Gao Ping b. 1970 – 20th C. High Culture seen in a 21st C. lens. Conservative. 1-6 inspired by pre-TV storytelling, european sextet Ensemble Pyramide. 7-9 gao @ piano. folk melody permutations. 10-14 gao@piano w/US cellist anita jehli. departs from a line of poetry. 5 movements of unified chi. 15-16** ping at piano focusing on unintentional sounds, vocalizations **high entertainment value** don’t sleep
After early success, the Depression turned him into a streetsweeper until 60s blues revival resurrected him. Recorded March ’69. Tracks left off his Fourth & Beale album. On his bed, leg off, slurring, drunk, out of tune. Blues, rags, religious, vaudeville. Recording tells a story, he’s a good show. Grows on you.
Religious:3,12. Drunk:4,8,9,12. Track 7 yodels. Mistakes:9. Track 2 ends when he gets worried the the snuff’s all gone.
Strange constructions built with Welch’s overdubbed vocals. The Glasgow-based artist talks and rambles and exclaims and makes just about every kind of vocal noise possible. Voices on top of voices on top of other voices side by side with other voices. Track A2 is a short piece name-checking some of the USA’s most famous prisons. Side B is one 17 minute track. If you are a fan of vocal magicians like Makigami Koichi and Jaap Blonk, you’ll want to check this out. Edition of 300 on super cool green vinyl.
The brand new CD from Boston’s Funeral Doom frontrunners, whose legendary show at the Sutro Baths in 2014 (alongside Akatharsia and Badr Vogu) won them many admirers around these parts.
There’s a LOT of shitty ‘Hipster Doom’ out there these days–I’m not going to name names– BUT Forn absolutely is the genuine article. Take it from someone who’s picky about his Sludge/Doom (as Encyclopedia Metallum so authoritatively describes them). I googled ‘Hipster Funeral Doom’ and the only thing that came up was a 4chan thread where the term was deployed against Ahab, a band I actually love, and not a bad touchstone in this case, really.
Given their city of origin I think everyone half-expects this band to start sounding like Grief at any second, but there’s truly not much Sludge to be found on this release (except maybe the incredible grooving riff on t.5, one of the best songs). The largely creeping pace, echoey psychedelic guitar work and profusion of delicate interludes impart a certain thoughtfulness to this forward-thinking champ of an album, and here the band have earned the right to be mentioned in the same sentence as American Funeral Doom saints like Asunder and Evoken.
Accomplishing so seamless a merger of tenderness and brutality is no easy task for any metal band, much less one formed a mere 6 years ago; having two guitarists is of course an integral part of their complex sound, as is their fondness for sudden shifts from soft to loud. Tasteful Death Metal touches, including quite surprising ones on t.s 6 + 11, do not detract from the sense that Forn are a Doom band first and foremost, in love with stupidly big, slow, heavy riffs. Growler Chris Pinto, who once came over for some reason to the house in Boston where I lived for a time, is a versatile extreme metal vocalist and his spirited performance is also integral to this band’s sound, much in the way that the Bay Area’s own Swamp Witch couldn’t exist without Jimmy’s distinctively guttural interjections.
Speaking of the Bay Area, look for KFJC pit veteran Jessica Way (Worm Ouroborous, Barren Harvest) delivering an emotive, Current-93-esque performance on t.10, in what seems to herald the emotional climax of the album. This track, along with t.s 1, 4 + 7, is among the aforementioned delicate interludes and may appeal to non-metalheads also.
No track listing or lyrics included with the sleeve, but it’s safe to say ‘Rites of Despair’ is not coming from a happy place. Oh yeah, and Forn is Old Norse/Icelandic (same thing lol) for ‘sacrifice.’
On this 2014 EP, their sole release, the Industrial Noize duo are trying to act like they don’t smoke pot– but we all know that they do. Side A has decaying monks like you might find in the ossuaries of Santa Maria della Concezione dei Cappuccini in Rome, not far from the Via Veneto, where ‘La Dolce Vita’ was filmed all those years ago: monks trying to sing hymns as their throats crumble to dust. Seriously a lot of monks: hardcore Industrial fans already knew what I was talking about. OK it might just be A2 but it feels like both tracks. Side B is definitely more acoustic and less ‘ugh, I put my hand in something foul’; also, fewer (no?) monks: The Death Industrial Kraf-Twerk machine beat shows no sign of tiring its slow and dreadful progress as tortured sound sources are pushed to a climax. Mastered by Kris Lapke of Alberich and Furisubi. Plays at 33.
Just in time for the holydaze, here is the 2017 Christless single from Sweden’s masters of hopeless, gothic Martial Industrial. Bring it back again for this year’s meretricious airwave revelries. Hit the killswitch and be better than human as you learn to fail with members of Cold Meat Industry superstars Arcana, who bring you two hammering battlefield ballads of holiday blues resignation and distinctly Scandinavian moroseness. This material is more song-based than some of their earlier work, and perhaps even more so than the lyrically-driven compositions on 2016’s devastating ‘Unclean’ album. Peter Bjargo, the head Sophian, is also married to Arcana/Sophia siren Cecilia Bjargo. Continuing the 50s theme, hear Him on side A and Her on side B, both in full bah-humbug mode. More of an elegant Martial Pop sound on side A that gets into Allerseelen territory. Side B is the lurching, too-drunk-at-the-Christmas-party spiteful (Lina?) Barbie doll. Both sides are genius because this band can do no wrong. Plays at 45.
Paul Bley’s “Improvisie”, finishes off his trilogy of experimental electronic free jazz explorations with Annette Peacock. Recorded live in 1971 in Rotterdam, Netherlands, the two selections have Bley on electric piano and synthesizer ( as in MOOG), Peacock on electric and acoustic piano, synthesizer, electric bass and vocals, and Han Bennick on percussion. Peacock supposedly was the one who pushed the MOOG on Bley and with much success for the both of them. This is at the beginning of the MOOG so folks are trying to figure it out. Bley was happy that a keyboard was added but now he and Peacock were figuring out all the nuances of the thing. The improvisational interplay between Bley and Peacock is stunning, displaying a real understanding of the others musicianship. Peacock adds agonizing vocals (in a good way, a really good way) to the second piece. It almost shocks the listener. The pleasurable surprise, though, is Bennick’s percussion performance. He does so many amazing things with the drums, cymbals and whatever else he had present, adding to, accentuating, and filling out the sounds of Bley and Peacock. It almost gets lost but is so necessary. Definitely take a hard listen. A wonderful piece of music by some masters who were really going for the extreme.
Soundtrack to David Lynch’s film and accompaniment to the TV series, Twin Peaks: Fire Walk with Me. Music composed by frequent Lynch collaborator, Angelo Badalamenti. Sexy, sultry, somber detective jazz. Smoky atmospheres, voices of Jimmy Scott, and damn fine cups of coffee…