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This is a great little 7″ of garage rock (I only classify it to be helpful; it’s a class of its own). “Poetics of Space” is a solid musical asking the question of where does time go, and the guitars and vocals of the trio provide the apt setting for such a question. “Like the Fly” is slightly more upbeat and danceable (to us old rock dancers) and makes us wonder about what being a fly on the wall would be like. Do flies dance? Try this out.
Stripped down trio format, laid back, listenable, nonchalant. Paul Bley (1932 – 2016) was a Canada-born American jazz pianist known for his free jazz innovations and emphasis on trio playing. Italian pianist Cappelletti plays with DiCastri on bass and Ditmas on drums who had also played with Bley.
FCotD, as they are known, is a fine surf band from Santa Cruz. Lots of good energy, excellent playing, mostly original compositions mark this album. Original sounds for modern surf music.
energetic skronk improv jazz fits recorded in the late ’80s.
Split between two of the meanest, leanest Finnish Black Metal projects, unaccountably split across two CDs. Each band contributes re-recordings of classic tracks.
Satanic Warmaster (est. 1998) is probably the most successful Finnish Orthodox (i.e. serious about Satan, and tremolo picking) Black Metal project, and (alongside past split-mates Horna and Clandestine Blaze), one of the best. Though S.W. is known as the solo project of ‘Werwolf,’ here are four full-band versions of songs from his first three albums and one thrash song (t.3) from Pest, one of his many other bands. Sweeping riffs evoke the majesty of death over nocturnal hailstorm drumming, also t.s 2+4 have fairly prominent keyboards, so… be warned. Overall it’s well produced, but does it really need a clean production sheen? It’s still pretty great, particularly the Pest cover. The evil laughter on t.2 is fun as well.
Archgoat are a Bestial Black Metal/Old School Death Metal project founded in 1989, the same year as Beherit, another Finnish band whose Blasphemy-derived sound they aped and eventually improved by making it HEAVY AS FUCK. Keyboards here too on a few tracks but they make more sense with this group’s minimal ritualism. The gravel pit vocals, the bass, the guitar tunings… all are deep as a black hole gaped by goats of Satan. Once again the clean production seems unnecessary, but this is still very much the ‘Archgoat sound,’ and probably the better half of the split.
No completely new material here but a good introduction to both bands. Cute Chris Moyen album art, too.
Vicious, stripped-down Power Electronics from Texas’ Chad Odom, who has been doing this for about 16 uncompromising years now. Judging from packaging, this 2010 release could be concerned with influenza, the once and future pandemic, but no lyrics are given, nor much other info. There may be a fondness for the Hospital Productions school of overdrive worship (Prurient? Deathpile?). The music is a near-monochromatic, hopeless churning. Shuddering subbassment and some assembly-line Death Industrial squelch marches. Grimy. Hidden vectors of infection reward multiple listens with underlaid warm tones, barely intelligible samples, and distorted screams immured in layers of granular synth. It’s brilliant but who cares? Despite the probably therapeutic attention to production and composition all most will hear is, to quote Iggy Pop, “a big load of trashy old noise.” Their loss. Cover that coff, y’all…
This Canadian band offer a mixture of crust punk and deathrock with elements of pseudo black metal. How trendy… oh wait, this is a reissue of a 2004 demo, so no tour with Protestant or Crimson Scarlet, then. Props due for being ahead of the curve.
Fuckmorgue wore their Rudimentary Peni influences on their sleeves (singer is ‘Morgan Peni’) with maybe less obvious traces of Nausea, Tragedy, 45 Grave or Nuit Noire. Haggard Detestationesque female vocals that are not really growls but not “clean” either, aggressive post-hardcore calisthenics and gothic organ.
The ‘Down Forever’ release occupying the A side is pretty good, but the B-side, an unreleased instrumental demo that trades scratchy violin parts for vocals, is pretty much totally forgettable. Maybe this should have been a 10″? Whatever. (Re)mastered by Colin Moron of Krallice.
Trio w/unique instrumentation: theremin, percussion/trumpet, & drums. Recorded by Rent Romus. Sparse. Delicate, tinier sounds. Echoing, looping theremin is very engaging. Lots of percussion, chimes, bells.
1999 re-issue of pieces from 1967 and 1970 respectively.
On the life and death tip, this reissue was the birth of
Establish drone artist and professor of computer science Catherine C. Hennix from Stockholm and her ensemble Chora(s)san Time-Court Mirage. She has studied with the musician Pandit Pran Nath. This is an 80 minute track of vibrant tones. It’s a live performance of a mix of electronic and non-electronic instruments. Indian inspired sitar sounds along with chanting (sanskrit?) vocals that mimic the oming instruments and chirping/humming horns. Namaste.
Do we need more Macronympha? Fuck yeah we do!! The indispensible Harsh Noise project of Pittsburgh pervs Joe Roemer and Rodger Stella is one of the most delightful things to come out of the American experimental music scene. You know that cassette that has garish porn collage on the cover and sounds like 40 minutes of someone throwing swords into a large industrial grinder? Yeah, chances are its creator was doing a poor imitation of this group.
This 2009 pressing of 30 was the third edition of this tape, originally released on the artists’ Mother Savage in 1994 and then reissued in 1995 by Japan’s Noise Records. It’s probably the most diverse material I’ve heard from Macronympha. Every track is a champion, demonstrating totalitarian control over electronic tones, feedback and concrete sound sources a la The Haters, Sudden Infant or Merzbow… but different. Both live and studio recordings are present here but pretty indistinguishable in terms of sound quality. Is this what cock and ball torture is like? The last track, which seems to be made from manipulated radio signal, may be my favourite.
THIS is noise music. THIS is pornography. THIS is S&M. THIS should be banned. Check it out.
Melek-tha is the French dark industrial project of Lord Evil and his Cyborg Drum Engine. On this 2003 release, we witness the destruction of the world from a distance (high atop Black Mountain?) in two phases. Phase 1 opens with the sounds of the global war machine churning – jagged, racing synths – as its dictates, in French, are issued over the loudspeakers (T.1). These are the sounds of the collapse: a toxic sonic fog settles in, drum beats appear and accelerate as tension builds (T. 2), a transmission arrives from a courtroom as a smiling murderer (Bundy) asserts his innocence, and the machine grinds to a halt, its fuel exhausted (T. 3). Phase 2 is a glimpse of the world post-apocalypse. A new machine, a driving beat, grows from the burnt rubble and twisted metal (T.4); it is clear what is coming will be even shittier. The new laws are delivered to us, this time in an alien language (T. 5), but we understand their meaning. This is a lateral shift to a new world order, based on dominance and submission (T. 6), same as the old order. Welcome to oblivion!!!
Slicing Grandpa: Noisey power electronics, low-frequency rumbles, and screeching guitars. Monotonous croaky indecipherable vocals that sound like they were delivered over a department store PA system.
Placenta Popeye: Noise rock trio from Marseilles France. Underwater sonic vibrations and piercing guitar feedback, punctuated by demented screams and moans.
Complete fucking destruction, as usual. Screaming, squealing, static stabs. Pure sonic sadism.
“Pride of North American Noise” captures the band’s sound in 2000-2001, just after Elyse Perez (of Laundry Room Squelchers) joined the testosterone-heavy duo of Emil Hagstrom and Matt Bacon. Many of the tracks were recorded live in Norway, Germany, Switzerland, and South Florida, and feature a variety of guests, including Weasel Walter on Clarinet and Rat Bastard on Violin.
The album clocks in at only 20 minutes, and most tracks are under a minute. The longest is track 17, a bizarre 5-minute club mix by V/VM featuring cheesy 80s synths and sax lines accompanied by cheering crowds and a cacophonous collage of Cock ESP live sets.
FCCs: 3, 16.
Interpretive: A man riding horseback in a midnight battle plows through the enemy line, as a tide of corpses in the making parts before him like Moses at the Red Sea. Underneath, the steed gallops at a ferocious pace, with only victory on its mind, the blinders fixing his vision ahead–only ahead–until the final battle, whereupon his charge will dismount and behead the leader of the fallen enemy. He knows not the possibility of failure. The riders arms propel his mace deep into the skulls he now crushes with ease, a level of mastery won only through years at war.
Descriptive: Welcome to a nearly continuous festival of punishment. This Bay area four piece (guit/drums/bass/vox) has refined a particularly dark and simple approach to aggressive music. They’re tight, achieve a coherent sound, and the vocals are gruff enough to hit the spot without sounding comically evil. Bursts of three quick notes from the sludgy guitars ride atop fast-paced drumming; most tracks have a distinctive break from this before looping around for a second pass. No hooks or particularly memorable riffs; the focus here is on creating a wholly pummeling auditory experience. Memorable bits: the solid mosh in Sunken Reign (#2), and guitar flourishes & work around the kit in Hericide (#5). Dusk Abuse (#11) wraps things up nicely. This 2016 release has received support from multiple labels for the different formats, and these guys are delivering a superior product compared to their peers.
Short: straight up hardcore band dresses up as death metal band for Halloween, decides they like the outfits.
This vinyl release is a set of rare demos and takes from the cult electronica-post-punk band Nagamatzu. Nagamatzu was a British duo with Andrw Lagowski and Stephen Jarvis that was formed 1982. This was in the early days with explorations of the new music media using drum machines, sudden cheap Japanese synthesizers and old tape machines in combination with post-punk guitars similar to Joy Division, so these tracks reflect this era. These tracks are from their 1986 to 1991 experimentation. Musically this vinyl is a hit and miss adventure; I enjoyed the first and last tracks, but the rest tended to fall into the trap of ‘it’s an unreleased take and there’s a reason it was not released.’ However, you can experience the primal nerve of a duo experimenting with drum machines and other music toys with a cult-murky tape deck sound.
This is one of Andreas Arndt’s many albums, released 2007 — the music is lo-fi industrial power angst music combined with heavy doses of pink noise and some non-drum beats sneak in here and there. The voices are manipulated with modulations and distortions and phone eq:ing so that the lyrics are mostly non-understandable statements about something where the title lyrics might give minuscule ideas what the intent of the track is. Some might enjoy this kind of power noise, it is indeed an acquired taste. But I missed any finesse and artistry amongst all the tracks, even with noise music you need artistic intent and the multitude of repetitious noise making has its limits.
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