knurl_cdr.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5642357817285993010" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2KzIcDCyRVvqC2-Gzcvw6HoysqUVLCdd7ilduvkljotml55p4MBn_LRV-Q4jgPhvp_8GCLyiieCLl22E7p-pVRa-HFvdAWZN4-ioxT63OuwHoOLU6GGm6noMoGowTRnkHuprFZ3RqZ78/s400/knurl_cdr.jpg" style="cursor: hand; cursor: pointer; display: block; height: 393px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>KNURL (Cohort Records) Halometh (2011) CDR<br />
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<a href="http://www.discogs.com/artist/John+Gore">John D. Gore</a>'s label, <a href="http://cohortrecords.0catch.com/">Cohort Records</a>, has been releasing limited edition cdr's for a long time now. The packaging for this series, with it's minimal approach, makes for a very handsome edition of art releases. Of course, Gore's been at this for over 20 years having run the Cohort label now since circa 1990 and also very active in experimental music circles as <a href="http://www.discogs.com/artist/%27kirchenkampf%27">Kirchenkampf</a>. </div>
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This is one of several new <a href="http://www.alien8recordings.com/artists/knurl">Knurl</a> releases in 2011. "Halometh" contains all the classic elements of the Knurl style, the heavy use of scrap and sheet metals as source for these compositions. the hideous distortion elements, all recorded with no overdubs or post-production computer editing. These remarkable compositions show how an artist with purist intent can arrive at a result that is not limited by the restraint in concept. These compositions are utterly powerful, very intense! There is a similarity in some of the mid-range tonalities, each track seems recorded in the same space, but like a series of paintings, each track correlates to the others. Curiously, such track titles as "Hemothelium" and "Synoxylate", quite possibly made-up words, references sounding of possible medical origin, but this doesn't sound metaphorical for microbic worlds or viral entities, it possesses a geologic, nearly crystalline quality, like the sound of shooting radiation through precious stones. Excellent! Get it <a href="http://www.cohortrecords.0catch.com/cohort%20releases.htm">HERE</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2P9sFe1YfXDQ1ZAv81bS2bxQg2_xsGpX9PRQhb-ssgovYMI3pyvDlaJb08LSWLZ2dUvBXIRpiXTpDZ1wHtdk7xEJwXB2VytD3M2OooQrT3lg2Ag8I-_GpSv0PNUfdNY1tWI-nac8kb3w/s1600/triangle_and_rhino_cdr.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5642358531933430498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2P9sFe1YfXDQ1ZAv81bS2bxQg2_xsGpX9PRQhb-ssgovYMI3pyvDlaJb08LSWLZ2dUvBXIRpiXTpDZ1wHtdk7xEJwXB2VytD3M2OooQrT3lg2Ag8I-_GpSv0PNUfdNY1tWI-nac8kb3w/s400/triangle_and_rhino_cdr.jpg" style="cursor: hand; cursor: pointer; display: block; height: 397px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>TRIANGLE AND RHINO (800 Wild) Fuckin' Howdy (2011) CDR<br />
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This is a very interesting psychedelic weirdo release from <a href="http://soundcloud.com/ground-zero-mosque">Jake Lexso</a> and M. Rappa, aka <a href="http://www.triangleandrhino.com/">Triangle And Rhino</a>. Sounding like krautrock at times, definitely resembling the <a href="http://en.wikipedia.org/wiki/Sun_City_Girls">Sun City Girls</a> in it's eccentric scope, and maybe also reminiscent of some of the Chicago 90's scene stuff like Gastr Del Sol, but with a harder edge. "Fuckin' Howdy" will make Jake Lexso's musician friends jealous, the playing is just so damned good! Yeah, it's garagey, i.e. not all the timing is on target, even though the drummer is a monster(!), but it has that feel of not knowing you might be able to reach what you're trying to, but try anyway... and it works! Tracks such as "The Lovely Assistant", or "There Are Questions About Your Behavior And Concerns About Your Health" are heavy, yet jazzy, the way <a href="http://en.wikipedia.org/wiki/Saccharine_Trust">Saccharine Trust</a> used to be. Yeah, that's what this might be: "blurt poetry"! But it's different than that too, it's an audio diary kept by a couple of young cats whose heads are into anything musical, who've been listening obsessively to everything they could get their ears on since they were little kids and whose musical obsessions are brought to life in some basement studio through balls and sheer talent! The end result is a really great listening experience. This is on my best-of 2011 list already... Get it <a href="http://www.triangleandrhino.com/">HERE</a>.</div>
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Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-50034483779210387102011-08-08T17:42:00.000-07:002011-08-18T13:04:58.773-07:00800 WILD! Ground Zero Mosque, Hunted Creatures, Inappropriate King Live, Pregnant Spore, The Charisma Carpenter<a href="http://800wild.wordpress.com/">800 Wild</a> is a diverse experimental/noise label run by Jake Lexso out of Pittsburgh, PA. Already this year there are nearly twenty releases and an ambitious schedule for the near future that includes works by Japanese noise god, <a href="http://kinkymus.ojiji.net/kinkymus.htm">K2</a>, one of the originators of "<a href="http://en.wikipedia.org/wiki/List_of_Japanoise_artists">Japanoise</a>"; RJ Myato of the excellent U.S. label, <a href="http://nnnco.wordpress.com/">No Nazi Noise</a>; and more Ground Zero Mosque, etc. So, Lexso is making this a label to be heard on the merit of it's great and prolific releases. Jake sent me the following four cassettes:
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<br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDb8vMeeoqF8E5Ykmx5DgQcj2IFJAESEfyinKfA0GGdKjH-Z9_KNLfSoPI4hhOYE_fvkIaq53j9SVbvFXhPdNp0m6UW9kXKvjl_uV68_fxKM8SKEBE799eHwD3Pjh3g8qrfp8WeO_BGlI/s1600/charsima_carpenter.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 388px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDb8vMeeoqF8E5Ykmx5DgQcj2IFJAESEfyinKfA0GGdKjH-Z9_KNLfSoPI4hhOYE_fvkIaq53j9SVbvFXhPdNp0m6UW9kXKvjl_uV68_fxKM8SKEBE799eHwD3Pjh3g8qrfp8WeO_BGlI/s400/charsima_carpenter.jpg" alt="" id="BLOGGER_PHOTO_ID_5639316869000147986" border="0" /></a>THE CHARISMA CARPENTER (800 Wild #8) Take Your Life (2011) C-10
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<br />I'll begin with The Charisma Carpenter's "Take Your Life", a short tape that is, apparently, a reissue of an obscure release, circa 2003, by <a href="http://www.triangleandrhino.com/">Triangle & Rhino</a>'s drummer, M. Rappa. The A side is made up of chaotically clashing electronics, a constantly moving, constantly evolving soundscape. This could be metaphorical of biochemical processes, environments that have their own logic, but are not understandable outside of that dimension. Under the carpet of always changing sounds are rhythmic constants that quite nearly bring solid structure to it, but are battered continually by a sonic terrorism that renders them ungraspable.
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<br />The B side is made up of conversations, many voices converging, placed in various environments, some close up and intimate, some group conversations and laughter, phone calls, phased snippets overheard. These phrases are poised against a rhythmic discourse made out of loops and delay-based repetitions. Correlating to the title of the cassette, it seems that The Charisma Carpenter has, indeed, taken sound recordings from his life and rearranged them into a cryptic, but extremely interesting experiment.
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<br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpiThcM10L4jX4mbF2PKygHX9G34cOu8gaUkNX4uG3STMPruGWnBowLyZ36r_P0m54w0hvkt7Sa9sjN1utxoSWs9pRPqFj1qrRSmMS8XHqBsMknknvGdy0gKcl9xfNgdKJGQqrw-T3Cag/s1600/gzm_tape.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 397px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpiThcM10L4jX4mbF2PKygHX9G34cOu8gaUkNX4uG3STMPruGWnBowLyZ36r_P0m54w0hvkt7Sa9sjN1utxoSWs9pRPqFj1qrRSmMS8XHqBsMknknvGdy0gKcl9xfNgdKJGQqrw-T3Cag/s400/gzm_tape.jpg" alt="" id="BLOGGER_PHOTO_ID_5639316856132683346" border="0" /></a>GROUND ZERO MOSQUE (800 Wild #9) Sustain Volume (2011) C-40
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<br />Jake Lexso's solo noise project is called <a href="http://soundcloud.com/ground-zero-mosque">Ground Zero Mosque</a>. One of the things I love about cassettes are the surprises you encounter in the most humble of places. It seems as I looked at the quirky cover of this release, I wouldn't have expected such a remarkable work.
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<br />The first untitled composition begins with a low melodic humming sound, then joined by percussion, amped bass, or guitar (not so much played as hammered or plucked), synth squeals starting to whistle their way up through the mix, all sounds mixed sparingly, melding together as a prelude to some coming event, a downcast harbinger of things to come. More synthetics make their way into the mix, a lonely synth plays, now it becomes space rock gripped by troubled happenings. Then a maelstrom descends and all the sounds merge into one another, droning and distorting. Still, the percussive sounds are easily discerned as they bring the mix to several separate crescendos. The dynamics are superb, the ebb and flow between electric instruments, rhythms and synthetics are rich and varied. As the composition unfolds, synth flutes play a moving melody, all the dynamics fall away and it becomes gentle after it's upheavals, beautiful like <a href="http://en.wikipedia.org/wiki/Cluster_%28band%29">Cluster</a>, or <a href="http://en.wikipedia.org/wiki/Tangerine_dream">Tangerine Dream</a>.
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<br />The B side takes off from somewhere in the middle of the other track, not literally, but dynamics-wise. High pitched synth squealings provide a repetitive structure and sound like they could be created by controlled feedback. A huge bass drone emerges telling darker tales, the drone turns crackling and more high-pitched synthetics swirl in like machines performing rituals together. At times sounding not unlike the <a href="http://www.davidlynch.de/headmusic.html">Eraserhead</a> soundtrack, i.e. post-apocalyptic landscape analogy. There are so many varied sounds on this composition, but it is cohesive and, all in all, a brilliant exercise in abstract electronics.
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<br />This tape came across my desk without fanfare, and yet with a name like Ground Zero Mosque, there are direct correlations to ideas that are very timely, newsworthy even. But Jake Lexso stays away from dogma in his work and, rather, focuses on his interest in the possibilities of pure sound expression. Noisy, yes, but he's using the noise aspect as another part of the huge sphere of sounds at his disposal. These days, you don't expect such a picturesque experience from most noise albums, but this really is fantastic and will have you glued to your seat.
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<br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhntWiE2sPmUDrV3dtbGYC2MQFNa41EESTvj6uym0IvN89I0sEZLbRVl7N5vr8i6AihVVPToxsTbzucEuIVe8Gyd197t1jTLh9DZeXMSruXyBfhBbPzUsIj_ikHgk9LOw-RXNb4X8vHbgY/s1600/800_wild_compilation.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 238px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhntWiE2sPmUDrV3dtbGYC2MQFNa41EESTvj6uym0IvN89I0sEZLbRVl7N5vr8i6AihVVPToxsTbzucEuIVe8Gyd197t1jTLh9DZeXMSruXyBfhBbPzUsIj_ikHgk9LOw-RXNb4X8vHbgY/s400/800_wild_compilation.jpg" alt="" id="BLOGGER_PHOTO_ID_5639316861155640834" border="0" /></a>GROUND ZERO MOSQUE/INNAPROPRIATE KING LIVE/PREGNANT SPORE (800 Live #10) Split (2011) C-20
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<br />This tape, split between three artists, has Ground Zero Mosque's composition titled "The Legs Feed The Wolf" on the first side. Well recorded, great stereo separation, nice, hot dub here! The formidable rumbling and feedback are a warning that this will soon become very frightening. And it does!
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<br />Innapropriate King Live</a> is the mysterious noise project of Justin Marc Lloyd from Baltimore, MD. Lloyd runs the prolific <a href="http://hellorainbowbridge.blogspot.com/">Rainbow Bridge</a> label. This track, "Where Is The House Located", is a totally absorbing composition with sonics ranging from weird, distorted near-voices to what sounds like scraping glass and even higher pitched synth bells. Awesome!
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<br /><a href="http://www.discogs.com/artist/Pregnant+Spore">Pregnant Spor</a><a href="http://www.discogs.com/artist/Pregnant+Spore">e</a> is also a sound project by Justin Marc Lloyd. Although this track, "Purple Ice", is repetitious, akin to other HNW noise out there today, but it is very important to listen to this up close with volume. Then the fluxations in the composition are in full detail, with the track moving between high-pitched squalls, sub-bass drones and many other chattering noises. This over-amped track was likely created with feedback loops, but Lloyd's sonic palette is quite large and the origins of the sounds here are a mystery. Perhaps, in the end, this is not as well developed as the other tracks on the release, but an interesting addition nonetheless.
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<br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnNON9vrZpZ0YA3nB0PKsUOhyS377mlnPEOo4OmmMR4kY6aN_OQ1sAFXFf4CPwpEpM4Xowt-91aD1lamQfE0m3znHWafXdnm7C1_VJ5uX3zEgOCBlRQHzld0yIe9ZUn8j_LiU_beDo9HA/s1600/hunted_creatures.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 397px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnNON9vrZpZ0YA3nB0PKsUOhyS377mlnPEOo4OmmMR4kY6aN_OQ1sAFXFf4CPwpEpM4Xowt-91aD1lamQfE0m3znHWafXdnm7C1_VJ5uX3zEgOCBlRQHzld0yIe9ZUn8j_LiU_beDo9HA/s400/hunted_creatures.jpg" alt="" id="BLOGGER_PHOTO_ID_5639316879460385650" border="0" /></a>HUNTED CREATURES (800 Live #15) Self-Titled (2011) C-30
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<br /><a href="http://huntedcreatures.bandcamp.com/">Hunted Creatures</a> are a very special free-improv band, formerly the solo project of Ryan Emmett, now adding Amy Hoffmann, Darren Myers and Micah Pacileo to the equation. The crazy cover on this tape will surprise upon a closer look! This is improvisational electroacoustic noise. Violin, maybe cello, occupies the beginning stages alongside synthetic sounds and shortwave radio, which unfold over time. The structure is not dense at first, but the sounds are sort of placed across from one another, and posed in ways that create interesting juxtapositions. A synth filter opens and closes, perhaps too common in the language of synthesizer music, but soon plucked guitar patterns appear and are punctuated by noises rising to eventually become a sort-of lo-fi drone. All these elements come together, for me, in ways that are authentic and interesting.
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<br />Interest becomes fascination, however, on the B side of this tape. It utilizes a lot of the same types of sounds, but is a better, more coherent statement of cause. With a repeating melodic synth figure and strange behemoth sounds growling around the background, it begins both beautiful and strange. The melodic parts drop out and distort to become chirping and vocal snippets, which drop out to to now become environmental sounds. Chimes in the distance, extreme quietude, then a new pattern of textures slowly emerges. sounding like a street fair with wheezing accordion, segues into melodic guitar and fluxing electrons at the exteriors of the composition. Then all fades and you wait, maybe, this is another evolution, but it's now the end of the tape. This tape, to me, is a throwback to some of the <a href="http://www.discogs.com/label/United+Dairies">United Dairies</a> releases, or maybe some of the work by the <a href="http://www.discogs.com/artist/Hafler+Trio%2C+The">Hafler Trio</a> project.
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<br />An ofttimes beautiful release with improvisational approach leading to passages of real brilliance. The use of dynamics and space are very interesting, especially on the B side as the track winds down through all kinds of transformations towards silence. Highly recommended for experimental improv fans!
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<br />For any of these releases please contact <a href="http://800wild.wordpress.com/">800 Wild</a>.
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<br />Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-22552510899290741092011-07-13T16:42:00.000-07:002011-07-16T06:18:13.535-07:00Marax: Black Veil Of The Sanguinarian, Crawlspace Atrocities, My Suicide Note Penned In Sound<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjguT-HmxPZSXQ157C6uZXver9o1X0VKOKKXHBPEmQ-bLuRL3Eme-wweAh-rYdXyPDK5o_Qu8o_lnb5bNA9UmykYZFoIFtjsiFDi3OURN1at0EPa3rAGsmt1Ay8iZqqED5Gkv6tpwj_Pt4/s1600/crawlspace+atrocities.jpeg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjguT-HmxPZSXQ157C6uZXver9o1X0VKOKKXHBPEmQ-bLuRL3Eme-wweAh-rYdXyPDK5o_Qu8o_lnb5bNA9UmykYZFoIFtjsiFDi3OURN1at0EPa3rAGsmt1Ay8iZqqED5Gkv6tpwj_Pt4/s400/crawlspace+atrocities.jpeg" alt="" id="BLOGGER_PHOTO_ID_5628989470639671474" border="0" /></a>MARAX (Muchausen Sound Cat. #MS-10) Crawlspace Atrocities (2011) CDR<br /><br /><div style="text-align: left;">Eric Crowe began his <a href="http://www.discogs.com/artist/Marax">Marax</a> noise project in 1998 after a year or more of concentrated work experimenting with sounds, field recordings and electronics. His first release, titled <a href="http://www.discogs.com/Marax-Feel-Free-To-Fuck-Me/release/536016">"Feel Free To Fuck Me"</a>, was nearly impossible to find until later reissued by <a href="http://www.crucialblast.net/">Crucial Blast</a>. Even at this early stage, Marax had his sound blueprinted, his work consisting of abstract electronic textures, sometimes pounding, rhythmic, harsh walls of distortion, with high pitched feedback squalls, and, nearly always, a vocal presence. He continued to release a lot of work until the mid-2000's and then seems to have gone on a hiatus that lasted about five years. He is now again very active and since 2010 many albums have been released, mostly cd's.<br /><br /><a href="http://www.discogs.com/Marax-Crawlspace-Atrocities/release/2760560">"Crawlspace Atrocities"</a>, though newly released, belongs to that first period of Marax's work as it was recorded at a live concert in 2003. Whatever was going on at The Highnote in Birmingham, Alabama on that night of June 27th, couldn't have possibly prepared the audience for this sonic manifestation of pure evil! Beginning with a low bass rumble against an echoey backdrop of media snippets, soon the bass texture becomes an angry drone with electromagnetic fields fluxing around the edges. A voice enters, whispering in an anguished tone, you find yourself in the dwelling, or mind, of a maniac. A powerful electric current builds forcefully to an abrupt end, changing the mood as if a door slammed. Now it is even darker and more forbidding. A recurring loop lurches into the frame, then the voice returns, Golem-like, admonishing you over and over.<br /><br />Drawing equal inspiration from black metal, dark-ambient and noise genres, the result is a quite literal soundtrack of sinister evildoing. As a live performance this is very well-controlled, deliberate, the chaotic aspects associated with noise music are reigned in, compressed, making it feel as claustrophobic as it ought to be considering the subject matter. It takes on the feel of time passing slowly, while you are always at the edge of dread, with strong visual aspects that combine to create a stunning horror film soundscape!<br /></div><br /><br /><br /></div><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiePB9EqESN_L2YTtrGB7sjtf0FZMUrQETDkXVziKXkFVLozkwoduV67gqbibnz4TV6KnzISabEYgSTm7uyIpAFlp5DsizoWbSt2z0YSHsE776jkmJ_JYzeosV02NQr11m3kIocrNYu7Fg/s1600/marax_my_suicide_note_cover.jpeg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 390px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiePB9EqESN_L2YTtrGB7sjtf0FZMUrQETDkXVziKXkFVLozkwoduV67gqbibnz4TV6KnzISabEYgSTm7uyIpAFlp5DsizoWbSt2z0YSHsE776jkmJ_JYzeosV02NQr11m3kIocrNYu7Fg/s400/marax_my_suicide_note_cover.jpeg" alt="" id="BLOGGER_PHOTO_ID_5628989462130109378" border="0" /></a>MARAX (Sensitive Receptor Cat. #01) My Suicide Note Penned In Sound (2011) CDR<br /><br /><br /><div style="text-align: left;">One look at the Marax discography reveals Eric Crowe's complex obsession with death and suicide. For a time he was working on a proposed twelve album release schedule for Crucial Blast that was titled "For The Love Of Death". I'm not sure that series was ever completed, but Marax, in 2011, is finding new ways to express his thoughts and feelings about death in his music.<br /><br />"My Suicide Note Penned In Sound" is a brand new work from Marax. This is the first release on the <a href="http://www.sensitivereceptor.blogspot.com/">Sensitive Receptor</a> label based in Bremen, Georgia. Limited to 100 copies, this pro-duplicated cdr comes in a sleeve with artwork as stark and minimal as the sound of the work itself. The single composition here runs a little over an hour in length and delivers a statement of dire consequence. As though we are in the mind of the person penning the suicide note, everything is seen through a veil of self-doubt, all mental processes running simultaneously. The finality of this grim epic of life and it's sad conclusion are exemplified by a massive, droning, deep well of noises, a sort of minimalism/maximalism that, with volume, reveals many layers, but outwardly seems to sort of hover, no movement except what is in the timbre of the noises and the details of sounds that can only be perceived through a dazed fog. Placing the listener in exactly the kind of emotional place one would correlate to that of a person contemplating such an act of permanence. For fans of the <a href="http://harshnoisewall.blogspot.com/">"Harsh Noise Wall"</a>(or HNW) style this will become your new obsession. Further delineates the labyrinthine nature of Marax's work, his sound cannot be pigeonholed, whatever the approach, he is making noise music of the highest order.<br /></div><br /><br /><br /></div><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhBWPxVPR1LDvBIoHo00ZCMUmr3MR3TSlEHs1kljoSgokd5aQDfafzGp_te-aQ2etablXFkursFQAgUA3p0oJ9DA76G4IORNrLYIcKpoHTKoYWq90MqvT7CcIncEbIOE_7ak-VH3zToMg/s1600/marax_black_veil_cover.jpeg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 265px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhBWPxVPR1LDvBIoHo00ZCMUmr3MR3TSlEHs1kljoSgokd5aQDfafzGp_te-aQ2etablXFkursFQAgUA3p0oJ9DA76G4IORNrLYIcKpoHTKoYWq90MqvT7CcIncEbIOE_7ak-VH3zToMg/s400/marax_black_veil_cover.jpeg" alt="" id="BLOGGER_PHOTO_ID_5628989475775500610" border="0" /></a>MARAX (Crucial Bliss Cat. #Bliss34) Black Veil Of The Sanguinarian (2008) CDR<br /></div><br />Reaching back a few years, we have Marax's "Black Veil Of The Sanguinarian", released on the Crucial Blast label in 2008. Eric Crowe's dreams and nightmares come to life on this album. Under the alter ego of his noise project, Marax, he has found a way to embody his fears, neuroses, repulsions and express them sonically in ways that are profound. As a regular noise listener, I have the benefit of recognition of the vocabulary, but imagine the shock of a newcomer to the genre when listening to this? one who does not know the language?! Inviting comparison in style to such artists as Ultra, or Schloss Tegal, but still sounding totally individualistic and that's one of the things I dig about Marax, his music does seem to come from an earlier time when noise was distinctly tied to so-called "industrial" culture. His music is dense, dramatic, forceful, visionary, filled with layers of intuitive meaning and creating, for me, a vivid dream state. For those of you who dig noise/drone this is one of the best releases I could recommend!<br /><br />Info & updates on Marax via official Facebook page: <a href="http://www.facebook.com/pages/Marax/192186037471077">HERE</a><br />Check in with Marax <a href="http://www.discogs.com/sell/list?seller=marax">HERE</a> to browse available releases.Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-979312293094752292011-06-21T16:18:00.000-07:002011-06-23T18:50:09.914-07:00Morgan Rankin: Blondz In Heat, Gnarly Sheen, Swamp Horse<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-puOOn9id8RhJT4oj1i0ZJ6iSPzWmR4csjvUUie32w686VhBMmGGUcApLrcWLt-lkTKM60pFMTnxZCGS7vKKLlY-rSkrn7wgrw4StSxDEI4NI6Iq8ICaZ6PZdObBxb2SjHpp8pQOoJcE/s1600/gnarly_sheen_danger_dancers.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 349px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-puOOn9id8RhJT4oj1i0ZJ6iSPzWmR4csjvUUie32w686VhBMmGGUcApLrcWLt-lkTKM60pFMTnxZCGS7vKKLlY-rSkrn7wgrw4StSxDEI4NI6Iq8ICaZ6PZdObBxb2SjHpp8pQOoJcE/s400/gnarly_sheen_danger_dancers.jpg" alt="" id="BLOGGER_PHOTO_ID_5621124521994154418" border="0" /></a>GNARLY SHEEN (Factotum Tapes, Fact019) Danger Dancers (2010) Cassette<br /></div><br />Gnarly Sheen, is one of Morgan Rankin's many sound projects. He is the co-founder of <a href="https://www.facebook.com/huskrecords">Husk Records</a>, an original member of <a href="http://www.discogs.com/artist/Cadaver+In+Drag">Cadaver In Drag</a> and has been very busy working with fellow Kentuckian and label-mate, <a href="http://www.myspace.com/joshlaynoise">Josh Lay</a>, in a variety of groups and contexts. Gnarly Sheen, in consideration of it's rhymed namesake and his recent media exploits, invites absurdist comparisons. But, one listen and it's easy to see that Rankin is pursuing a specific type of sound that's not as absurd as the name may seem.<br /><br />Case in point: "Danger Dancers", a limited edition release on the <a href="http://www.myspace.com/factotumtapes">Factotum Tapes</a> label. This is an interesting oddity, a real lo-fi bedroom style recording here, starts off with guitar and bass, then a synthy keyboard starts to creep in. Very interesting the way this is eq'ed, the treble end of the spectrum is reduced and the bass elements are boosted, so the audible high end is buried low in the mix. Best listened to in headphones, the sounds don't turn to mud, but they do change in color and sometimes overload the capacity of the tape as well. Whether it was recorded digitally or on an old school multi-track tape recorder, Rankin certainly makes this sound analog.<br /><br />First and foremost, the album is an assemblage of moods and, as the B side reveals, it is horror film soundtrack music too. Created using a more or less conventional rock instrumentation, but without drum rhythms, these compositions sort of slither along at their own pulsing pace. The collaging is done very cleverly, small sounds creep in around the edges, voices, snippets, film clips, it's hard to tell the origin of all these, but they possess a subliminal impact that's hard to resist. Like being drawn into a carnival world where none of the rides work properly, they either go too slow or suddenly lunge into super speed, at any point making no sense, then suddenly making perfect sense!<br /><br />Morgan Rankin, under the guise of Gnarly Sheen, is paring away at the inherited conventions of rock music structure and the results sound like "outsider art" of the best sort. Quirky, yet compelling... and so good!<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6cxSshD6XK7FiKEaBex26W3V3UiP-90Ph1CefyiVu-IHnKT4XeJI3KyymXCMSAv-3JOZA0tdA9PxS1ZXfL-BYRwUD99_olFB3-_jO2BgNu2vHCQnZ08AjtlzSkeXrbCpQO8YCMrYjt5Y/s1600/blondz_in_heat_cover.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 177px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6cxSshD6XK7FiKEaBex26W3V3UiP-90Ph1CefyiVu-IHnKT4XeJI3KyymXCMSAv-3JOZA0tdA9PxS1ZXfL-BYRwUD99_olFB3-_jO2BgNu2vHCQnZ08AjtlzSkeXrbCpQO8YCMrYjt5Y/s400/blondz_in_heat_cover.jpg" alt="" id="BLOGGER_PHOTO_ID_5621124533365673842" border="0" /></a>BLONDZ IN HEAT (<a href="http://www.huskrecords.blogspot.com/">Husk Records</a>, Husk#82) Here For Beer (2010) Cassette<br /></div><br />Kentucky is, indeed, home to some creative weirdos, not the least of which are Josh Lay and Morgan Rankin, the perpetrators behind <a href="http://www.discogs.com/artist/Blondz+In+Heat">Blondz In Heat</a>, a bizarre combination of garage, metal and thrash punk. Apparently the band, originally a trio, was formed in 2001 and before being disbanded two years later, recorded some demos and cassettes. Now resurrected as a duo with Rankin on guitar/vocals and Lay on drums/vocals, "Here For Beer" finds them roaring out of the gate like a gang of drunk, methed-out bikers. Blondz In Heat's only mission is to find something, <span style="font-style: italic;">anything</span> that will offend you... and for those not offended, raise your fists! With lyrics like: "I want blood on my dick, I don't care if you think I'm sick" or "I've been watching you from across the room and I've got nothing else to do, so let's get drunk and fuck" this band won't be very endearing to your parents, or your wife, but that's precisely the point. Juvenile as it may seem, sometimes in a moment of drunken angst all kinds of lunacy might emerge from a person's mouth. There's a lot of angst in this world... and a lot of beer too and Blondz In Heat provides a seemingly accurate manifestation of the <a href="http://en.wikipedia.org/wiki/Gummo">Gummo</a> generation's punk rock.<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB2hFe0xpBdKa853oux7qYKyxGoRl5y8AboTDzyFna_74ByXOP9MEIozJJkXiBObT3d76Cw0XmBMhHz_62aGr6RfurpGPM7Bwdx6DGIH5b5_nu9Ov5feFBv74VoeDjTg5k3CT_ufNrZ2E/s1600/swamp_horse_oracle_cover.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 202px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB2hFe0xpBdKa853oux7qYKyxGoRl5y8AboTDzyFna_74ByXOP9MEIozJJkXiBObT3d76Cw0XmBMhHz_62aGr6RfurpGPM7Bwdx6DGIH5b5_nu9Ov5feFBv74VoeDjTg5k3CT_ufNrZ2E/s400/swamp_horse_oracle_cover.jpg" alt="" id="BLOGGER_PHOTO_ID_5621123836596937490" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXg5ujUqhysKqMndYf5Eoo9QYurFP7dqt1WEa7YBVHrhhM6gUX-eu8Zkjqy2X5VEf7sfjjOC1Al7ItMOPaIzWJBEoxx-u1oOyaElzqRAn4k8gBmEIegdo9gE4HjfYexrMB2sH-sRoEaRY/s1600/swamp_horse_oracle_cdr.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 200px; height: 199px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXg5ujUqhysKqMndYf5Eoo9QYurFP7dqt1WEa7YBVHrhhM6gUX-eu8Zkjqy2X5VEf7sfjjOC1Al7ItMOPaIzWJBEoxx-u1oOyaElzqRAn4k8gBmEIegdo9gE4HjfYexrMB2sH-sRoEaRY/s200/swamp_horse_oracle_cdr.jpg" alt="" id="BLOGGER_PHOTO_ID_5621124861443495810" border="0" /></a>SWAMP HORSE (<a href="http://www.dumpsterscore.org/">Dumpsterscore Home Recordings</a>, DSC#079) Oracle (2010) 3" cdr<br /></div><br />Here's another duo project by Josh Lay and Morgan Rankin, and I was already familiar with them, since I had named Swamp Horse's "<a href="http://www.discogs.com/Swamp-Horse-Perpetual-Drip/release/2558934">Perpetual Drip</a>" on my <a href="http://spiritualarchives.blogspot.com/2011/01/2010-favorites-other-lists-phillip-b.html">top ten list</a> from 2010. Most fortunate for me, "Oracle" turns out to be even better than that and solid proof that this duo can create wondrous worlds of sound! This mini cdr consists of a single track over 15 minutes long. This is noise/drone of the best kind, where no single instrument is recognizable, just approximations of sounds from your dreams, or nightmares. Mountain horns, cave voices, bat hordes swooping, sung incantations, water rushing and building around your ears, this is psychedelic, spacey and remarkable. Near the end rushing noises swallow up satanic choirs leaving a charred landscape that whirrs on into nothingness. As I have said elsewhere, Swamp Horse's music is brilliant and profound.<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_jsvXNJA8gaGWSSjJLqvkjlEOGhE0njyfPqXSSHrvz7V2JjvmnXeMlhojpyDxsY9sGe5qnNxqbTTbEHHl0u8p0GUFINPbRd7-7PQWRww_hpC30THH8qTaViHmOteoaPBZN141AsH3Quw/s1600/gnarly_sheen_alien_soundtracks_split.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 234px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_jsvXNJA8gaGWSSjJLqvkjlEOGhE0njyfPqXSSHrvz7V2JjvmnXeMlhojpyDxsY9sGe5qnNxqbTTbEHHl0u8p0GUFINPbRd7-7PQWRww_hpC30THH8qTaViHmOteoaPBZN141AsH3Quw/s400/gnarly_sheen_alien_soundtracks_split.jpg" alt="" id="BLOGGER_PHOTO_ID_5621123806312822178" border="0" /></a>GNARLY SHEEN/ALIEN SOUNDTRACKS (<a href="https://www.facebook.com/huskrecords">Husk Records</a>, Husk#68) Split (2009) Cassette<br /></div><br />Morgan Rankin seems like he's taking an outsider approach with his Gnarly Sheen project and that's even more evident on these guitar based tracks on side one of this tape. This work is intimate, unique, very bedroom-ish in recording quality, with an aching, melancholy expressed through guitar ramblings and (barely) repeated themes . All coming through over a strange backdrop of what sounds like alien shortwave radio broadcasts! Despite the fact that some of the compositions wander about and sound unfinished, this set of primitivist minimalism still wrings with emotion and I really like it.<br /><br /><a href="http://www.discogs.com/artist/Alien+Soundtracks">Alien Soundtracks</a>' (named after an album by Chrome) music is quite a bit brighter in it's dynamic range. Very spacey electronic stuff with strange rhythms and washes of synthesizer sounds. A superb collage of different effects on display here, all making for a very satisfying listen. Also, despite the somewhat random pairing with the dark forecast of Gnarly Sheen on side one, this actually makes a good counterpart in terms of listening.<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJjPgsbZpWIzWw6A-UrL_0-8VNcCh3X1B3vjgXFAjC9BnnUyhhvTk__zS1F3vUwr4ZUhSz5TrOmkyTM4kX59xayUoAZWxEoG82Q54VO_1074cKu2P8WnyxyVyQAmr9jLVqvwYCzRmxi6Q/s1600/swamp_horse_obsidian_cover.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 264px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJjPgsbZpWIzWw6A-UrL_0-8VNcCh3X1B3vjgXFAjC9BnnUyhhvTk__zS1F3vUwr4ZUhSz5TrOmkyTM4kX59xayUoAZWxEoG82Q54VO_1074cKu2P8WnyxyVyQAmr9jLVqvwYCzRmxi6Q/s400/swamp_horse_obsidian_cover.jpg" alt="" id="BLOGGER_PHOTO_ID_5621123815506530322" border="0" /></a>SWAMP HORSE (<a href="http://www.myspace.com/factotumtapes">Factotum Tapes</a>, Fact011) Obsidian (2010) C22<br /></div><br />On "Obsidian", Swamp Horse creates a dramatic, minimalist soundscape that contains sharp edges and it's simply one of the best things I've heard by them. Throbbing carpets of bass drone on against sustained organ chords, subtle tonal shifts emerging through dark swaths of sound. The creators behind this beautiful tape, Josh Lay and Morgan Rankin, have succeeded in tempering their collaborative approach into one seamless whole. No egos exist here. Obsidian, a type of volcanic glass, is not created during the volcanic upheaval but, afterwards, during a short and calm cooling off process, it's beautiful black surface can be streaked with rainbow colors caused by molten gas bubbles. The sounds on this tape are metaphorically perfect as a representation of this and, as an example of ambient drone music, this is outstanding. Highly recommended!Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-9526703388083891472011-05-14T14:34:00.000-07:002011-05-14T18:58:43.608-07:00Cathartic Process: Bucketovsissors, Clew Of Theseus, Dajjal<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlCsfOELItD9y4OgbJtOve4TFlDEw_SIPvDbW4QyaZdLVWhHxw80_ushIWbitEccxy2SIa6Q9jA_EY2qAm5CY2WOE0gWeNxIp273TD4ImVqpuN9YNk-0tPXLxHYfjZi3ACt113MY_m5oU/s1600/cot_live_cover.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 387px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlCsfOELItD9y4OgbJtOve4TFlDEw_SIPvDbW4QyaZdLVWhHxw80_ushIWbitEccxy2SIa6Q9jA_EY2qAm5CY2WOE0gWeNxIp273TD4ImVqpuN9YNk-0tPXLxHYfjZi3ACt113MY_m5oU/s400/cot_live_cover.jpg" alt="" id="BLOGGER_PHOTO_ID_5606727102108991074" border="0" /></a><br /><div style="text-align: center;"><span style="font-size:85%;">CLEW OF THESEUS (Cathartic Process #CP32) Live, July 3, 2010 (2011) C60</span><br /></div><div style="text-align: center;"><br /></div>The new <a href="http://www.discogs.com/artist/Clew+Of+Theseus">Clew Of Theseus</a> tape, titled "Live July 3, 2010", consists of three separate performances from the same day, in concert, at the Vesica Piscis Cathedral in Flagstaff, Arizona. My expectations were already high, given my familiarity with the mastermind behind this project, Ben Brucato, who has created an impressive discography over the last 15 years of brilliant noise and experimental sound works. Brucato is obsessive about the smallest details of his recordings, a very careful and discerning composer, setting his work apart from the slopmeister improv set who release every session they record. (there are arguments against and in favor of both of these ethics)<br /><br />The A side is a 30 minute track simply titled "First Performance". Unfolding slowly, but with electric tension, this minimalist composition is made up of long, sinuous tones and strange, buzzing frequencies that drift through the wastes of a vast space. That space slowly becomes filled with a stern, but magisterial, sounding drone. This music, for me, has many metaphoric possibilities: the slow movement of time, shifts in tectonic plates, eons of existence/non-existence, generations swallowed up by generations. This is not a romantic, or nostalgic vision, nor is it cynical, there is no crescendo, yet the rising, falling and overlapping of tones contains an inherent accumulation of energy. At the end it feels like emerging from a time-portal to be in exactly the same place, but feeling profoundly elevated and refreshed. I rank this track up there with the very best ambient music that I have <span style="font-style: italic;">ever</span> heard. Not to mention this could be performed by an orchestra with great results and hopefully, one day, will.<br /><br />"Second Performance" begins the B side with some of the same characteristics as the first live set, a circular feel to the sound elements, a hovering effect, but the sounds are more distorted and grittier around the edges. This is a strong counter-piece to the earlier performance, at 12 minutes there are no lulls and Brucato is in complete control of his resources.<br /><br />The bonus track, "Recorded During Sound Check", is the surprise of the tape, a really nice bonus for the listener, as Brucato takes on the ambient genre directly and with eloquence. Don't let it's humble soundcheck origins fool you, this is a composition that feels complete on it's own, it may be an edit, but doesn't <span style="font-style: italic;">sound</span> like one. Here we have a really beautiful floating track that is without darkness, yet is compelling on it's own terms all the way through. The austerity and control maintained by the composer in the live execution of these sound structures, his peerless mastery of technique, are at once fascinating and insightful.<br /><br />The fetishistic tape/vinyl underground culture has created a retro-worship of analog sound. But Clew Of Theseus, I think, deserves the ultimate hiss-free and stereophonically wide characteristics of digital sound. So it's too bad CD's don't sell any more! Fortunately, the tapes released on Brucato's label are the ultimate in cassette sound, I have never heard better dubs, very little in the way of hiss, and able to contain all frequencies without overloading, or compressing. Amazing!<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ3IDFS9bY4FAXTKLK6q6o-uas7W1qMaOMe2mOYWaDTDzsLrEHI9h2O9Sa1lPD3N4I6Mqpc7zmKDsBE82x86ZRSgfjQWPTfupmwFN_DU4iRbGnalbBXOUPN2uPs0F8gCW8qHFhPcorjYs/s1600/dajjal_cover.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 394px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ3IDFS9bY4FAXTKLK6q6o-uas7W1qMaOMe2mOYWaDTDzsLrEHI9h2O9Sa1lPD3N4I6Mqpc7zmKDsBE82x86ZRSgfjQWPTfupmwFN_DU4iRbGnalbBXOUPN2uPs0F8gCW8qHFhPcorjYs/s400/dajjal_cover.jpg" alt="" id="BLOGGER_PHOTO_ID_5606705741789649026" border="0" /></a><span style="font-size:85%;">DAJJAL (Cathartic Process #CP30) De-Evolution in Simulation Generators (2011) C90</span><br /></div><br />The new "De-Evolution In Simulation Generators" by <a href="http://dajjalrising.blogspot.com/">Dajjal</a>, on <a href="http://www.discogs.com/label/Cathartic+Process">Cathartic Process</a>, is a ridiculously great tape! First thing I notice is the superb sound. One thing I will say about tapes on Cathartic, they have the most amazing sound quality I think I've ever heard: virtually no tape hiss, little compression and no bleed-through! Really beautiful dubs. So who is the mysterious Dajjal? Whoever he/she is, they've created a throwback, in a sense, to early industrial noise, and have really come up with something to be feared on this release. This is the aural equivalent to being one of the human guinea pigs in "Rubber's Lover", subjected to intense and unbearable sound frequencies! Fucked by noise, basically. An extraordinary and imaginative release, it's hard to believe this was recorded live to cassette, what a feat at ninety minutes! Just one more reason to believe that the youth of the noise generation have fantastic possibilities, that the noise scene is not stale or running out of creative steam. There are no cliches on this release. Take my word for it, this is better than almost anything else out there, a must-have. Highly recommended!<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY7LNwXmVAuNq0lImz-gePfKws5LFDczuvyihlowshBiCWhwLW3eCj_gr0pH-QL7eL_VpbdKO7SpFNSL8mK1vfvUv63ddC7Gtrr9YagTW0Ew09hEUT7m9QlNkXCmRpTLz21UU27VPtL2Q/s1600/cot_bucketov_split.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 254px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY7LNwXmVAuNq0lImz-gePfKws5LFDczuvyihlowshBiCWhwLW3eCj_gr0pH-QL7eL_VpbdKO7SpFNSL8mK1vfvUv63ddC7Gtrr9YagTW0Ew09hEUT7m9QlNkXCmRpTLz21UU27VPtL2Q/s400/cot_bucketov_split.jpg" alt="" id="BLOGGER_PHOTO_ID_5606705746214844754" border="0" /></a><span style="font-size:85%;">CLEW OF THESEUS/BUCKETOVSISSORS (Cathartic Process #CP21) Split (2011) C40</span><br /></div><br />Also released on Cathartic in 2011, the Clew Of Theseus/<a href="http://www.widerstand.org/artists/buckettovsissors/">Buckettovsissors</a> Split cassette. Each artist has composed two tracks for this project and, though they are not thematically related, there is a cohesive quality to the album that I really enjoyed.<br /><br />I think I understand now what Ben Brucato, with Clew Of Theseus, is trying to do in his work. His sound paintings are becoming deeper meditations, more possibly religious even. But he <span style="font-style: italic;">is</span> painting, and these paintings have a solemnity, a humble quality, yet they are also monumental. In a way, it's like the landscape of Arizona, where he lives, wind-licked, ancient landscapes that have quietly survived the harshest conditions, while passing overhead are skies of the most beautiful colors... I feel more and more his sound-world does reflect the experience of living there. I don't think this is uncommon for artists who have lived in Arizona, as I think that even my friends, Jeph Jerman and Adam Mokan, have found their music altered by that profound landscape.<br /><br />The first track here is a really beautiful rising and falling ambient drone composition. Many frequencies of sound passing through the spectrum. The splice at the point where tracks one and two meet will make you jump out of your seat! But we're immediately in a darker place then. Bass frequency looming there below as an array of sonic colors pass over and build ever changing surfaces, each part of the composition always moving but without a strong forward push, so more of a hovering, buzzing, or in my estimation, "painterly" effect. The side ends in thundershower sounds, a direct reference again to that Arizona landscape, and the rain dissipates after some time creating a perfect ending to a really great set of works.<br /><br />German experimental artist, Theo Goodman, aka Bucketovsissors, has been active since the early 2000's, not prolific, but doing some very interesting soundwork in that time. I have to say it's a great pairing here, and thank goodness, as split tapes should at least <span style="font-style: italic;">sometimes</span> sound thoughtfully curated. Bucketovsissors provides the more psychologically dark side to this tape, creating a blown-out, futuristic urban landscape. Whatever Goodman is using to create his sounds: synths, field recordings, turntables, one can only speculate, but what he achieves in this music is really interesting, a world of machines in control, listened to in a certain frame even the titles then could be said to be satirical through those eyes. "The Enlightened Man" has finally "found himself" at a time where he can do least in response to his enlightenment, therefore it's still a world of alienation, helplessness, slavery-and that is exactly how this music sounds. Excellent metaphorical noise!<br /><br />Get these brilliant releases at Cathartic Process. The online catalog is <a href="http://catharticprocess.com/cp/?page_id=16">HERE</a>.Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-42971706615682286462011-05-02T19:06:00.000-07:002011-05-10T04:11:35.509-07:00Disintegrating Minds, Hal Hutchinson, Steve Kenney<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRuuq-zEEfV7RbMxQBcdPj11DdP6_0RkZcAzcHxNzwMqWFlx6M_K-Egv4Zwuo5mN6QWfTyGdnjupV7UCCuNtVe0lT_0HP1YCOilLBvTI-nK_d13Wh94a_Ww0spOmDSrE4ZtGCI1imdAnE/s1600/hal+hutchinson+tape.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 196px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRuuq-zEEfV7RbMxQBcdPj11DdP6_0RkZcAzcHxNzwMqWFlx6M_K-Egv4Zwuo5mN6QWfTyGdnjupV7UCCuNtVe0lT_0HP1YCOilLBvTI-nK_d13Wh94a_Ww0spOmDSrE4ZtGCI1imdAnE/s400/hal+hutchinson+tape.jpg" alt="" id="BLOGGER_PHOTO_ID_5602305649027835618" border="0" /></a><span style="font-size:85%;">HAL HUTCHINSON (Freak Animal Records, no cat.#) Taste Of Iron (2010) C20</span><br /></div><br /><a href="http://halhutchinson.blogspot.com/?zx=ad97de9096f9d941">Hal Hutchinson</a> is one of my favorites of the younger noise musicians, his work first came to surface around 2009, but since then he has become extremely prolific, releasing many works under his own name, but also creating different personas. Such projects as Controlled Property, Execution Support Act, Extreme Penetrations, Killer Department, Meatgrinder, Pollutive Static, etc. link his preoccupations with many of the concerns of the first generation of industrial artists. It's not possible to encapsulate the sound of his noise music in a sentence, he varies his approach from release to release, but what I can say is Hutchinson creates some of the most powerful sounds I've heard coming out of the new noise generation!<br /><br />This tape release is titled "Taste Of Iron", consists of two tracks, two parts not unlike one another, and represents a new method for Hutchinson to create his soundscapes, this time using scrap metals: sheet metal, perhaps chains and hooks, hammers and so on. In utilizing the junk heap this comes the closest I've heard yet where Hutchinson's work has now become "electroacoustic". It's still noise, or compounded of "noises", and there appears to be looping, overlapping, some type of multi-track manipulation of the original sound sources, but not so much as to distort the actual scrap metal sonics beyond the realm of their origins. So here we have maybe a throwback to SPK? The nephew of F.M. Einheit? A younger cousin of Knurl? No way! Because what Hutchinson does with this composition is quite unique, he suspends it outside of time by creating a minimalist/maximalist sonic painting that just hovers there. Though many of the sources were created by hammering on, or banging together pieces of metal, the sounds are not percussive in this context, they are textural. Many of the scraping sounds have an almost melodic content and create minimalist brush-strokes that colorize throughout. The movement in the piece is lateral, not forward, seems to stay in the same place, yet always, paradoxically, moving. After listening for 10 minutes you no longer know where you began, or where you are at within it, this constant hovering movement swallows up logic and what remains is ephemeral impressions of ancient and mysterious beginnings. Very well recorded close-up sound with great acoustic space and natural overload distortion, impressive in the headphones.<br /><br />Beautiful cover, great sounds! Get it <a href="http://www.cfprod.com/fa/">HERE</a>.<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQDrllI5ZLh1WaaFD5lrN-72s3zsPdA3dQf3ed1hbD8HKAsJsbKLbDkrISwBpRdBJBZO6ZDPedSDcu2ntN2gC_MZUZXfpIBOTO2BIW6hfFE8EuQTDwoHuSwXBV2Rjt24ckLYpIpI8wFDk/s1600/steve+kenny+cover.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 385px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQDrllI5ZLh1WaaFD5lrN-72s3zsPdA3dQf3ed1hbD8HKAsJsbKLbDkrISwBpRdBJBZO6ZDPedSDcu2ntN2gC_MZUZXfpIBOTO2BIW6hfFE8EuQTDwoHuSwXBV2Rjt24ckLYpIpI8wFDk/s400/steve+kenny+cover.jpg" alt="" id="BLOGGER_PHOTO_ID_5604878826251150066" border="0" /></a><span style="font-size:85%;">STEVE KENNEY (905 Tapes #99) Outside The Circles Of Time (2010) C20</span><br /><br /></div><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHh-u4F2_9ABSiAQqdLxIJM47MmAO_GC5_2-boNeWrg9rhm2Mc0h385p8EYB2EMYZ1orGYAwbvQFnyrKve6w9q2xg4y_adXvvLeS6BQaIRNZqE44aIcdtZ6tJLtSwl7ZiehoewK4vcmIM/s1600/steve+kenny+cover_edited-1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 254px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHh-u4F2_9ABSiAQqdLxIJM47MmAO_GC5_2-boNeWrg9rhm2Mc0h385p8EYB2EMYZ1orGYAwbvQFnyrKve6w9q2xg4y_adXvvLeS6BQaIRNZqE44aIcdtZ6tJLtSwl7ZiehoewK4vcmIM/s400/steve+kenny+cover_edited-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5604878833348073554" border="0" /></a><span style="font-size:85%;">color insert</span> for <span style="font-size:85%;">"Outside The Circles Of Time"<br /><br /></span></div>Sometime late in 2010, <a href="http://www.discogs.com/artist/Steve+Kenney">Steve Kenney</a> sent me his solo tape called "Outside The Circles Of Time", a release on the 905 Tapes label. 905 is a very prolific noise/experimental label run by Mike Haley, etc., their tape releases number in the hundreds. Steve Kenney, a Detroit native, has collaborated with such Michigan extremists as Andrew Coltrane, Aaron Dilloway, Pete Larson, and also with Nate Young and Alivia Zivich in the Demons project. For those listeners who dig synth-noise this tape will be for you. Side one starts with a droning synthesizer slowly phasing, very minimal at first but with other frequencies emerging. Sounds piling up, any touch of a knob on the synth, or the pitch wheel, begins a repeating pattern that is soon swallowed by the densely layered drone changing it at every instant. Suddenly I'm listening to 70's space rock, Cluster, or Tangerine Dream and then an ending. A beautiful study in sound frequencies.<br /><br />The flip side takes a more noisy approach. Still very minimal, but more psychologically engrossing, this is a study in tension released only by the falling tones. The ear searches for subtle changes, the small effects and smears of sound, ten minutes later, it ends as it began, as a sort of unanswered question. Both sides of this tape made me think of Roscoe Mitchell's "S II Examples" in their austerity, or maybe some of Sun Ra's less bombastic solo Moog performances. Oddly enough, on both tracks, some very interesting new sounds begin entering just before each piece ends, making it feel like the pieces were culled from longer improv sessions.<br /><br />To contact 905 Tapes go <a href="http://www.905tapes.com/">HERE</a>.<br /><br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYyrBxOjAs7mF575Ft8Pzwun2Dhyphenhyphenb14V-1bjwd51RQl9PkH0zhDbFxPWjf8e337p97GwOtgGzGl7GYUtfsh-4Me1svNGrYd5JUWX0RrWaB4a0gcmp92PaBuuJVhInRMlm34bTSPhY9Tk8/s1600/disintergating+Minds.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 381px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYyrBxOjAs7mF575Ft8Pzwun2Dhyphenhyphenb14V-1bjwd51RQl9PkH0zhDbFxPWjf8e337p97GwOtgGzGl7GYUtfsh-4Me1svNGrYd5JUWX0RrWaB4a0gcmp92PaBuuJVhInRMlm34bTSPhY9Tk8/s400/disintergating+Minds.jpg" alt="" id="BLOGGER_PHOTO_ID_5604890885105791170" border="0" /></a><span style="font-size:85%;">DISINTEGRATING MINDS (Hermitage Tapes) Crisis Center (2010) C60</span><br /><br /></div>Disintegrating Minds is an <a href="http://www.discogs.com/artist/Andrew+Coltrane">Andrew Coltrane</a> one-off(?) project and this cassette, "Crisis Center", was released in 2010 on his Hermitage Tapes label. Hermitage is one of the best noise labels in the U.S. and Coltrane is more than just an affable and involved face on the Detroit noise scene, he has also created a formidable discography of exceptional releases in many different sound approaches.<br /><br />This tape is a weird one, another minimalist/maximalist epic, beginning with a very long and slow-building drone, a tribal rhythm down low in the mix, synth on top, one frequency rising with a bubbling/stuttering loop repeating over and over. The compositional structures here seem static, unchanging, but the changes are not overt, they are in the timbres. When listened to carefully the movements in the compositions do reveal themselves. Under headphones, or with volume, the sounds are impressive and easy to get lost in. This strange tape is the perfect metaphor for a mind that is breaking down and unable to process information in a typical way. Inside the obsessive thoughts of a disintegrating mind, these compositions become the agonizing equivalent of a lunatic mantra that over-and-over addresses, very potently, the alienating forces in life.<br /><br />A great release! I also really like the cassette cover which reminds me of 80's United Dairies releases, get at Andrew and Hermitage Tapes <a href="http://www.myspace.com/hermitagetapes1">HERE</a>.Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0tag:blogger.com,1999:blog-4421117645626085507.post-73349550375294681092011-04-19T16:48:00.000-07:002011-06-23T19:13:19.414-07:00Solar Anus: The Haters, Screwtape, Undecisive GodAndrew McIntosh's amazing style of noise came my way via three cassettes on his <a href="http://www.discogs.com/label/Solar+Anus">Solar Anus</a> label. Andrew is an Australian noise artist and has, evidently, been creating sounds since (at least) the mid-90's, although I was only aware of his activities since the late 2000's. His most notable project is called <a href="http://www.discogs.com/artist/Screwtape+%282%29">Screwtape</a> and I'm already a big fan judging by these unique releases!<br /><br />I'll start with the one that immediately grabbed my attention by it's title:<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqZqkWKP3U2ycyZlonrEeVqB_29CBKtmgWOKPkEGyrvGDO4PR8W5wLyW91VfzEq80nPqjlmRHrOraGyH1wMI4MlBJ3rlLc-uIdeanwDhkIlVve-I0n45HSmXe1DG2ZenCEFo2Rgr-3M0Y/s1600/scewtape_eat_your_soul.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 358px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqZqkWKP3U2ycyZlonrEeVqB_29CBKtmgWOKPkEGyrvGDO4PR8W5wLyW91VfzEq80nPqjlmRHrOraGyH1wMI4MlBJ3rlLc-uIdeanwDhkIlVve-I0n45HSmXe1DG2ZenCEFo2Rgr-3M0Y/s400/scewtape_eat_your_soul.jpg" alt="" id="BLOGGER_PHOTO_ID_5597447752635956658" border="0" /></a>SCREWTAPE (Solar Anus #SA13) I Ate Your Shit, Now I'll Eat Your Soul (C49)<br /><br /></div>"I Ate Your Shit, Now I'll Eat Your Soul" is a retrospective album, all tracks recorded between 1996 and 1999, long before anything was officially released by Screwtape. The A side begins with "Machinescrew", an unrelenting drum loop which, after a short while, stops abruptly, then starts right back up only now surrounded by a dense set of noises slashing through the mix, stereophonically filtering through the crackling hum. Listened to with volume, through the layers, reveals what seems to be a well-sequenced track, drums, instruments, vocals even, that is saturated beyond recognition with static, distortive elements. It's companion piece, the final track on side one, "Machinescrew II" (arguably the more effective of the two) again sets up a minimalist structure, à la Martin Rev, of unreleased martial tension that doesn't let up until it's own abrupt ending.<br /><br />It is on the tracks in between these two where the greatest things on this tape happen, these longer soundscape tracks, and the fascinating thing about listening to them is the feeling that their origin is obscured, that they seem not graspable as having a standard set of musical rules, but then what am I hearing underneath this surface of buzzing and distortion? A sequenced synth/drum machine track? Maybe so! Maybe not. In the end it doesn't matter what the sound sources were derived from, the entire set is absorbing. The sounds are harsh but varied, oppressive but listenable, and though I wouldn't classify any of this tape as psychedelic, it's too claustrophobic, it still open up fantastic worlds... and just as quickly clamps down on them.<br /><br />The opening track on side two, "I Break For Entropy", is another monster rhythmic track that keeps you constantly wondering what will happen next. The sounds start out as one thing and evolve into something else, shifting so subtly in some places that one doesn't notice them at first, then you at once realize that the patterns, or backdrop, have changed into something else entirely.<br /><br />The finale, "I'm Going To get You...", is a harbinger of terrible things to come, beginning with a primal drum that gets slowly swallowed by noise-drone quicksand, the noise washes rise and fall in the mix, now another rhythmic addition, all this evolves into a wall of throb, then the tribal call-to-arms returns briefly only to end abruptly.<br /><br />All in all, a fascinating noise tape and, considering the date, very illuminating pathways being blazed by a young Andrew McIntosh.<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHtGVcILsOlSxZXmTVfwXw0LVfPN3DNpzzDu_GNwKVoMYEqna3vfERfoJjEohv9n3kqKd0gUKQwmD80ydby9UTt9pX_xEJCOj25OgDFxqWAXNCe5IVh0aEV_E4yCC-JCa14ID0eoFvvSc/s1600/undecisive_god__screwtape_split_tape.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 367px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHtGVcILsOlSxZXmTVfwXw0LVfPN3DNpzzDu_GNwKVoMYEqna3vfERfoJjEohv9n3kqKd0gUKQwmD80ydby9UTt9pX_xEJCOj25OgDFxqWAXNCe5IVh0aEV_E4yCC-JCa14ID0eoFvvSc/s400/undecisive_god__screwtape_split_tape.jpg" alt="" id="BLOGGER_PHOTO_ID_5597447747889353906" border="0" /></a>UNDECISIVE GOD/SCREWTAPE (Solar Anus #SA15) RPM's/Shitless (C40)<br /><br /></div>Undecisive God's "RPM's" begins with sort of random(ish) turntable pops and cracklings that begin looping into a congested rhythm. Small elements are added one at a time until this becomes a chattering drone composed of all the little repetitive sounds. Always morphing from rhythm to rhythm, until at some point late in the piece sped-up orchestral snippets begin jumping around, giving an almost demented circus sound effect to it. As tape-loop compositions go, perhaps this is not the most profound thing I've ever heard, but it held it's interest for me as I have a fascination, at any rate, with skipping cd's and turntables.<br /><br />I've got to admit that I was really looking forward to hearing the Screwtape side of this release, having just finished listening to the 1990's tracks showcased on "...I'll Eat Your Soul", I was very interested to hear how Andrew's work had evolved since that time. Certainly it is possible to hear correlations to the earlier material, but his compositions now are more multi-dimensional. The single long track here rolls to a boil with blistering electric fluxations, phased-out drones and then quiets down to a simmer just as an odd pitch-shifted vocal enters low in the mix... The voice states: "life itself is only a vision, a dream, nothing exists save empty space and you... you are but a thought", and despite the obvious heavy connotations it is better, for me, to hear that voice as a quirk, an eccentricity. Andrew obviously felt the need to point out, graphically, an important idea relative to this composition, but the impressive sound of this track already ideally embodies his conception, so in my opinion, no need for words. These sounds distill powerful ideas into pointed artistic statements.<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDjZim4KX2TXfjQibBaq-NeDnbbL70PkBqk0fpcHLTl80AYwjiYAA9IWfObs9VWKcF2B6kWDa21oUmZVKMf_BCCNu7b6HHHiV0-sUPZi7j20o-9sQOfqlmpHhYQVyKuDYWQUtFj_rmuWk/s1600/hater_screwtape_split_tape.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 386px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDjZim4KX2TXfjQibBaq-NeDnbbL70PkBqk0fpcHLTl80AYwjiYAA9IWfObs9VWKcF2B6kWDa21oUmZVKMf_BCCNu7b6HHHiV0-sUPZi7j20o-9sQOfqlmpHhYQVyKuDYWQUtFj_rmuWk/s400/hater_screwtape_split_tape.jpg" alt="" id="BLOGGER_PHOTO_ID_5597447742712835650" border="0" /></a>THE HATERS/SCREWTAPE (Solar Anus #SA17) Dirwyn 2010/We Must Destroy Them (C20)</div><br />Led off by the indomitable Haters, the sounds on this tape smash the walls of my house in with fists of stern noise. As often is the case with The Haters, there is a single-minded (not simple-minded) quality to it, as if an isolated thought were slowed down from an instant to a half hour and all the sides of that thought, all the correlations to that thought, were revealed cubistically, every facet on display simultaneous to all the others. Ultimately, and through it's overtly unchanging 20 minutes, it is a monument.<br /><br />Side two consists of a single long and very harsh noise track by Screwtape titled "We Must Destroy Them". Bursting out of the speakers a staggering miasma of electron particles with terrible aggression, something akin to blind anger emulated. As usual with Andrew's work, listened to closely is a fascination for how possibly these structures were created. This one is, by far, the most massive and distorted I have heard by him, but again perfectly embodies his concept and also perfectly complements the noise of The Haters.<br /><br />All three of these tapes are exceptional, well worth owning. They are limited edition, well-recorded (none of the tape dropout typical of some cassette releases) and I have to say I also very much like the cover graphics which are very strange. You can find the Solar Anus label <a href="http://solaranus.synthasite.com/">HERE</a>, and more on Screwtape <a href="http://solaranus.bandcamp.com/">HERE</a>.Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com1tag:blogger.com,1999:blog-4421117645626085507.post-51306901564091884622011-02-23T16:30:00.000-08:002011-02-23T19:35:56.649-08:00No Nazi Noise: Casual Male, Half Nelson, John-A-Dreams, Last Of England & Tiger HatcheryRJ Myato's new label, <a href="http://nnnco.wordpress.com/">No Nazi Noise</a>, is a concept I can get behind and I applaud his efforts to create a significant statement about the noise scene. Even if RJ doesn't agree with my assumptions, what the noise scene needs a lot more of these days are artists who are willing to take a stance towards positivity, the revelation of strength in noise and through that the nature of what is revealed by it. I've been around for so long and have seen such repetition of negative imagery and worn out ideas of what noise music is about. It's totally refreshing when young people in the scene move beyond those constrictions. Well, Mr.Myato sent me a batch of cassettes and a CDR, the cassettes I have reviewed below, the CDR will come later over at my <a href="http://trailerparkofnoise.blogspot.com/">Trailer Park Of Noise</a> blog.<br /><br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO6o69x-3HjXKgZ-DtPH87W84tX_H91ioamHNbaIYquca3jlh-T2537Rdf55rsvKBvkzQDYXqW1Wu_PN1q4XCeFKR5ECcQ0r9q5IfrqHRx5oCSUyt0P4nTeeCI23BWXtd4DubzOWUg7AU/s1600/half_nelson_th_split_cover.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 386px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO6o69x-3HjXKgZ-DtPH87W84tX_H91ioamHNbaIYquca3jlh-T2537Rdf55rsvKBvkzQDYXqW1Wu_PN1q4XCeFKR5ECcQ0r9q5IfrqHRx5oCSUyt0P4nTeeCI23BWXtd4DubzOWUg7AU/s400/half_nelson_th_split_cover.jpg" alt="" id="BLOGGER_PHOTO_ID_5577047923379661810" border="0" /></a>HALF NELSON/TIGER HATCHERY (NNN#005) Split (C20)<br /><br /><div style="text-align: left;">The split cassette by <a href="http://www.polarenvy.com/thc.html">Tiger Hatchery</a> and Half Nelson is an excursion into two sorts of free jazz noise recorded live in Pittsburgh. Tiger Hatchery have been around for a couple of years, a Chicago-based trio that consists of Andrew Scott Young, Ben Billington and Michael Forbes. The classic jazz trio is turned upside down and wrung out for all the noise shred it can muster on this. Beginning with a saxophone figure of repeating phrases, soon accompanied by what sounds like a bowed bass and some "ambient" metal percussion. The instruments move back and forth within the structure, sometimes soloing, then converging together to create a very active dronescape, sounding like bee colonies perhaps, or something darker... Impressive and picturesque freenoise. Half Nelson, named after a Miles Davis composition from the late 50's, is a newer group out of Pittsburgh that is getting a lot of attention despite a rather lean discography. Apparently, John Olson dug them enough to do a vinyl release for them on American Tapes, that should be worth seeking out. This session, recorded live and edited/mixed after the fact, starts with a saxophone and ambient percussives. Sounding a bit like some of Roscoe Mitchell's explorations of microtonal timbre (i.e. "S II Examples" from 1978), but not completely outside of melodic expression, with a repeated looped figure churning low in the mix. Then electronics kick in over the top, but the saxophone stays in the same mode, continuing the same line oblivious to the fluxing structure around it. It's a fascinating excursion that ends rather outlandishly with segments of conversation, more slices of solo sax and a fading guitar sample loop. A lot of meat to sink your teeth into for such a short cassette.<br /><br /></div><br /></div><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPGHxcrGgNJr3idkCJRCsHdl2oOYiS-wa8XTxBHrmlxtkMG7qopQq7EnIUVqqHUcs-0yrTEfgmpXsh1GzwLc7c6kMezPPqzF51B6fjPfdVOnV49uTRWgqYX72Y8AOd2V11OVOk7dA6RzY/s1600/loe_cm_split.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 394px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPGHxcrGgNJr3idkCJRCsHdl2oOYiS-wa8XTxBHrmlxtkMG7qopQq7EnIUVqqHUcs-0yrTEfgmpXsh1GzwLc7c6kMezPPqzF51B6fjPfdVOnV49uTRWgqYX72Y8AOd2V11OVOk7dA6RzY/s400/loe_cm_split.jpg" alt="" id="BLOGGER_PHOTO_ID_5577047923775603970" border="0" /></a>LAST OF ENGLAND/CASUAL MALE (NNN#0011) Split (C20)<br /><br /><div style="text-align: left;">Another short but mighty release. The Last Of England side has heavy volume tape saturation. I certainly understand this kind of noise: bleak, crushing, metaphoric of this time-frame we live in, aimlessly winding towards it's own demise, then abruptly ending without apology. Then Casual Male brings us back to the origins of industrial noise using sheets of metal percussion, chainsaw buzzing, vocal snippets, high-pitched synth sounds clamoring, like being in the middle of a riot, everything whirling, intoxicated, or like a scene from Rubber's Lover where one's "psychic power is realized when mental anguish exceeds physical pain." In the end you lay there after the stroke, helpless, as the noise laughs at you.<br /></div><br /><br /></div><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVK_eW-3KLpEZL1WBAtJNGJbGk_eaRXKd89vCgXdXnnvNBVxPgcs_ELkFjP0NYwZI3Zd66UkmXVptzOcrD6uj4raNWIZW1E_gz_3lacNooLS2yd2DPnjwX5MJxLNY2Ufz8HXdDjyrG9cI/s1600/john_a_dreams_orgy_cover.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 394px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVK_eW-3KLpEZL1WBAtJNGJbGk_eaRXKd89vCgXdXnnvNBVxPgcs_ELkFjP0NYwZI3Zd66UkmXVptzOcrD6uj4raNWIZW1E_gz_3lacNooLS2yd2DPnjwX5MJxLNY2Ufz8HXdDjyrG9cI/s400/john_a_dreams_orgy_cover.jpg" alt="" id="BLOGGER_PHOTO_ID_5577047917803210114" border="0" /></a>JOHN-A-DREAMS (NNN#007) Orgy Of The Insect People (C40)<br /><br /><div style="text-align: left;">John-A-Dreams' "Orgy Of The Insect People" is another cassette of impressive noise-din, this time a bit longer at 20 minutes a side. This is the collaborative project of RJ Myato, Ras Bongo Tuff and Brad Kline. It sounds like it might have been culled from carefully organized live improvs. Beginning with what sounds like amplified shortwave radio static against screeching, scraping loops, building and evolving. All sounds very lo-fi but with many things going on at the same time eventually creating a dense soundscape where all the frequencies merge into one, as if many unknown languages are being spoken at once, or space frequencies are bombarding radio receivers, and what remains for the listener is to decipher the codes. The B side is quite different, a long ambient noise track, with what, at first, seems to be distant foghorns rising in the mix, warnings of faraway happenings, but later reveals itself as some kind of synth-filtered vocal, panning and playing with spatial effects, building towards a surprising ending with beautiful qualities.<br /></div><br /><br /></div><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZLVI64uyJifK_Dc-ZhYS9YBeEmpv-T5ri3UIsJoyGcGZoe30zHllrZn120LYm6iI4dFQBwiHxPfeWGwc3jpFmj1njG8wHDVhwn37tgIQU7aMeOUm3wA1FEwcYSJuhn0L6jFanzbdNBe8/s1600/loe_cover.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 397px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZLVI64uyJifK_Dc-ZhYS9YBeEmpv-T5ri3UIsJoyGcGZoe30zHllrZn120LYm6iI4dFQBwiHxPfeWGwc3jpFmj1njG8wHDVhwn37tgIQU7aMeOUm3wA1FEwcYSJuhn0L6jFanzbdNBe8/s400/loe_cover.jpg" alt="" id="BLOGGER_PHOTO_ID_5577047920171640450" border="0" /></a>THE LAST OF ENGLAND (NNN#006) The Last Of England (C20)<br /><br /><div style="text-align: left;">The self-titled Last Of England release, with a great cover, is another cassette slab of monumental noise crunch. One side of said cassette was blank, and whether this was intentional or not, knowing that naked tape hiss has it's merits, I turned the volume up and sat through all of it. Then, as the tape player switched silently over to the B side, I was suddenly hit with a startling burst of pure noise force! Quavering high-pitch squeals set against a powerful electron drone that remains constant throughout, very forceful, ponderous and wonderful!<br /><br />The No Nazi Noise site can be found <a href="http://nnnco.wordpress.com/">here</a>.<br /></div><br /></div>Phillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com1tag:blogger.com,1999:blog-4421117645626085507.post-47809721839295214022010-12-29T05:12:00.000-08:002012-12-05T15:20:31.699-08:00NEW BLOGZINE ROLLOUT: KILLING BIRDSKILLING BIRDS is my new blogzine. It consists of reviews and interviews with noise artists from around the globe. Often it is difficult to find reviews of cassettes and vinyl, so I will focus on those types of media, but I won't rule out reviewing media of all sorts, including net-label mp3 releases. Some, or even many of you, may be aware of my creative activities in the area of noise music as PBK. Less will be aware that I have been writing about and reviewing music throughout the last 25 years. I interviewed artists for Hal McGee's Electronic Cottage in the late 80's. Some of my concerns about racism and fascism in the noise scene were published in both Chemical Castration and Electric Shock Treatment(EST). Most recently I was writing reviews for the webzine, Heathen Harvest, before they ceased operation. At the archival Heathen Harvest site there is a short bio with links to all the reviews I wrote <a href="http://www.heathenharvest.com/users.php?mode=profile&uid=1666">HERE</a>.<br />
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KILLING BIRDS was created to review noise releases of a wide variety with the dual goal of enlightening fans and followers of this genre and also positively encouraging creative artists who often do not receive much meaningful feedback to their sound works. Another goal is to interview as many artists working in this genre as possible, to explore and contextualize the many approaches within the noise scene overall.<br />
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I will accept many types of media for review, including tapes, vinyl, CD/CDR, etc. All sound materials should be sent to:<br />
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Phillip B. Klingler<br />
7992 Green Meadow Court<br />
Jenison, MI 49428<br />
USAPhillip B. Klinglerhttp://www.blogger.com/profile/04553159331565315747noreply@blogger.com0