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thrashing primitive soul and dance through vocal loops and an antagonistic drum machine, Portland’s Mall Palenske is everywhere in the City of Roses, crashing every experimental show he can with his lopsided frenetic party music. joyous seizures of acid glitch hop that jerks and jumps all over the floor. originally from Michigan then Chicago, Matt’s been jamming PDX since 2013 and seems to have endless shows on the circuit. shake, rattle and roll
Seattle’s Andrew Scott Young is creeping up to be a heavy hitter in the free improv experimental world, hitting the scene playing alongside Weasel Walter’s ‘American Free’ release in 2009 and steadily giggin around the country since. here we have a 2013 release that strays from his usual extended technique free-scrape for some out-of-genre experimentation. the A-side opening with sawed bass string bird calls and spiderleg piano mashing, a tribute to his HS music teacher this feels a sort of new-classical tribal-ritual; blistering reeds sing a windsong with buzzing voices mumbling along and a Himalayan clatter of percussion explodes into a fireworks finale. the B-side plays around electronics, squelchy circuit beats with a parent’s garage sort of lo-fi feel in an 80s action flick aesthetic. the title track seems to have lost the beat and got fixed on a groove skipping about a bit before catching the glitch again. not enough recorded works yet but definitely a name to keep an eye out for.
malevolant 4 way split session of mischievous nonsense makers from round the globe on hyperactive German SHITnoise label. HeidyYouko from Japan a gender stretching penis jiggler of muffled mumbling mambo beat smashing. from Ecuador I PORNO YOU aka herector espermatozombie opens with delinquent street yammering that erupts into hacked and mangled breakcore terror. the mysterious cyrillic translates to burning pinwheel, a duo of Henry C. Rial from Pennsylvania and Bee Spit from Minnesota: an overblown wall of grinding gray static. the final track from another mysterious group from who knows where with countless aliases including Asshawl, Flowerdiva and Transbreak Girlcore Queerbass brings one grueling long slab of minimal power electronics full of distant clatter and bang drowning in its own murky muck. all tracks pleasantly disruptive in their own way and a splendid introduction to this worthless label full of too many worthless releases.
the best in fuck-all-music harsh noise screeching electronics dark drone drivel safari guided by Oxen headmaster Matt Purse aka Fenian collecting garbage collectors from around the globe: FACIALMESS and BLACKPHONE666 from Japan, or Dromez from Ohio, KAKERLAK from Oregon, Black Sand Desert and Leah P from LA, etc, etc… cracked cut-ups, feral feedback foaming, hateful horror hardwares… for the self-loathing in all of us, music to murder listeners to.
overlapping hemispheres of orchestral music and celestial noise, interdimensional soundscapes blending machines, instruments and found objects enveloped by electronic dark matter with light trails of processed field recordings and effects. sound artist from San Francisco I believe apparently inspired by the mystery of life and molding these “techno-organic impressions”. horror sci-fi soundtracks full of spaceships haunted by alien specters. creepy, nefarious visions
american born multi-instrumentalist David Gutman residing in brussels produces an exquisite palette of lost, listless drones; a dusty mirage of electroacoustic serenity blending field recordings, synths, guitar, piano, glockenspiel, etc into a violet haze over orange dusk. soothing yet somber these pieces are perfect for hot summer evenings, though may be better suited for the august-september months
composer, sound artist, musicologist: Luciano Chessa is a highly prolific figure in the avant-garde / modern classical / experimental sound world grossly underrepresented in our library for the fact that he has been active for decades and is based out of the Bay Area. anyways, what we have here is a collection of compositions ranging from 1987 to 2013 covering a huge expanse of compositional styles and formats:
-the first piece (1-4) a percussion-piano duet reinterpreting Pier Paolo Pasolini’s final unfinished novel, an examination of gender politics and identity psychology.
the compositions contained here are serene, cerebral, provoking, challenging, surprising, playful… a wonderful sampling of Chessa influential compositional styles and a wonderful introduction to his work.
yet another example of how shit towns make shit music in the best kind of way: Reno noise-rockers bask in the squalor and trash that their hometown so proudly sweeps under the carpet; after the viral opening, dying piano keys and all, they kick you in the teeth with a good ol’ Bone Voyage. the ceaseless punk-tinged ruckus that ensues chews on the obscene inhumanity that the names’ theme suggests, pushing masculinity to the point of parody. their bandcamp tags definitely touch on some relevant motifs: bleached bones, cadillacs, cannabis, canyons, death, decomposition, hardcore, horses, minimal, motorcycles… side A closing track seems like a sorta anthem to the Nevada wasteland they’re doomed to wither away, the B side packs some sludge, some Dead C sorta drone noise, and a long-drawn teetering dirge to close it all. real rollicking rock and roll music for those that don’t pull punches
newest EP release from LA-based rapper with south-bay roots; this is some real Bay Shit to an almost ironic extent: bingeing on local crunk/trap genre tropes in a hedonistic self-loathing purge. the lyrical content leans tongue-stuffed-cheek like the sex-obsessed 16 year old he always will be gettin loose in the club. his punk/hardcore background shows in the humor, with an i-don’t-give-a-fuck delivery, equally juvenile as it is critical while constantly maintaining personal elucidation. apparently he spent the past five years in isolation writing/recording this; i’d hate the world too.
based out of Lisbon, the Principe Discos label has been pushing electronic music from the city and its suburbs internationally for the past 5 years or so, focusing on African influenced sounds and releasing their vinyl with individual hand-painted stencils; BNM is no exception.
dense off-kilter tribal rhythms of afro-portuguese derivatives (Funana and Kuduru amongst others, drawing from Cape Verde and Angola) with hints of Batida, a more locally sourced fidgety/frenetic style (the fruity cachaca cocktail from Brazil is equally relevant). 3 producers: 2 brothers in their early 20s, DJ Kolt and DJ Noronha, and the 17-year-old DJ Perigoso. some more emotive harmonies in the mix, even an insurgent house repetition amidst the step, but mostly pure jungle music (not in the breakbeat sense, but in the environmental sense).
dance so hard you get dizzy
UK producer Joe Higgins brings cranky stumble fuck all techno; babble bass bingeing incessantly, 72 hour club haze compulsively consuming stimuli mainline; bulging and popping that beat to pulse to in greasy tattoos and slick salience. seedy rave underbelly murking in its intrepid lurk. get sore just standing there
landmark 7″ originally released in 1978 of unnerving locked grooves, polluting ears and inspiring generations of future audio terrorists; thick choking on sonic debris, toxic pulsations of atonal hum and clatter. piercing monotony to rest your boots on your velvet ottoman while sipping mai tais to.
rank-stink cheese-grade horror movie soundtrack for COVEN (pronounced like woven not like oven) the legendary failed 1997 short film by Mark Borchardt (see: American Movie). the worst kind of pre-packaged cheap keyboard library music with hilariously creepy bone-chilling interludes. reviewers try to lure you with words like “ominous”, “dilapidated”, and “stark” but don’t be fooled, this shining example of creativity gone wrong is the most satisfying disappointment you’ll ever force yourself (and your listeners) to suffer through. perfect on any playlist and essential for our bulging library of blow-hard overpriced horror movie soundtracks. suck it Death Waltz
double mini CD release from Feine Trinkers Bei Pinkels Daheim out of Germany and Der Bekannte Post Industrielle Trompeter from Italy. the trumpeteer plays the toad side: a number of short tracks carrying juvenile delinquent flatrumpence with sci-fi lullaby calypso grooves and twisted future jazz industrial breakdown. the trinkers play the bug side: one long track of warped mash into factory-grade steel drone drifting gently through the void carrying echoes of voices and melody trailing behind, monastic memories and creeping carefully to the forefront. haunting oddities for sleepless nights
experimental post-industrial split between Flavio Rivabella aka DBPIT out of Italy and German duo FTBPD. Flavio has been active since the early 2000s and contrary to name, not particularly well-known despite his huge output and collaborations, having worked with Mushroom’s Patience and others. his side is a warped sleepytime hallucination with echoing trumpet carrying us along, an alien ambient soundscape. FTBPD roughly translates to “the dope drinkers at home” or something… active since the mid-90s and quite a bit active, with extensive touring around Europe. their side starts off significantly more abstract and absent, post-classical drone emanating out of a dank sewer-ambiance, until we creeper deeper down the tunnels and find a rhythmic-concrete ritual grooving by candlelight on the inside that devolves into a non-locked loop fading away. beautiful aural oddities to waste away the day
second pressing of live performance from Crawl Unit’s only tour played at Big Storage in Tucson, a relic from a criminally underrepresented sound artist. distant wavering tones on the hazy horizon, sparse industrial tinkering litters the foreground, the scattered detritus flickers in the hot desert sun. the B-side has more of a looped rhythmic feel. stroke delusions
destructive split from UK juggernauts: moloch from Leicester start of feral and drag themselves through the sludge like a dull blade through flesh, Closure out of Leeds plod and stomp but explode in sporadic bursts of powerviolence and grime. mud hurling, vomit choking goodness; now spit
LA-based Crowhurst, experimental black/sludge metal / noise/ambient project centered around Jay Gambit, has been incredibly prolific over the past years, pumping out multiple releases per year since 2012. here is his first release on Greh Holger’s label Chondritic Sound and featuring a diverse blend of instrumentation; the mixture of synths, electronics, flute, guitar, and field recordings combine to produce a truly haunting and psychedelic ambiance. at the beginning, hollow Ghosts linger on the periphery until Claustrophobic emptiness consumes, black metal guitar swells devoid of form but tone still hovering on the sonic horizon. Marfan offers a calming respite of overlapping organ textures as side A closes. the foreboding coalescence of Siren builds doom clouds like a looming storm and Dance a shadow draped bridge leading to the industrial noise visions of Modern Life. this album figures more firmly in the noise/ambient realm, which makes sense for its place on the label, but is only a sliver of the sonic offerings Gambit puts forth.
a name as mundane and obvious as it can be, but simple enough to reveal its most base form: under a sweltering LA hills morning, Touch curator Mike Harding pairs with sound artist Mark Van Hoen complementing each other on a mix of modular synth, short wave radio and field recordings. plodding diamond-cut drones shimmering in opaque luminescence, subtle melodies tread through almost viscous murk; tonal beads glisten in the beckoning heat, the hazy soundscape blurs as waves of harmony lap against rhythmic apparitions and disappear into the breath of dusk. on the B-side conversational hallucinations narrate the intangible outer world, drowned out by the piercing repetition of inner existence; inaudible lapses mid-way through make the beaming resolution all the more proud. from masters of the drone form, as beautiful and inviting as it is alienating; sure to brighten the early lights of dawn and darken the mood of dusk alike.
blast off to the furthest reaches of outer-dimensionality with these Finnish trippers: cyclical cataclysmic transformations of metal, kraut/prog, jazz, thrash, psychedelia. the album art says it all: stare into the abyss of nothingness and open up to brilliant colors. black metal to be sure, but not the least bit bleak- they recorded this with an indiepop/shoegaze producer to bring an entirely different aesthetic. don’t get me wrong though, this is heavy as fuck and got all the tortured screams and blistering riffage to satisfy your angst, just that there’s a lot more going on: time signatures galore and layers upon sonic layers of beauty. the most intense and illuminating DMT trip you’ll ever have.
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