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Blaster Al Ackerman pumped out bizarre mail art pieces starting in the 1970???s that caught Genesis P-Orridge???s attention enough to inspire the song ???Hamburger Lady.????? I Am Drunk is Blaster???s spoken word performances entailing strangeness & intrigue on weirdo subjects.?? The Crab side has two cuts.?? One tackles a long but kinda hilarious story about how he got to be called the Crab following an incident where turns in bogus job application under an assumed name to jobs he had no experience for & fucking with the job interviewer.?? Second cut deals with his Pepper Young translations of works with a bar of soap in his mouth.?? The Gobbling Side is a black humored & randomly strange poetry live poetry reading of the John Eaton recommendations.?? It doesn???t seem that funny though the audience seems to get the jokes.?? Perhaps they???re catching the visual aspect of the performance.?? Pretty weird stuff, but I dig the Crab side way more.
FCC:?? THE GOBBLING SIDE!!!
Incredibly catchy lo-fi Beatles-esque post punk noise pop outta Seattle.?? Lars Finberg of A-Frames kick started this bitch into a gruesome go go groove on Side A.?? Flip the record over & Side B gets that Brotherhood of Electricity in & out speed fluctuation or a slowed down heat warped Strate Coats.?? It???s kinda has that queasy manic ???I???m gonna lose control??? vibe like the Ramones song Psycho Therapy but it???s more cracked.?? Goddamned good if you ask me & primed for sick action.?? Limimted to 600 copies & mastered by Weasel Walter.
Child Abuse: Ultra NYC spazz heads tweakin??? keys, drilling drums & going fuckin??? balls out bonkers. Assaulting, rhythmically chaotic & rippin???. Strange, cuz the first cut is this flipped instrumental freak out. Cool! But, the second cut finds supercharged grim reaper synth explosions, grizzly death bass & demonic black industrial howls & electronic mayhem. Both cuts fuckin??? slay big time!
Octis: Remember when your 8-bit Nintendo video cartridge froze up & got caught in some fucked loop? Mick Barr does that shit on guitar & somehow gets this malicious black metal atom bomb attack going. Avant terrorism & double kick drum machine gun fires behind his precision riffage. 5 short fused megaton blasts show no mercy & take things into an Orthrelm.
Blanketship (a.k.a. Jared Blum) is a sucker for experi-mentalized sound collages running the sample gamut & plunging it into a pop mix.?? He lives in San Francisco & digs KFJC & WFMU.?? He???s also played on WFMU too so it was no wonder I thought this could be influenced by John Schnall???s soundtrack cut ups.?? Whether it is or ain???t Blanketship???s got diverse manipulations playing strangely together.?? It can delve into warped dark psychedelics, it scores like some soundtrack, and it lounges & lolls out funny record cuts & conversations.?? You???ll catch subtle drop-ins like the Jetson???s doorbell or Kurt Russell from Big Trouble in Little China, screaming HA!?? Well, that???s what I get.?? There???s lotsa fun sound samples, grooves & eeriness all over.?? It most closely resembles a deranged collaborative kooky score by Tipsy, DJ Female Convict Scorpion, M???Lumbo, Twink and Frank Comstock.?? Fuckin??? weird but wildly imaginative & extremely well done!
Douglas P(earce) emerges with this New European Recording called the Rule of Thirds.?? Generally, this rule optimizes pleasing aesthetics, emphasizes off center points of interest and also works to minimize excessive empty space.?? Seems that Death In June does precisely this throughout each song.?? The militaristic masked one strums out acoustic erstwhile lovelies accompanied by reverb drizzled hand claps, crepuscular bird chirps, and calmly detached & almost deadpan harmonies.?? Pearce???s lyricism occasionally harkens to his early Crisis (U.K.) days delving into the politics of bloody war though he leans more towards halcyon yet bittersweet reflections upon God, religion, self-reflection, romantic criticisms & more.?? Death In June has always seemed to evince serenely stripped down & sentimental neofolk alongside tenaciously sensible concepts.??
Nurture these three Netherlands brothers (also in Girlfriends) who needle at your noddle & nerves whilst having drum seizures & panic attacks on guitar.?? Their nature is spastic & untamed shredded rock & tonal discord.?? A thrashy improvised avant punk vibe plus a stylized maximum aggro jazz epilepsy.?? Feedback & freakouts aren???t uncommon during these instrumental outbursts.?? Perhaps if you Melt Banana over John Zorn???s DNA the resulting creature could be cultured on Anthony Braxton or Nels Cline before undergoing Battles.?? Go for the gusto guitar spazz!?? Limited to 400 copies & mastered by Legendary Pink Dot???s Erik Drost and Raymond Steeg
Try polishing this turd & it???ll explode straight into your face smearing feral feces across your chapped lips, diseased gums, & inside the crevices between your tartar build up & slimy yellow choppers.?? Go ahead & smooch your lovey dovey after that sexy scat fest & see what you???ve been missing.?? Shit and Shine wanna show you how to pipe the shit outta the U.K. & unleash unholy excrement.?? This starts off simple enough; a rhythmic intestinal cleansing wrought with slightly uncomfortable bouts of mild groaning diarrhea.?? Suddenly an inflamed anus blows out bowel obliterating black blood sphincter metal.?? Slather on infected sloppy mucus coating & you get this septic Pepto Bismol colon clenching enema.?? Its noisy & violently aggressive episodes subside into experiments in eerie crepitating flatus.?? Hold your nose & hop head first into this glimmering septic mess.?? (QUICK REVIEW: occasional bursts of black metal riffage, noise rock with squelchy bombs & speaker blasting bass, plus weirdo rhythmic experimental heavy darkness.)
FCC:?? #7 (FUCK @ – 8:15)
Eerie tonalities creep over free improvisational percussiveness on Eli Keszler???s experimental debut.?? Keszler???s compositions play out as four singular mysteries executed entirely by his own hands.?? Relying on free jazz styled drumming to exude tension he is also keen on manipulating tape reels, using bowed percussion, processed clarinet, Fender Rhodes, guitar, nail violin and crashing on crotales or cymbals used as mallet percussion instruments.?? Dense drones plow & permeate whilst Keszler tricks our senses with metallic clanks & groans and hovering ambience teased forth from his multi instrumental arsenal.?? Intense, brooding & dark musings of a brilliant mind.?? Another limited run edition of 300 copies put out on Geoff Mullen???s Rare Youth label based in Providence, Rhode Island.
Sick Llama is Heath Moerland???s mucky manifestation originally released on cassette in 2004 & now on Aaron Dilloway???s Hanson Records on a limited 500 copy run.?? Moerland is a Detroit, Michigan noise monster responsible for the Fag Tapes label.?? This is his first full length & some of his earliest recordings.?? Not sure what???s going on, but something got sabotaged & set on autopilot.?? Treacherous rumbles & sickly cycles indicate screwy mechanistic tampering.?? Gristly gook & grime is slathered all over this machinery mess up. Squeaks & squeals stop short & flower into twittering tweets taught atop terrific scrapes & scratching.?? Warm wobbly welts & fuzz rubber gelling glop about in a static charged soup.?? Abrupt slight pauses segue into slippery sonic stumbles & strains spilling out & all over.?? Pestered parts continuously combust & breakdown into ruin not before screeching out an ugly swan song.?? This is experimental noise but is nowhere near scathing.?? It is odd & provocative but not overly threatening.?? Creatively consumed experiments in sound.?? Grux graciously donated this to KFJC.?? B-Side ends in a locked groove!
A schplit between the Transhumans and +DOG+.?? TRANSHUMANS ??is Justin Cassidy & Patrick Rodriguez of Send My Regards who swirl sample savvy, synths & eerie psych electronics around Bob Sterling???s spazzy jazzy improvised drum invasions & percussive combinations.?? Transhumans divulge a 24 minute improvised electronic jazz noise session with a trippy powerful tweakitude & energy.?? Chaotic yet listenable & very well done.
DOG has 7 bones to dig up and gnaw on while you bite your own tongue.?? This is raw live action, noisy and squelchified, humming & humongous.?? It rumbles, oscillates, discharges static, saturates & inundates, even wobbles & bobbles too.?? Layered electronics, synths & more makes a shearing mess of sound that is aggressive yet not harshly obliterating.?? Still pretty fucked up, like a generator trying to pump juice into the overloaded car battery of a 1954 Ford truck whose spark plugs exploded.?? Six shorter blasts & one long sonic spillover
FCC:?? #1 COCK(-14:05 to 10:15)
James Pant???s produced & arranged his entire Stones Throw debut from his hometown of Spokane, WA.?? Welcome this instrumental hip hop excursion through psychedelic spacey neon grooves, synth lovin??? club party favors, wobbling rubbery bass and buzzes & mellow disco flavored cuts with unmistakable clap beats.?? Some selections drop occasional harmonies & deadpan voices while others bump the rhythms beneath gaseous robotic vocals.?? The soulful effectstacy of urban new-wavish & no wavish ecstacy transmute into kraut dance-strumentals inspiring big booty shakes & squid motion steps on the dance floor.?? Very diverse styles meshing & mixing into a tasty elixir.?? Funky fresh fun for freak out on the town & lookin??? for the hip action.
I suspect most Cold Meat Industry artists relish their relative anonymity and obscurity.?? Dawn & Dusk Entwined is no exception.?? David Sabre hails from France and his Septentrion is an Old French literary term nodding towards the northern Nordic regions and it???s surrounding mystery shrouded by darkness.?? His solo creations are cloaked by slithering blackness, looming dark ambience, malicious martial raps & strikes, swelling thunderous claps & flowing liquid with touches of mystical swirling ethereality.?? Sabre also combines faint tortured echoes with age-old industrial tones & his own sporadic vocals underlain by cinematic apocalyptic neo-folk, synth strings & bleak frigid showers.?? Further proof of Cold Meat???s asounding consistency.
Six snapped up polychromic puzzle pieces outta L.A. who paint by numbers but colors outside the lines on HLLLYH.?? Like Rubik???s Cube, the solution to their experimental conundrum of kaleidoscopic pop, punk dynamics & blustering rainbow electronics may take some time to fully compute & solve, but that???s half the fun.?? Frantic bouts of mild-Tourettes shrieking & deliriously extreme sing along harmonies soar over bubbling joy buzzer noisemakers, keyboard whimsy & tuneful digital synth splendor.?? Frisky bass licks, mischievous drum roll spasms & manic panic attack guitar seizures.?? Sounds like an unconventional disco punk video game romp into xBxRx vs. Numbers insanity plus Hawnay Troof vs. Panda Bear vocal savvy. ??This is bright-eyed suburban silliness run amok & it rocks tremendously.?? Score another one for Team Shi!????
Three bands epitomized the Denver ealy 80???s punk & hardcore scene, The Frantix, White Trash and Bum Kon.?? Bum Kon (named after a South Korean mass murdering police officer run amok) were 4 teenaged fast friends who played pummeling, super charged aggressive & punchy ass, fuck you punk in the vein of Circle Jerks, Descendents, Black Flag, T.S.O.L. Minor Threat, Husker Du & Los Olvidados.?? Songs compiled here were recorded by local legend Bob Febrache and features their most rippin??? hard hitting singles.?? Ranges from politically charged, maniacally fast shredding to insultingly edgy mid tempo punk rock.?? A supped up sound overall with a Keith Morris / Milo Ankermann vocal kick and six alternate takes to close out.?? Some cuts here also on the Local Anesthetic comp!?? Ka-Boom!!!??????????????????????????????????????????????????????????????????????????????????????????????????LANGUAGE: # 2, 11, 12, 14, 15, 19, 20, 22, 24
Atmosphere warms things up on this storyteller???s groove about life???s hard lessons. This Minneapolis hip hop duo (Slug rappin??? & Ant bumpin??? tha beats) dropped this sizzlin??? new album that was hot enough to get Tom Waits to offer his beat box skills!?? Ant seems keeps it simple and alternately sweet & sinister when necessary.?? Strong beats & a live band to back it up with funk, 80???s style synths, some sad country flavor, soft guitar balladry, chirping flute toots, pensive vibes & piano, creepy Spanish style acoustic strums & overall catchy hooks.?? Slug???s smooth confident delivery encompasses his reflections on life???s hard times & tryin??? to turn it around, dealing with personal demons, relationship woes, and alcohol & drug addiction.?? His flow is smart & effortless with refreshing appeal.?? This doesn???t hit you over the head as classic or anything but it is a solid, versatile & pleasing release.?? ALL TRACKS CLEAN
Four believers got the Holy Spirit from shoving a shiv or two into the Brooklyn, N.Y. underground.?? They seem to love cats too although unlike the Ancient Egyptians, no religious significance is tied to their feline friends.?? And no, they don???t cut ???em up either.?? Are you fucking stoopid?!?? Anyways, so these tracks were lifted from earlier vinyl & cd-r limited runs plus some previously unreleased material.?? These are expansive, dark & percussive pieces around 6 to 10 minutes each.?? Very heavy, repetitiously ongoing, slow, edgy, ominous, stoney, pulsing, tonal, fuzzed out, droning, mangled, jarring, groovin??? experimental psych jams that has them shifting from electronics to synths, bass & organ based ???rock.????? The sound is spacious with some jazzier fusion drum styles, sustained organ tones and plodding rhythms plus some buried yet powerful vocal laments.?? Ceremoniously well done.?? Trip on this if you???re heavy into Grails, Paik, Neurosis, Skullflower, Om, or Sunn O))).
Oxide is processed & digitized CD release of once extremely damaged and now reconstructed analog tape sources.?? This is the droning, air thrusting, spooky dull humming, white noise drifting & ever shifting masterpiece re-created by Chop Shop (a.k.a. Scott Konzelmann) and released through creative sounds & noise label, 23 Five.?? Oxide is noise but not overly chaotic though it does have several prolonged moments that???ll swallow you up.?? It relies mostly upon the oxygenated sounds compounded with other strange sonic elements.?? This is one long brooding track reconfiguring archived recordings sullied & soaked by moisture damage and turning a corrosive mess into a masterful soundscape.?? Chop Shop delivers gurgles, hisses, drop outs and slow fade ins, vacuous sucking, crackling, rumblings, eerie hollow moans, increasingly intense pitchy air flows & frequencies almost akin to a whistle which alternates & reverses randomly.?? A spooky experience one you must ride out to the end!
Jack Dangers is the only original Meat Beat member.?? This is his latest MBM effort out on Metropolis known for industrial dance, synthpop and darkwave.?? Dangers is working alongside video / visual whiz Ben Stokes, Mark Pistel (both Tino Corp associates) and Lynn Farmer pulling live drum duty.?? This was recorded at Tapelab (Jack Danger???s studio?) and Mark Pistel???s Room 5 in S.F.?? Definitely didn???t foresee this coming out on Metropolis but it does have a rather edgy darkness to it.?? Some really nice breakbeat electronica sewn up with spacey effects, semi-obscure video samples and phat low end dub grooves with some toaster flavor.?? Dangers even sings on one cut but then it???s back to the tripped out nocturnal dub rhythms, experimental upbeat hip hop styled bass bombasts, and scratched up vinyl cuts (some by DJ Z-Trip).?? Also features rapper Azeem (who hangs with DJ Zeph).?? This is slammin??? thick, freak funky goodness from MBM showin??? they still got 20 years later!
FCC: 8 (FUCK)
Vehemently aggressive foul mouthed freaks shrieking outta Culver City.?? Animalistic outcries & cymbal obliterating drum destruction.?? It isn???t always a full thrashy onslaught, ???cause they take time outs to build terrific tension using tom wallops and undulating rhythms.?? But surer than shinola they start going ape-shit lickety-split without warning.?? This is a heavyweight steel cage kick boxing match striking your face into the mat.?? Three man-imals & a jugular ripping jungle mistress executing this entire rhino stomping deal with almost nothing but drums & screams, though some cuts have trippy effects.?? Quirky darker remixes from some favorite S.F., N.Y. and L.A. folks too including Tussle, Big A little a, Robedoor, and Silver Daggers.?? Dig this if you get off on Coughs, Health, Pre, and Robin Williams on Fire (whose guitarist is nude on the front cover)!
FCC: 1 (FUCK), 3 (PEE PEE), 4 (FUCK), 5 ??(FUCK), 6 (FUCK), 8 ( FUCK), 10 (FUCK) 11 (FUCK)
NO MUSIC ON: 9
Obsessive organ oddities that is anything but standard.?? Experimental electronic obscurities containing actual theatre organ music circa 1950???s mixed with obtuse & messed up samples, rumblings & effects. Kitschy & crazy & avant spooky, haunted ghostly & fuckin??? out n??? out weird.?? The perfect soundtrack for a Halloween misadventure.?? Growls, howls, strange songs??? it???s a fucked phantasmagoric fantasy island set to eerie organ tones.?????? ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????~ Guy Montag
Loachfillet:?? West Coast solo anomaly.?? Count Loachfillet???s sound structures are the sort of thing that occurs when you dissect Quintron???s Frog Tape, Rosa Rio???s horror picture theatre organ & the Phantom of the Opera and reconstruct them into a horrific ungodly monster meant to roam the filthy sewers or tend to overgrown bats & spiders in a deep dank cave.
NO BAD LANGUAGE ON THIS CD!
IDM Theftable:?? East Coast stag entity.?? Ever stranger organ audacities.?? Zany little sings songs & raps, abrupt stops, skips & fluctuations in sounds.?? Some weird ass sequential counting cut ups in a glitchular noisy atmosphere.?? Lotsa loops & echo plus nonsensical mutterings & such.?? Odd playful spazzy interludes.?? Pretty fucked up.
FCC ON #5!!!!
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