Control – “Out For Blood” – [Parasitic]
Thomas Garrison is Control, and was also Exsanguinate, which share a similar sound, but note the Exsanguinate which is currently touring from the last few years are entirely different unrelated people. There are also very many Control groups, from the UK, Sacramento, New Jersey, and Wisconsin, for example. If you play metal, if you play noise, you probably have a place for power electronics with vocals on your show, or on your label which, case in point, the promotional material for this album also confirms that this is the first non-metal to appear on the Parasitic label. This album is titled “Out For Blood”, and the vampire doth exsanguinate the body of his prey, so there is a nominal linkage with his much earlier work, in fact I would also say it is difficult to differentiate between tracks on earlier Control albums and more recent Control albums, meaning for a particular piece, it could very well have appeared at any point in the spectrum, which together I would say betrays consistency. He is from, works, lives, and runs his Misanthrope studio in Santa Cruz. He has recorded and released around twenty five productions from a very good range of acts, lots of power electronics groups too, in more detail, lots of mini cdr and limited stuff, and a few full length cd stuff, in addition to simply the mastering on a few stuff. His work reminds me most of Tetsuo Furudate, but maybe you could also say, definitely not Prurient or Sutcliffe Jugend, but maybe a mix of something else?
A1) Shots of hairspray, sub-sonar, guitar like controlled feedback notes, somewhat high frequency pure tones, repeated motifs, tone feeling or tone coloring with a noise palette, echo delayed or on a four second cycle, or leaking from a hose, much more treble than the barely even bass. 2) Ominous entry, almost guitar, then almost two guitars. Not quite wall of noise, definitely not wall of sound, almost 4 or 5 types of noise going on, lots of droning noise, high power signals; w/ voice, pow bow wow vocalizations through dictaphone electronics filters the didactics, and not a fade out but a short removal of layers ends the piece. 3) Didgeridoo via electronics, digital scanlines or tv without the image, music, or even white noise, just the hum of the cathode ray tubes. Many more movements than the other tracks, a wall maybe not so high. After a minute vocals, more audible here. B1) Compositionally a pounding headache. Less going on here than in other tracks. Sounds like manipulation of two pools of noise with two different controls plus the treated vocals. 2) Melodically darker, a fantasy of nazi induced apocalypse. Asymmetrical polyrhythmic airtube noise, scraping, and high velocity wind-to-ear flapping simulacra. 3) Echo treated room acoustics simulation, to, reverse noise drone, factory-sized resonation of metal production, then including drum snare synthesis beats, and all along a foreground of noise variants in a wishwash of sound in the key of sleep patterns, and a non-noise last 20 seconds of beats. AB) All words are nonidentifiable, dada diogenes is interested in what you think it says.
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