This is the soundtrack to post-apocalyptic hipster utopia. This is a mustache on a motorcycle. The cowboy hat from Flagstaff, AZ. “For Music Lovers” is cool, fun, atmospheric pop, it gets stuck in your head like a loose screw. Cesar came through the Pit in 2016, maybe. Weird enough for the weirdos, accessible enough for everyone else. Music here for everyone, turn it up.
Recorded using instruments built/modified by the artists in a variety of spaces, including a 2-million gallon cistern with 45 seconds of natural reverb. The artists also integrate found sounds and field recordings from a cross-country road trip. Side A is comprised of one track, “Imp”, which starts with scratchy, trebly, trembling noisescapes, anxious, fretting, at times voluminous. As the track progresses, it transitions to quiet, almost contemplative spaces. Side B, comprised solely of “Prop”, seems to pick up where “Imp” left off, but adds new skittery electronics, noises, static, hisses. The feeling on this track is particularly quiet, eerie, and awash in echoes.
Cruel Diagonals is LA based vocalist Megan Mitchell. A field recordist by profession, Mitchell wrote and released this as a follow up to “Disambiguation,” which we just added to our library October 2018. While “Disambiguation was about sense-making and uncovering some of the traumas surrounding Mitchell’s early musical career as an adolescent and young adult, Pulse of Indignation is about recognizing the exploitation, grooming, and pain that she was subjected to as a young woman under the watchful eye of men with power in the music industry.”
Watery, whooshing drones; ambient, reverby vocals; and soft, subtle noise amalgamate into this wonderful collection of seemingly disjointed sounds. Comforting, and yet, unnerving. This album is already gaining some traction, so dig it before it’s too late.
Oakland based project. 7 tracks of what the band calls experimental doom. It doesn’t quite feel like metal to me, though. It’s noisier, raunchier, and more in yo’ face. There are definitely metal elements, and a punk/noise ideology.
Track 1 is a cover of an excerpt of a Thou song called “Monstrance.” Cy Thoth would approve.
I can’t seem to find much out about this project. What I can tell you is that this is their second of only two releases (according to Discogs), both on the Madriguera label, and that Consolat is from Puerto Rico. Their first album, “S/T”, is the first release on the label, so I imagine there is a close connection between them.
What we have is four tracks of transcendental electronic noise. Sometimes lead by a beat, other times searching for something just beyond reach. It squibbles and squabbles, creaks and crunches, blasts and booms. “This release furthers the machinic faults, exhaustive rhythms, and accident-prone craftsmanship that comprised its debut tape. A personal, coarse, and rudimentary account on the island’s political landscape.”
Yep, it’s another synth-pop album from Dark Entries. This time it’s HANNAH LEW (ex-Grass Widow) and her band Cold Beat doing an album of EURYTHMICS covers, and–let me tell you–it’s a real stunner that gets deeper with every listen. Lew’s vocals are at the core here, pitch-perfect, exquisitely phrased, and–of course–drenched in reverb and wrapped up in a cocoon of lush synths. You can safely drop the needle anywhere, but some highlights include She’s Invisible Now (A3), which hints at that Widow feel with its slightly warped synths, cold vocals, and motorik beat. Guitars come to the fore on Never Gonna Cry Again (B2), a nifty little minor-key groover that could almost sneak into a late 70s classic rock album. And if it’s that 80s synth(-etic) bliss you’re after, check out Invisible Hands (B3). (P.S. – Plenty of Eurythmics in B Library… *ducks*)
Trepaneringsritualen (which presumably means something to do with drilling a hole in one’s head) is Tomas Ekelund from Sweden. Since 2008 Ekelund has prolifically practised his highly theatrical (or ritual, if you prefer) school of traditional Swedish death industrial. Despite his intense image, he spent the decade previous to founding TxRxPx in the highly emotive (but, as he would hasten to point out, equally gloom-ridden) dark ambient project Dead Letters Spell Out Dead Words. It is interesting that Ekelund’s body of work inverts the traditional industrial musician’s paradigm of going from ‘confrontational and ugly’ early on to ‘contemplative and pretty’ later in the career (see Genesis P-Orridge, Michael Gira, etc.)— this is heavy and not at all friendly stuff.
This 2010 cassette on Aaron Dilloway’s Hanson Records captures the raw early stages of the project. Heavily inspired by fellow Swedes Brighter Death Now and Nordvargr (and others on the Cold Meat Industry label), this is pulsing, sinister industrial noise with overtones of dark Norse spirituality (‘Septentrional’ means ‘Of the North’). There is a repetitive and simplistic approach to these tracks, but with an artfully organic presence that evokes a bleak environment of cursed machines rather than an impression of mere lazy looping and layering. There are three tracks on each side. A1 and B3 are creepers with unhealthy-sounding and unintelligible vocals. A2 and B2 are exemplary rhythmic noise pieces in the vein of early Genocide Organ. B1 is a more minimal dirge stalker with frightening serpent-speech somewhere between black metal and Bob from Twin Peaks. A3 is a spacier piece with a muted sample that may be Aleister Crowley. All tracks are good, so take the black pill, don your exit bag, and turn it up.
Anti-Ear is the appendage of noisician Tyler Harwood, formerly local but recently relocated to New Orleans. This 2018 cassette, released by Harwood’s NOLA-based music/graphic design imprint Planetary Magnetics Corporation, holds a 20-minute noise trip on each side. These aren’t complex collages that crush you with detail and density. Side A feels more like a comic strip, full of bold, broad strokes, graphic dots, and sudden zingers, like the oscillating electronics that warble until they succeed in shattering glass. Side B is still stark but more dark, with oozing synths, heavy pulses, and the quiet growls of Uncle Jesse on a meth binge, breathing down your neck. Have mercy!
Circuit Wound is the solo noise project of LA’s Jay Howard, who also records as part of the groups Bacteria Cult and Wire Werewolves, and with Bob Bellerue in a duo called Redwound. Howard has been causing headaches with Circuit Wound since at least 2001.
I think he is one of the more reliable LA harsh noisers, because his pieces tend to be very dynamic, i.e. they very much retain the impression of whatever constant effects manipulation was necessary to keep the sonic fracas flying.
On his 2018 effort for Oxen, this peddle-torquing Torquemada gives no quarter; the Angeleno sonic torture progresses from side A to side B leaving only skidmarks and tangled ruins. There are many layers of excellently recorded chaos to explore and it definitely doesn’t sound anything like radio static or any of the other tropes employed by harsh noise detractors. I’m not going to sugar-coat this: it sounds like R2-D2 being tortured at a Disney black site. The A side starts off a little more slowly and the B side gets right to it. Ten minutes each. Enjoy.
Unaussprechlichen Kulten were one of the sickest bands featured on KFJC’s live broadcast of Nuclear War Now! and Iron Bonehead’s Never Surrender Festival in Berlin last year. The name of the Chilean death metal group is German for ‘Unspeakable Cults,’ and also happens to be the title of a fictional black magic text featured in the works of both Robert E. Howard and H.P. Lovecraft. U.K. refer to their music as ‘occult death metal’ and it appears to be heavily inspired by Lovecraft’s mythos.
This 2018 CD compilation from a Chilean label contains a limited selection of tracks from U.K.’s 4th album ‘Keziah Lilith Medea (Chapter X)’ (2017) (t.s 1-3), their 3rd album ‘Baphomet Pan Shub-Niggurath’ (2014) (t.s 4-6), their 2013 EP ‘Lucifer Poseiden Cthulhu’ (t.s 7-8; frustratingly, the compilation leaves off only one song from this) and their 2012 split with the American band After Death (t.s 9+10). The remaining 8 tracks are live material; for most of the live songs a studio version can be found earlier on the CD, although not t.s 14-17.
This is monstrously heavy death metal, akin to a thick black smoke clogging your accursed speakers. Fire follows smoke in touches of strong melody wrought by the dual guitar interplay of ‘Herbert West’ and ‘Joseph Curwen,’ but always with a demented, demon-summoning twist. Many songs begin by grooving around a deceptively simple phrase before revealing the fuller tentacled complexity of their nameless horrors. The grindcore-inspired drumming and Curwen’s deranged Spanish death-gurgles round out this insanely suspenseful take on death metal. U.K.’s gloom-ridden riffs and unforgiving song structure, owing something to both Immolation and Autopsy, make for a style that goes well with Nuclear War Now!’s roster of sulphur-seared diabolical DM artists (e.g. Ignivomous or Dead Congregation)— although these guys have been playing this style for 20 years, which is quite impressive. All Hail true Chilean death metal.
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