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A harsh noise 7″ single is a funny thing. Like a good execution each side is over too quickly. Side 1 scrapes in time to demoniac vocalizations and the screams of the burning. Side two explores collisions of HNW and complex analog electronic interplay ending with a translucent machine drone in the pit of your sinking stomach. Both pieces ritualistic and very tasteful, monochromatic without eschewing variation. Seattle’s BSBC have played at KFJC at least once. Whatever it takes to be ‘good’ at apocalyptic Industrial noise racket, they’ve got it. “Stan Reed, William Rage, Crystal Perez: Dense, Harsh Noise Drift; Dual Damaged Guitars; Broken Electronics and Faulty Cables; Roaring Vocals; Piercing Screams; Horror Show.” Mastered by M S Waldron of irr. app. (ext.) and Nurse With Wound.
This Cloister Recordings cassette is the second release from Sweden’s Den Arkaiska Rösten (“The Archaic Voices”), the project of Girilal Baars and Per Åhlund. Baars is a professionally trained vocalist who has previously worked with the vocal group Äijä, a composer of operas, and a sound engineer. Åhlund has several solo sound art/electronic projects and has worked with Sophia, among other bands.
This cassette holds two sidelong pieces in which the sounds of the voice, in all of its many forms, are used to create a twisted, haunting landscape. Sounds of mouths, tongues, teeth, saliva, and breathing become howling winds and falling water. Deep utterances that resemble traditional throat singing rise from the lowest register, and a chorus of droning chants builds and closes in. Individual voices can be heard singing melodies or wails of regret, but soon disappear back into the fray. While vocal sounds are the main focus, weird electronics and drum beats can be heard humming beneath. The overall effect is like the spirits of everyone that’s ever lived rising from some ancient burial site to deliver us this cryptic message: it was like you said / it was not like you said.
Blight is the first solo album from drummer René Aquarius, of the Dutch free jazz duo Dead Neanderthals, and it’s another excellent addition to our collection of releases from Milwaukee’s Utech Records. The only instruments played on these eight pieces are drums and cymbals, but Aquarius uses closely placed microphones, reverb, and an equalizer to create a varied collection of dark, unusual sounds. We hear low drones, deep rumblings, metal meeting metal, metal catching light, a dying heartbeat, the long lingering after-echoes of a cymbal crash. Even through the effects and other technical tricks, the tactile feel of Aquarius’ playing remains, giving the tracks a rich quality that I usually associate with expertly recorded jazz albums. From this material, Aquarius crafts a quiet, slowly shifting air of mystery. The original concept and skillful execution make this an intriguing listen for those of us (all of us?) that are into dark ambient sounds.
3rd album of modern wind from the Akropolis Reed Quintet. Diverse set of chamber works.
The Austrian label Hau Ruck! is the Tesco imprint of Der Blutharsch’s Albin Julius. On this 2002 release, HR! presents ritual-psychotic post-Industrial soundscapes from the solo project of Russian Yuri Sakevic, active since 1996. This CD is actually a retitled reissue of 1999′s ‘Gotterdammerung’ album on Russia’s Black Dead Rabbit Productions. ‘Lucis Ferrato’ means ‘Iron-Clad Light,’ I think.
Most pieces build layers upon layers of singing/chanting/wailing into swarming Greek Choruses of lamentation. At first I assumed the voices were sampled but I think most of the vocal parts are actually original recordings of Sakevic himself, who seems to be a pretty skilled singer. Sometimes the voices are clearly differentiated, and sometimes they blur together into organic drones. T1 seems to have lyrics, but they are extremely distorted. The pieces also draw on Lustmordian electronics, gongs, bells, chimes and various mystery sounds, often giving the recordings an alchemist’s-chamber atmosphere highly reminiscent of 1980s Ain Soph, the early LPs of Diamanda Galas, and Ligeti’s ‘Requiem.’ Imagine snowfall by the darkened cloisters of an ancient satanic monastery high in the mountains. Near the end of the album the energy level rises with T.6′s Toroidh march and Hitler sample and T7′s concluding outburst. Very bizarre, very unsettling sounds.
Los Angeles based Tikiyaki 5-0 is a combo of 4 musicians (bass, guitars, keyboards and drums) from the much larger Tikiyaki Orchestra. This EP features originals plus covers of Arthur Lyman’s “Taboo”, Les Baxter’s “Enchanted Sea” and “Song of Delilah”, and the surf classic “Shockwave”. Extremely good players and fine arrangements give us this wonderful intersection of Tiki and surf.
Gyorgy Ligeti (pronounced jurj LIH-geh-tee) lived from 1923 to 2006. His early life was in Hungary where his creativity was restricted by first Hitler and then Stalin. In 1956 he fled to Vienna and also spent time in Cologne. In 1972, he was a composer in residence at Stanford University. His music is heard in soundtracks of Stanley Kubrick’s films such as 2001. Considered one of the leading avant garde twentieth century classical composers, his work embraced 12-tone and electronic music, especially music made with conventional instruments made to sound like electronic sources. This 5-CD set is a treasure chest of various styles and includes a book where the composer discusses each piece. Many pieces are very spare, very high frequency notes played by strings give a signature sound not unlike a swarm of cicadas. Other pieces are lush and lyrical. Some vocals are playful, all are very original. Most is not all that accessible, so don’t expect comfortable soundtrack material.
PGM: Very great dynamic range, from almost silent to very loud.
Austrian Neoclassical Darkwave shamelessly mining the trickling veins of Dead Can Dance and Arcana. It is beautiful, though.
‘Die Verbannten Kinder Evas’ is German for ‘The Banished Children Of Eve.’ The group originally began as a side-project of both members of the Neoclassical Black Metal project Summoning. By 2006, on this most recent album, DBKE was mainly the project of Richard Lederer (AKA Protector), the other Summoning guy having departed. All music was composed by Lederer and performed by him on keyboards.
DBKE has been fronted by a variety of lady singers, most recently by comely Greek Christina Kroustali (AKA Lady of Carnage), whose fine soprano is either improved or damaged by heavy reverb. Lederer sings the male parts, so to speak. It’s all very archaic, almost religious-sounding chanty stuff. Nearly all of the lyrics are from the repertoire of John Dowland. You might ask yourself why they bothered re-setting the words of one of the Renaissance’s greatest balladeers, but apparently Dowland’s lyrics were not his own in the first place, being often drawn from popular poetry of the Elizabethan era.
If you enjoy the sophisticated melodic sweep of Summoning but don’t like the metal aspect, this is the release for you.
This is a gorgeous aural experience brought to you by electronic and visual artist Mike Metlay. I happened to listen to this on a drive to Henry Coe State Park, and it was the perfect soundtrack for my ride. The colors in the track titles seemed to be in sync with the landscape passing outside my window. By the time “fade to green” was piping through the speakers, there were lovely springtime green hills to go along with the Earth mama feeling of the music. Birdsong was a nice addition to the track. Track 3 has some vocalizations that blend in well with the electronics, and there is some sampling thrown in on some tracks, though it is minimal. The entire CD builds from spare outings to the final, epic track that has layers of beauty. Even in the spaces, there is so much going on. Fading never sounded so good.
“Isn’t he racist” Yes, and a confessed murderer too (of an arguably better musician), and an arsonist of cultural heritage sites, and the holder of all manner of extremely bizarre views besides. Take an honest look at the stone in your own eye, thou hypocrite, and you may find out you’re not doing so hot yourself. Anyway, I think it’s safe to say all honkies are “racist” nowadays, whether we like it or not: that is at least so far as the, ahem, cultural hegemony is concerned.
Recorded in 1992 by one man, under a full moon, at the Grieg concert hall’s studio (where Emperor also made albums), and originally released on future victim and Mayhem founder Euronymous’ Deathlike Silence Productions, Burzum’s debut didn’t invent Black Metal but it did pioneer the style most often associated with the genre: call it the ‘dark forest’ sound. Its inhuman vocalizations, sickly, buzzing guitar tone, flurried drumming and mournful atmosphere were very influential on the development of the ‘raw’ and ‘depressive’ scenes: see Forgotten Woods, Ildjarn, Ulver and Mutiilation for more information. Contrary to what you may have read on any number of clickbait websites, there’s little here that could be called political content. The lyrics are adolescent (nineteen-year-old) fantasies of violence and power. There are also settings of an ancient Sumerian invocation (A2) and a spell intended to destroy the world (A3). If you want my opinion (and you do, right?), Dungeons and Dragons and Tolkien (‘Burzum’ is Black Speech for ‘darkness’) are more important thematic influences here than Wiligut. This Back on Black reissue also includes the tracks from 1993′s ‘Aske’ (‘Ashes’) EP on the D side. Technically it’s a reissue of the compiled ‘Burzum’/'Aske’ release on Misanthropy Records from 1995. B1 and C2 are ambient and B3 and D2 are instrumental guitar tracks.
The truth is, it doesn’t really matter how you or I may feel about Varg Vikernes or Burzum now, because the movement he started that night at Fantoft Stave has achieved its own momentum, and we will win :-)
From Bristol, UK. Psych. Doom. This came out in 2013. Sounds like echoing screaming vocals and heavy sounds. Lots of feels and vibrations. Track five is poppy punk upbeat. Six could not be slower. Lots of varying sounds.
2002 Norcal Noise Festival compilation. Noisefest happens in Sacramento and it celebrated its 20th anniversary last year. Each convocation has attracted as performers both ‘stars’ of the noise scene and people of whom nobody ain’t never done heard. As for the audience, well there’s the other bands of course, and also an assortment of odiferous and shambolic weirdos, some drunk, some ‘high on life…’ Don’t touch ‘em or you might bring home a new friend, if you know what I mean. Recording quality is good and many different forms of experimental music are represented, although most tracks are electronics-based.
1. “If opera’s not your thing you can head to the Norcal Noisfest in Sacramento this weekend. The festival showcases 32 experimental bands playing non-tradition instruments with unusual technique. Don’t be surprised if power tools, metal tubes and tweaking electronic effects are part of the lineup. If you don’t hear the festival, chances are you won’t be hearing NOISE on any radio station.”
You might like this even if opera is your thing.
Necrot! The destiny of this Oakland Death Metal band has been intertwined with KFJC’s ever since Number Six acquired a copy of the first demo back at Deadfest 2012. You can find evidence on Live From The Devil’s Triangle Volume 16 of that same year’s Firebunker live mic session. Just in time for their scheduled second appearance on our airwaves comes this LP, mastered by Dissector of Ghoul, which compiles all three demo tapes released thus far. It’s true that our library has two of the tapes already but look a squirrel.
For their first two tapes (A1-B1), both released 2012, Necrot was the duo of cadaverous Italian growler/guitarist Luca Indrio (Acephalix, Vastum, Lawless) and San Jose local Chad Gailey (Bruxers, Caffa, Vastum, Rude, Atrament) on the hammers. In 2014 their third release (B2-B4) brought in Sonny Reinhardt (Saviours) to play lead guitar, with Indrio sticking to bass. It’s probably easier to play live with three members.
In their search for the dankest chainsaw riffs yet unheard, Necrot embrace a stripped-down, sometimes grooving sound, kind of raw in a way that approximates Gothenberg Death Metal superheroes like Dismember and At The Gates, cept in their young daze before they all went to shit. It’s NOT sloppy, but it does have a studied looseness and a haphazard race-for-the-end quality that will appeal to fans of Punk. They might be less excited about dying than some bands. That said, it’s Death Metal through and through, baby. All hail.
So Beast is Katarina Poklepovic and Michele Quadri. I know nothing about their backgrounds except their names. Together they create some fairly fresh music. Her vocals are angry and punk-sounding, and his balance hers with equanimity. The music includes some samples, electronics, and extreme delicate, nostalgic piano on track 13. Tracks 8-11 are really cool and blend together if you let them.There’s a lot on this disc to please whatever mood you’re in.
Prolific artist from Arizona. Sounds like tones, knocking, buzzing, and noise crunch.
Solo debut from the guitarist from Pelican. Also associated with RLYR and Chord. From Chicago. Sounds like humming buzzing tones from a chord organ with occasional acoustic and electric guitar, keyboard, vocals, and cat collar. Moody. Layered. Dramatic. Chill. This is one of my favorite kinds of rock n roll. Vocal on track 3. Spacey basey on track 4.
Kleistwahr is the solo electronic project of Gary Mundy, of the legendary industrial/power electronics band Ramleh; his work under this name dates back to a pair of Broken Flag cassette releases from 1983. Mundy has returned to this project in recent years to create a series of intensely beautiful noise records that share a common theme of modern despair, including 2014′s The World Is Not My Home, 2016′s Over Your Heads Forever, and now this 2017 LP from Cairo’s Nashazphone label.
Music for Zeitgeist Fighters holds two sidelong tracks, “Music For Dead Dreams” (T1) and “Music For Fucked Films” (T2), composed from relentless guitar feedback, ghostly voices straining to be heard through the distortion, hazy piano melodies, droning organ, and blistering noise. Blasts of harshness coexist with tragic beauty in a way that is so effortless and so authentic that it is immediately clear that this is work of a master. Philip Best wrote of this record: “Really don’t want to ruin the fun and generally I’m up for anything but this fucking shit cannot go on, can it?” In these deeply fucked times, music this blazingly powerful stirs the will to keep fighting.
Holy crapola. Power punk is alive and well, thank the gods. My neck still has a kink in it from flipping my head around so much to this album by the Uranium Club (a.k.a. Minneapolis Uranium Club). Eight cuts of right on, 21st century nihilist punk songs filled with snark and futility due to the world’s current situation. Smart, young dude intelligent lyrics about god, earth destruction, messed up relationships: we are living the dream. May I state my references/what I hear when playing this for the fifth time: early fast Buzzcocks, early Devo, Steve Albini/Big Black, Gene Wilder Willie Wonka. Great guitar work. Strong bass lines. Powerful straight ahead drumming. Three of the four guys take on vocals. Track one is spoken word “ad” about the band. Track eight is a quick instrumental. Play it LOUD!!!!!!!!!!!!!!
Der Plan Der Plan Der Plan. Du bist wunderbar. Considered to be the originators of Neue Deutsche Welle, Der Plan, from Dusseldorf, began in 1979 as more of an industrial band but moved into the electronic beats that make them famous. They incorporate puppets, masks, wild costumes, home made sets, all looking like a kindergarten class taking on “The Cabinet of Dr. Caligari”, along with the angular, electronic driven “simplistic” synth sounds. In 1984, they made a video and LP called “Japlan” which led to a successful tour of Japan. The album did very well there but was not released in Germany. Until 2013.
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