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FreakAnimalFinland
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« Reply #60 on: October 09, 2014, 11:41:28 AM »

hmm.., 100 x 7" full and seems like warm up..

DODSDOMD "Everburning Evil Fire" 7"
LSDO
Mjölby / Sweden, power electronics. Guy behind project was involved in bunch of punk bands since 80's. Not sure whether this project is active anymore? Couple CDr's (sssm, self abuse) and couple full lengths on LP and CD. This was one and only 7" and is good stuff. Think of electric high pitched noises a'la Halogen era Whitehouse, Nicole 12, Bastard Noise, OP Rechts, etc. But with perhaps more multi-layered and some crunchy harsh distortions too. Whispering processed vocals on one side. Perhaps this style is not as popular as the "lo-fi" gutter violence, but to me it appeals strongly. Certainly his LP worth to pick up too!

TAINT / STRICT split 7"
Ajna
Taint offers couple samples of little girls and massive bolt of harsh noise blast. Good, perverted, sickening dark noise as always. Strict is winner here, though. Utterly demented high pitched screaming voice and piercing feedback and few crushing noises over throbbing, oscillating synth line. In all its simplicity it's like classic SJ sound from early 80's taken to 90's for little bit more clarity and force. Absolute masterpiece here.

KADEF "Secret Rave" 7"

Membrum Debile Propaganda
Kalojan Witanski's project is something I know couple guys worship, but overall seems to be totally overlooked? Primitive german noise. Lots of loops on this one, totally effect free and raw hand made primitivism. Packaged into enema bag, complete with tube etc. And that plastic has unfortunately reacted vinyl vinyl itself over the years. Some sorts of plastics just do it. Exchange of molecules or whatever there happens and surface of transparent vinyl is full of chemical imperfections and it results even the sound of vinyl. But as sound of noise is so brutal and coarse, constant surfacenoises don't really ruin whole thing. First side has the loop dominated rhythm while second side is utter noise wall with great primitive texture.

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« Reply #61 on: October 09, 2014, 07:20:05 PM »


DODSDOMD "Everburning Evil Fire" 7"
LSDO
Mjölby / Sweden, power electronics. Guy behind project was involved in bunch of punk bands since 80's. Not sure whether this project is active anymore? Couple CDr's (sssm, self abuse) and couple full lengths on LP and CD. This was one and only 7" and is good stuff. Think of electric high pitched noises a'la Halogen era Whitehouse, Nicole 12, Bastard Noise, OP Rechts, etc. But with perhaps more multi-layered and some crunchy harsh distortions too. Whispering processed vocals on one side. Perhaps this style is not as popular as the "lo-fi" gutter violence, but to me it appeals strongly. Certainly his LP worth to pick up too!

He is still around and does music. But not that recording active i guess. Released a CD on L White some years ago, i think that was the latest. He does mixerfeedback on his studio mixing board as main instrument. 24 channels maybe? A really big one. Not the ideal gear for live action i guess. 
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« Reply #62 on: October 09, 2014, 10:13:42 PM »

control - praying to bleed - lsd organisation, 2000

side a: all synth power electronics, always with more european style of composition then a lot of other american acts. dominant low end wall, some far off reverbated sounds and utmost distorted vocals that are more like element of noise outburst helping move the track along. problem with this record has always been the mastering - even with mixer channel cranked loudest noise is vinyl surface popping.
side b: more minimal side to control here with low end synth throb and a quieter vocal approach will more layers of synth build atmosphere of extreme tension. hard to believe this is 14 yeas old, i guess i stopped following control around 2005 album, when sounds got cleaner and song structure more predictable, but since old stuff has stood test of time i am curious to check out newer work on ant-zen.

con-demek - deification / results - fourth dimension, 1994

side a: ritual tribal percussion, cymbals crashing, metallic droning, layers of slow whispered voice.
side b: first track is ominous droning with foreign voices and loop of woman screaming being manipulated. second track is tribal drumming scattered around an off-beat industrial loop of a metal banging sound, likely played up and down on keyboard sampler. 3rd track more sample manipulation and droning... real good stuff here, always liked this record. picked this up for 2-3$ 10+ years ago and looks like its still trading around that price today.


pusdrainer / custodian - split - phage tapes / dead pope, 2012
custodian: starts off with harsh junk noise loop while more crashing and feedback interrupt chopped up harsh noise. cuts are fast for the first minute or so then settle down into longer pieces, always remaining in the mic'd metal frequency range. i get the feeling there was post-production done on computer but this sound has good rich quality, not shitty flat computer line in sound. pretty well done, reminds of a less busy pain jerk.
pus drainer: heavily flanged frantic screaming and crude feedback make up this side, sometimes interupted by delay pedal induced rthyms. minimal one take style recording i would like much more if the flanger was turned down!


shredded nerve - retention - torn light, 2014
side a: a slow, lo-fi kinda unclassifiable elecronic sound goes on for awhile while other grimey low end sounds and metallic bang creep around the background. slowly really crude static noise starts blasting in at random moments, everything growing more chaotic as the track progresses before settling down to a quick close.
side b: super slowed down oral grossness starts this side, crude metallic scraping like thin bare wire on chalkboard appears, a really shrill torturous sound that grows in violence before fully taking over. this is a minimal but sound quality is so rotten, i love it, and at intense volume i could see this kinda thing really bothering a person who didnt want to be hearing it!

mauthausen orchestra - smooth hate - bloodlust, 2006
side a: shrill midrange synthesizer slowly oscillates and layers of tone grow. similar in structure to the high-end madness on "continental cruising" - the first track on "raising vapours" cd but mid-range instead. i happen to like that cd so this record is pretty good one to me.
side b: this almost sounds like a down-tuned bass guitar randomly strummed through a chain of distortion pedals... pretty shitty. to me this is emotionless, effortless work and when coming from someone so gifted at creating true aural atrocity, you have to wonder what zoppo was thinking.


ffh - tiocfaidh ar la - gods of tundra, 2007

side a: dense rough layered wall of crunchy noise goes on for half of the side before stereo separation and tension filled tone emerges amongst the wall, eventually degrades into mono recording and side ends. something about the sound quality of this makes it beyond simple noise wall, has a rich depth not easily identified as synth or pedal based, pummeling at loud volume.
side b: good aggressive synth line and samples about the IRA, this time there is commanding vocals, deep and barked with hate filled ferocity.

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« Reply #63 on: October 10, 2014, 11:28:27 AM »

AUBE "Blau + Rot" 7"
aufabwegen
Sounds like source is some sort of vintage electronics or gadgets. zip zap zup, almost like game effects once in a while, but not totally horrid. Its not among my favorites if talking of Aube, but trustworthy quality in composition.

COMBATIVE ALIGNMENT "Image acoustique" 7"
Eternal Soul
Keyboard music, what is somewhere between soundtrack muzak and orchestral "ambient", combined with spoken word bits and pieces. Very heavy slab of vinyl, glossy full color cover. Very "german label" presentation here, and while I could easily listen material few times, very little sinks in my head besides factory default keyboard sounds...

CONTRASTATE "I Am A Clown Collecting Moments (And Other Chocolates)" 7"
Dying Earth Europe
1993 release of Contrastate is same era as Tesco vinyl releases. In other words: Good era! Sound collages, spoken word, experimental post industrial. All sorts of loops and edits, but totally hands-on approach. Certainly worthy addition if you have "A Live Coal Under The Ashes" and "Throwing Out The Baby With The Bathwater" in your shelves!

CLUB MORAL "Lonely Weekend / Gun" 7"
Dead Mind Records
One side live 1981. Other side studio 2003... And you can tell. Old stuff has its charm. Simple pulsation and vocals is name of the game. Newer stuff suffers from utterly clean and synthetic sound. Especially vocal effects that used to be spice of Club Moral power, appear here as tasteless and clumsy. It aways always the question about old men and new gear..........

COSMONAUTS HAIL SATAN "Hellraiser" 7"
Fourth Dimension
Second CHS 7" from early 90's. Still fuckin' brilliant stuff. Should spin all the CHS stuff. Odd sounding, sometimes perhaps out-of-tune guitar/bass/drums or drum machine patterns or other rhythm loops with samples from horror & sci-fi movies played over them. Been listening band since '93 when finnish label Joukkomurha released compilationtape with their tapes put together. Band fits well into era of UK bands (Ramleh, Skullflower, Godflesh, JFK, Pilge Pump, etc etc), but had its own unique sound and presentation.

K2 & HATERS 7"
Banned productions/KMI
Just utterly brilliant cut-up noise in the old ways. Natural, coarse, raw and rugged. Always on the move, always tasty sounds. Absolute masterpiece I was listening over and over and over again yesterday.

K2 & SMELL & QUIM 7"
Kinky Musik Institute
K2 using S&Q side is phenomenal here too. Cut up noise at its best, I'd say. It totally escapes the flatness of contemporary cut up harshnoise, by being pretty much 30% sound collage 70% noise. So it's not all just highly edited burst of distortion, but well balance cut up of interesting noise sounds - that are not all about max digital distortion.
S&Q using K2 sound is much less interesting, but for sake of diversity, it certainly can be listened with pleasure.

K2 & RLW 7"
Kinky Musik Institute
1995 was quite early stuff for RLW. Not yet fallen into too clean electro-acoustic. Over here stuff is just brilliant. Think of P16.D4 easthetic. Mixing noise with tactics of electro-acoustic music. Cut ups, noise. Never the standard digital reverbs and microsecond loops, but there is movement forward here.

Spent hours just with the 3 last 7"s..  Should dig up the other parts of the series. This is the kind of stuff what would be great to see issued as one CD! It would be the ultimate cut up collaboration release...

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« Reply #64 on: October 10, 2014, 03:51:33 PM »

various: kontrast - 5x7" - duebel, 1997

aube: sound source = the blood vessel. one side ultra high-end tone with barely audible bass rumbling akin to a rythm derived from human pulse...slowly the high end fades and the low end gets a little louder and a light sound almost like sucking in spit slowly moves around - extremely minimal, quiet piece that 7" lends perfect length this time. b-side takes a totally different approach with the human pulse ran through distortion making a loud loop with delay and other effects added until track gets about as chaotic as aube can get. certainly not the worst aube 7" by a long shot!
contagious orgasm: both sides offer up blurry industrial soundscapes very much like other contagious orgasm of the period. think "illegal occupation of ears" cd style. reverbated metal, voices, sparse radio signals, minimal droning electronics with overall dark and ominous atmosphere.
msbr: one side starts like a feild recording with random movements echoing about...sometimes electronics build, or some crunchy noises appear but this is interesting for msbr as this remains very quiet for almost the whole side. eventually LFO synth noise comes in followed by a layer of delay like train clatter and piercing highend tries to bite its way through. eventually turns to static, then back to the quiet feild recordings - flow to track isnt that great, would like it much better if the middle section of LFO sounds wasnt there and instead stayed on the quiet side. other side is spacey synth loops interrupted by thick fierce noise. almost with k2 cut-up style feel. while the noise elements are great the synth sounds and blatant cycling through "multi-fx effects" are pure wank and this would be so much better if the noise was able to be let loose!
schloss tegal: cold, desolate dark ambience. one side layeres of light industrial synth machinery droning on top, the other more organic sound...like mud-caked farm equipment struggling on in misery. really well done stuff. think yen pox, blood box, caul, heid, etc....
toy bizzarre: side a starts with shrill feedback with some square-wave synthesis and other electronic sounds comepete against one another. things get quiet, a lot of reverb with strange electronic knob twiddling noises before being starkly interrupted by chopped up more organic sounding harshnoise, kinda john wiese feel. then record gets almost silent for a long while before droning and chopped up noise comes back only to disappear again. this cycle repeats a time or two more before ending in pure "ambient noise". b-side is super minimal, barely audible for the first half before turning into tonal drone piece ending with static buzzing and windchime like sounds. whole record has strange flow, is a lot happening, or nothing? 

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« Reply #65 on: October 10, 2014, 09:28:20 PM »

V/A – Finish 2X7” Drahtfunk-Products
I enjoy 7” comps, but I prefer when each artist gets an entire side of each record (or when each side has 10 or more artists), but this comp makes it ok by doing my favorite thing, which is by including a booklet where each band gets their own page (some get 2 here), it’s fun to see who is using what techniques, who has a computer in 1997, who is probably still using paper, feels like that little boost of surface to get a message across compensates for time, but luckily pressed at 33, nobody seems entirely rushed.  Brume starts with the unfortunately titled “Internet Midi Zombie”, it’s fine, swooshing noises, and then some rhythmic thing with banshee sounds, I’m ok when he shows up on a comp, but his work is too scattered to really grab me.  Next is Astro, with hard sculptural psychedelic electronics, like a constantly warping structure floating in space more than any kind of narrative, it sounds exactly like a guy turning knobs on a synthesizer, and that is something I think I now definitely have more than enough of, but he does it fine, sadly it does seem to just get faded out, no resolution, but it’s not jarring.  MSBR, hard close heavy electronics, starting with his tonal roaring monster call thing, and that sort of dips in and out of static, with shifts in surge density and direction in ways that propel the piece nicely.  Again, I’m sure you all know that tonal prism sound he uses, this is it (I have an interview somewhere where he mentions what the exact piece of gear is, was it a bass synth?).  This piece has a better more rounded out presence and power than the live tracks which seem to make up a lot of his later discography, so it’s really worth seeking out as an MSBR fan, especially over some later CDR releases.  Then Salt, his track is fine, it’s basically just doing what Aube does, even the aesthetic of his page.  It’s all made from engine sounds, it’s a very tastefully done collage of sounds.  I’ve never been moved by stuff this guy does, it’s always, pretty good, but doesn’t grab me viscerally or interest me.  Record 2, Contagious Orgasm when he was still good, weird samples, lots of reverb, kinda muddy and dense in his flat way, some metallic sounds and dripping, eventually a siren and it gets rhythmic, but it’s still industrial, not techno.  Then Thirdorgan, wild screaming / squealing electronics noise that’s harsh and piercing and sharp… but it sounds like it’s small… it’s cool, but it sounds like a model, which is an interesting sonic scale.  The Aube track is next, and Aube on 7” up to 1999 or so, is pretty great in my experience…. nicely developing looping densities with static fuzz loops shifting around and building in thickness to a nice full stop, not full on assault noise Aube, but just a really nice textural statement that stays on the harsher side of things.  Comp closes out with Macronympha, a really murky, but not fully assaultive piece, grimy muck density with some tonal lines and rhythmic stutterings and blips inside all the crud, sounds like surging sewer waters with weird stuff surfacing now and then.  I think this type of work reveals itself nicely over longer durations, but I didn’t feel cheated or deprived here, it was a nicely shifting piece that said a respectable amount, even though it does seem to just cut off.  I think this comp is still around even though it’s signed and numbered only 300 copies, so definitely worth grabbing.

Shimpfluch-Gruppe / Peeled Hearts Paste ‎– No More Gun (Live In Nippon) 7” dualpLOVER
I’m always bummed out by the cover of this record… my pile of Schimpfluch 7”s look great, minimal design, cool scrawlings, weird photos… and this guy, a green and orange… toucan… gun… speaking with a comic word balloon…. I wish it was a black and white photo of a naked guy curled up on the floor with a girl puking on a wig on a table with some hand scrawled text in illegible German… P.H.P. side is a live recording of feedback and yelling and some percussion and electronics, I think.  Schimpfluch side is live room recording of buzzing amps and moaning man vocalizations and some attempted puking sounds, attempted puking in a bucket sounds, growls, feedback, some electronic sounds of unclear origin, loud manimal moaning, it’s totally wretched and absurd, so, I’ll just keep dealing with this sleeve… probably just make my own for it.  I hate audience reactions captured for posterity, but the immediate laughter at conclusion then record silence was nice.

K2 – Hofradma 7” Myotis
I listen to my K2 7”s all the time, more than any of the other stuff of his, just when I need to chew on scrap metal for a few minutes, delight.  1996-7 Era K2 = cool metal junk screeching scraping and clanging sounds cut around with perfect static sheets, feedback threads, and furnace blast electronics… Not much to say, it’s K2 from my favorite era crushing.  Nice inclusion of some weird panicky vocal outbursts, I’m not crazy about short pedal loops, but it’s never done to an upsetting degree.   The B side is more heavy cut up metal noise, nothing to add besides, it’s fucking awesome, has nice blaring car horn and pulse sections, and I always admire his use of micro blips of silence, it’s like a weird trick that slams me right back into the intensity, too short to be cuts to new tracks, too carefully and regularly deployed to feel like glitches, the K2 mini silences are just like perfect little periods or visual cuts, maybe it’s just an editing thing he can’t help or doesn’t even care about, but it is an incredibly important element of what makes his work so powerful to me.

Big Stick ‎– Drag Racing 7” Recess Records
I’m always looking for records like this, almost songs, but more documents happening out of pure willpower more than talent.  Track 1 is a dude talking about political assassinations with a weird tripping beat and some guitar, but all sloppy and robotic, Track 2, the masterpiece Drag Racing, weird drum machine, very similar to the first track, more weird stuttered vocal lines, like they sampled all their vocals and instead of singing it, just played portions on a sampler, but this also has a dosed out chick mumbling crap about her clothes, it’s great.  I live for fucked broken music like this.  B side basically the same shit, weird sloppy beat, drunk on the couch guitar commentary and weird rambling drug vocals and samples, and the last track is also just as cool as the others and is the same elements while the girl mumbles about something.  I’m sure it’s objectively awful, but I love it.  Perfect 7”.

V/A – We Hate You 7”+CD Jazzassin Records
OK, I guess I’ll just talk about the 7” portion.  I admit I basically bought this comp only for The Gerogerigegege and Merzbow (already have the Aube).  The Origami Republika track is fine, just like, ok we like T.G. industrial.  The Gerogerigegege track… is like 30 seconds of tapping on a table with Juntaro reciting some lyrics in a silly voice… I do like that it’s notated as take 11, and that everyone including whoever was holding the Walkman is fully credited.  I think it’s time for the full Discipline cover sessions to be released on 7”… maybe Lasse has all of them??? The A.P. track is more: we like T.G. fun (a lot of the CD is like this too, feels like a party of people having fun, probably the only way to really approach a tribute comp without seeming dumb), The Inca Eyeball track is great for what it is, a very amusing project, I would be happy to walk by if he was playing in the subway or something, I.E. has an unmistakable sound, I imagine they always play open mic nights at my dream noise world bar, The I.O.S. Weeping cover is pretty successful for a seemingly straight on cover, female vox ver, it’s nice to hear.  The Kapotte Muziek thing is fine, just an exercise. The Merzbow one is good, satisfactory length, it’s solid and heavy and sounding very clearly like he is using T.G. as source material, which is stated in the liners, so it’s hard to hear it as NOT a T.G. remix, so as a curiosity it’s nice.  Cool comp, but I don’t think I’ll play it again soon unless some other T.G. fan wants to hear it over drinks.

Déficit Des Années Antérieures – Miss Vandann 7” Illusion Production
I was for some reason quite obsessed with getting as much Illusion Production stuff as I could in highschool, I dunno if it was just cus the descriptions were cool in Anomalous and Nuit Et Brouillard catalogues, but in the early days of my ebay addiction, I had some luck winning rare junk cheap cus most people would either not search the bands full name, or nobody cared at the time, whatever the reason, I remember being insanely excited to get this for like 9 bucks.  I basically got rid of most DDAA, it’s fine, but not directly what moves me, but I do still really like the first few years, still after Aventures En Afrique 7” and Bacterial Voice Epidemia 7” if anyone doesn’t need those and wants to trade.  I was really impressed with the packaging at the time, I still find it beautiful, yellow and pink screen printing on a black sleeve.  It also comes with a toy soldier, a piece of ancient gum, a postcard, “Illusion Production Magazine No. 1, a paper airplane model “kit”, a semi abstract architectural mini poster, and a cool screen printed pin up of “Miss Vandann”, and it’s all in a bag, and includes a folded piece of cardboard that would be placed over the top of the bag, and a sealed copy would look like one of those cheap bags of toys and candy in a checkout aisle, an excellent presentation.  A side is an angular little anti pop song, simple guitar, primitive minimal wood block sounding electronic percussion and persistent mantra like vocals.  B side is guitar plucking and a pulsing violin like - synthesizer drone which subtly escalates in intensity, but never to any outrageous explosion, not mindblowing, but a nice little breather after the more intense A, and it’s basically long enough to develop a defined space in its short running time.  The B side also delivers a little better on 33.  A cool record from 1979.

Déficit Des Années Antérieures – Front De L'Est 2X7” Illusion Production
Another one I got for like $9 on Ebay forever ago.  This was released with four covers with a fragile paper band wrapped around and a booklet, I have the camo cover, which luckily I feel looks the best.  A side, has more primitive woodblock percussion, a frantic Frenchman chanting the “Danse..Danse....” of the title and a few other words.  Some minimal textural accents of a gently surging type radio static sound.  Eventually a few moments of female vocals at the end.  B side is two pieces, the first is meandering guitar and buzzing synth then a Humphrey Bogart dialogue sample in the transition and the second piece is some kind of toys and bells percussion with slightly more desperate vocals, they get a little too passionate for my tastes though the percussion and voice merge into that mantra zone that I like near the end, but it’s the early D.D.A.A. sound, so it’s pleasant enough with some coffee in the morning.  Record two starts with distorted voices and some simple sunny piano, I enjoy the minimal combination of weird distorted repetitive… counting?  and simple piano, kinda sounds like that first Yoran 7” I desperately need.  2nd piece on this side is barely there percussion, minimal one note guitar, and gradual surges of white noise.  The last side is gentle contemplative minimal piano and a slow chant with a somewhat more insistent male voice above the rest.  Again, I like early DDAA, but I don’t need that much of this kinda stuff.

Contagious Orgasm ‎– Hydrophobia 7” Ant-Zen
I still haven’t worn the T-shirt... one day.  A side: cool smashing and looping that reaches that classic smeared grey density that I like with old Contagious Orgasm.  Some buried feral growl vocals, and a few tightly packed layers of textures… eventually some movie samples, and radio, but the selection is very unique to his style, where it seems like the samples don’t really make the most sense, I’m used to people sampling heroic speeches, not some odd dialogue from Silk Stockings… then it enters a final phase of some undulating synthetic static, female screams, and the loops all building to a vhs cinematic pool of sex death… I love how the flatness of so much early C.O. gives a very visual sensation; I’m sure informed by his great early design work, I feel like I’m hearing dense foliage of xeroxed bodices and circulatory systems… B side is samples of voices, rhythmic clanking, sheets of grey unclear audio, obscured actions, drops out to cinematic strings, weird moaning, some drum machine comes in at one point, but it’s staggered and not too loud… an interesting journey through decayed industrial spaces (they feel like movie sets though, not actual factories), peeking in rooms, surprised by who and what resides, all very Eraserhead soundtrack.  This is quite a long 7” at 33, both sides are around 10 minutes, perfect when I need his world for a bit.
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« Reply #66 on: October 11, 2014, 12:43:46 PM »

CLIMAX DENIAL / CRANIOPAGUS split 7"
Razors And Medicine
I remembered I liked CRANIOPAGUS on this 7". Climax Denial to me, doesn't sound too good. Vocal sound is horrible. Line-in digital sounding material doesn't help. It's not absolute atrocity, but in world where you have several decades worth of great power electronics, don't get excited of this type of stuff. CRANIOPAGUS is perhaps even more modern sounding. But in their thick and full sounding keyboard (?) wall and processed vocals, there is something good in there. In a way, feels like material that will date quick and be reminder how late 2000's was popular time for PE, but perhaps generated less timeless classics?

CHEAPMACHINES / FAMILY BATTLE SNAKE split 7"
Harbinger Sound
CM side is brilliant noise. I have never been huge fan of his stuff, for whatever reason. But everything I've heard, has been good. Maybe it's the aesthetics that don't appeal to me as strong as cocks & swastikas? But good multilayered noise what has lots of texture and detail, and instead of gimmicks trusts in basics.
FBS does drone noise, what is surprisingly active and goes forward. New noise power drones gets into mix in constant flow and its perhaps too noisy to label simply as drone, but as for type of sounds, should be accurate. Good 7"

CARLOS GIFFONI "Resignation letter" 7"
Harbinger Sound
Same can't be said about this. Also 2008 release. Ltd 100 tour single. Plain white sleeve with stamped title and numbered by hand. But what an uninspired synth bullshit we have here. I have never heard that CG would have done REMARKABLE album. His gigs worked well with heavy duty subwoofer power and loud volume, but all this synth stuff seems like having guy with two analogue synths with no effects, no interesting recording methods. Just line recording of testing what sort of sounds could be pulled out of these synths. And I can tell: not good ones.

CCCC "Polygon Islands 1 & 2" 7"
Syntactic
In my opinion "Test Tube Fantasy" of CCCC is absolute best of their 7"s, what is so good, that it makes all the rest pale in comparison. This is ultra limited, 85 hand numbered copies. Neat live photos on cover, color vinyl, yeah yeah. Even noise is good. But just good. CCCC at best is AMAZING, so when they are just good, it hardly is level to be satisfied with...

ATRAX MORGUE "I'm infected" 7"
Spaceless Jam
Same could be said about this. I tried and tried to get "in" this. Listened 3 times now and compared to all those great Urashima reissues that has happened, this 7" is just worthless crap. Minimalist high pitched tones doing nothing, going nowhere. If you're buying something, forget this, pick up something on Urashima!

JOE COLLEY / CRAWL UNIT "Clay sound" 7"
Meeuw Muzak
I think it's not so long ago I wrote something about this on forum. Name of the game is that Colley put piezzo mic in bucket filled with dry ceramic clay. Added water. And next c. 10 minutes you'll hear the chemical reaction. No edit. No effects. Just the clay reaction on water. Great stuff. So much things happening, so neat sounds. One can fully ignore the conceptual state-funded-gallery vibe, since it simply works totally as musical piece.

KNIVES "Switchblade Princess" 7"
Troniks
Borges + Blankenship harsh noise project did couple of tapes and this 7". USA harsh noise a'la Troniks 2005. Need to know more? Good stuff. Yet also highly faceless. Underlines by black cover, black insert. Nothing but stamped labels.

THE CHERRY POINT "Dream Warriors" 7"
Static Action Records
Fetishized noise walls. Static, hard, distorted rumble. Vintage sexy chicks on covers. Grainy, grey and rough. In this format, works for me!
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« Reply #67 on: October 11, 2014, 11:32:58 PM »

CLIMAX DENIAL / CRANIOPAGUS split 7"
Razors And Medicine
I remembered I liked CRANIOPAGUS on this 7". Climax Denial to me, doesn't sound too good. Vocal sound is horrible. Line-in digital sounding material doesn't help. It's not absolute atrocity, but in world where you have several decades worth of great power electronics, don't get excited of this type of stuff. CRANIOPAGUS is perhaps even more modern sounding. But in their thick and full sounding keyboard (?) wall and processed vocals, there is something good in there. In a way, feels like material that will date quick and be reminder how late 2000's was popular time for PE, but perhaps generated less timeless classics?



Craniopagus was short lived. i like the Negation is Freedom 7 inch w Sharpwaist. like the C denial split, Cranio's side is reverb-drenched, unadorned power electronics. dictionary denotation, classic. one half of Cranio did a good project called Stillbirth, and is/was doing the Perispirit project.

razors & medicine also did the misinterpreted injury ahlzagailzeguh 7 inch which is exemplary in sound and packaging. i got the one w the x ray. i bet its already been mentioned in this thread.  


i like the c denial artwork on that single, looks like a fetish mag. but i agree his work here is subdued and boring. 7 inch oughtta be high impact.(which he usually is).

« Last Edit: October 13, 2014, 08:15:19 PM by Bigsby » Logged

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« Reply #68 on: October 14, 2014, 11:50:19 AM »

Kazumoto Endo & Blazen Y Sharp‎– Ask For It By Name
Looped percussive thub-adubba-dub as administered by wooden mallet underscored by mobile panning metallic clatter of a mildly atmospheric persuasion whilst teasy little feedback strips fellate the brass-rimmed exterior. Laid back Vivenzish piss-take, one may taste, growing increasingly flavorsome over the abbreviated course, if sadly devoid of any apparent Endo cameo. Wait. Bejeezus fucking keerist! There 'e is. Fully-loaded. Explosive. Blazing sharp. Fury. Sure to blast one out of the peaceable Blazen y Sharp coma to which attention has been temporarily consigned. Obviously an effect intended all along, and rather Endo-esque of them at that. A sides worth of nasty dental scree compressed into sixty seconds or so. Did I say Bejeezus fucking keerist? The other side harbors none of that funny stuff, favoring some guy recycling wrinkled coke can over oceanic undertow, gradually ratcheting up the backwash if not quite the tension, but oh wait. There it is. The tension. Or at least a little drama. Wrinkled coke can starts its brief trip through festive trash compaction ceremony before unceremonious ka-chunking into bin. Good riddance to be sure, but have indulged this witty little offering more than a few times this evening.
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« Reply #69 on: October 15, 2014, 06:59:20 AM »

Kazumoto Endo / Gasolineman - Split
As I recall, Gasolineman, surprisingly, emerged the clear winner on this one. What was I thinking? Like, no fuckin way. Still I can see where I was coming from. Gas-san throws everything at this one. Revved up squealies. Total Maso-worship. Sine wave-ish feedback sheen. Distorto-analog loop-bloopery. And- a brief interval of absolute spastigodhead. At its best, this interval could threaten to shred Endo a new one. Or two. Call it total Maso-worship unleashed in acoustic toilet chamber, flushed with screaming joy. Endo delivers a more stripped-down, straight-ahead, um, Endo. Perhaps this also was where I was coming from, re- above. But the stripped down approach only serves to intensify the piercing brutality of the ever off-kilter hack n wack n slash-ery. Plus a brief cinema snippet of domestic strife, most apropos, re- below. Yes, there is the dead air we all know and perhaps not always love. But 'tis not overly, um, dead- and rather well-timed in setting up Le Ultraharsh Earhole Stab-Stab-StabStabStab of the most uncompromising order. I sit here continually cranking the volume until my earholes are absolutement ripped to le shit. And fucking loving it, natch. I am one sick fuck. Deaf, too, apparently. Oh I see someone closed the door. And the other one. Ha. The car's gone. I'm not making this up. Sorry dearest!
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« Reply #70 on: October 15, 2014, 11:11:28 AM »

Had a "K" day yesterday and today.

KILLER BUG "Cunt Explosion" 7"

Releasing Eskimo
That Hard Panning comp boasted of showing how far Cut-up harsh noise has gone since 90's. And if judging with this particular 7" from 1995, one could come to conclusion that: didn't get very far! If there is prototype for comporary cut-up, it's Kazumoto Endo, and already his work as Killer Big. It's all there. Cutting, stuttering loops, abrupt changes for quiet ambient texture to high energy blasting harsh noise. Panning, intense frequency sweeps. I know that some people brought into game even more precise computer editing, but that's basically moment when flesh & blood transformed into mathematics. Killer Bug is just about as good as contemporary cut up gets. And he was master already back in '95. While back then some people were horrified how he ripped off ideas of Merzbow, now its easy to hear how different the works have been.

KAZUMOTO ENDO "Evergreen" 7"
Pinch a loaf
One side more drenched in reverb kind of harsh noise, while other side more Endo-esque cut up frenzy. He got louder, more compact that while using Killer Bug monicker. Great 7". Excellent companion to his late 90's full length!

KAZUMOTO ENDO / GOAT split 7"
Philosophy Shop Records
Label that was responsible for Endo's full length CD that ought to be regarded as classics of harsh noise cut up. Endo here is loud, direct and intense. So good that unfortunately Goat is sloppy pale shadow in the other side. Clumsy guitar noise snot mixed with lazy harsh noise.

KAPOTTE MUZIEK "Threadments" 7"
Self Abuse
KM sounds here surprisingly lot like Incapacitants or even noisiest of the Hijokaidan. There is undelaying quality sources that build neat detail to overall sound what is utmost wreckage of harsh noise, with raw layer of high pitched distortion on top of everything. Underneath this fuzzy cacophony, you can sense great variation of sounds what makes the "noise wall" interesting. Sound sources were submitted by band called Thread. Never heard of it. Absolutely most violent and noisy KM stuff I have heard. Good 7"!

K2 & PD / K2 & (ISOFC) 7"
Spite / Kinky Musik Institute
K2 teams up with Prick Decay and on other side with (In Spite Of Flaming Creatures). On covers all are only using their initials. This is very nicely in tradition of Noise Tournament series, but not sure if officially part of this? Old style noise cut ups in most interesting and inspiring way, although doesn't quite get on the level of best of the tournaments series. Still can take multiple plays anytime, decades after it came out.. It says 7" is limited to 200, but I have two different versions of this. One with black xerox over red paper, other with 3 colors, black and red print over purple cover. Not sure if there is just one pressing with different kinds of covers?
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« Reply #71 on: October 15, 2014, 01:13:08 PM »

Kazumoto Endo & Blazen Y Sharp‎– Ask For It By Name
Looped percussive thub-adubba-dub as administered by wooden mallet underscored by mobile panning metallic clatter of a mildly atmospheric persuasion whilst teasy little feedback strips fellate the brass-rimmed exterior. Laid back Vivenzish piss-take, one may taste, growing increasingly flavorsome over the abbreviated course, if sadly devoid of any apparent Endo cameo. Wait. Bejeezus fucking keerist! There 'e is. Fully-loaded. Explosive. Blazing sharp. Fury. Sure to blast one out of the peaceable Blazen y Sharp coma to which attention has been temporarily consigned. Obviously an effect intended all along, and rather Endo-esque of them at that. A sides worth of nasty dental scree compressed into sixty seconds or so. Did I say Bejeezus fucking keerist? The other side harbors none of that funny stuff, favoring some guy recycling wrinkled coke can over oceanic undertow, gradually ratcheting up the backwash if not quite the tension, but oh wait. There it is. The tension. Or at least a little drama. Wrinkled coke can starts its brief trip through festive trash compaction ceremony before unceremonious ka-chunking into bin. Good riddance to be sure, but have indulged this witty little offering more than a few times this evening.

I like this 7" a lot, because unlike some other cut up + "drone" things, here we have guys who are masters in their field. It's not too generic flowing "silence" between the noises, but actually well done and interesting sounds, which contribute to overall composition. When noise hits in, it hits in, but neither the calm moments have been about "just waiting", like sometimes feels when its about synthetic "dark ambient" sounds. Listened few times today.

I listen to my K2 7”s all the time, more than any of the other stuff of his, just when I need to chew on scrap metal for a few minutes, delight.  1996-7 Era K2 = cool metal junk screeching scraping and clanging sounds cut around with perfect static sheets, feedback threads, and furnace blast electronics… Not much to say, it’s K2 from my favorite era crushing.  Nice inclusion of some weird panicky vocal outbursts, I’m not crazy about short pedal loops, but it’s never done to an upsetting degree.   The B side is more heavy cut up metal noise, nothing to add besides, it’s fucking awesome, has nice blaring car horn and pulse sections, and I always admire his use of micro blips of silence, it’s like a weird trick that slams me right back into the intensity, too short to be cuts to new tracks, too carefully and regularly deployed to feel like glitches, the K2 mini silences are just like perfect little periods or visual cuts, maybe it’s just an editing thing he can’t help or doesn’t even care about, but it is an incredibly important element of what makes his work so powerful to me

Exactly! Listened today several times "Renal Economix" pic 7" (praxis Dr. Bearmann) and "Iron Kulture" 7" (self abuse) and still have this Hofradama and couple collaborations in pile to be listened. I like the thing you call micro silences. Not only that, but his trademark metal sounds are different from A LOT of metal junk stuff out there. Being so "normal" ingredients as cutting up junk metal, he managed to create absolutely 100% K2 sound, what one can instantly recognize. This stop & go stuff is once in a while interrupted by more free flowing feel, like b-side of "Renal Economix" with great heavy noise crushing over busy cut ups. Very little "stutter loops" here too. It's occasionally happening on Iron Kulture, but most of all it has very hand made and active feel to it.
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« Reply #72 on: October 15, 2014, 01:36:18 PM »

KILLER BUG "Your wife is mine" 7"
Self Abuse
Less hectic cut up and more "normal noise" than first 7". But of course this is excellent. Really good noise. Short, 45rpm 7", with one of the greatest titles for noise release. Combined with cover of tied up japanese girl looking concerned.

KAZUMOTO ENDO / CRACK FIERCE split 7"
United Syndicate
I remember this was for long my missing Endo wants. I think I'm still missing Gasolineman split, though. I recall this was very small edition, 100? 200? Something like that on Japanese label, and now looking discogs, optimistic price request appears to be close to 30,-
Some years ago when I was in Japan and visited Omega Point shop, they had 3 copies in shelves, priced somewhere like... 300Jpy? I guess it was there what you call dead-stock. Stuff nobody cared for 5 or more years. I regret taking just one, but instead of hoarding potential re-sale / trade stuff, perhaps good to leave it to next finder...  Endo is loud, aggressive, sharp as knife. Not too much of silences, some stutterloops mixed behind restless harsh noise bombardment on top. His silences with reverb spieced flavor in abrupt noise cuts is tastefully inserted in middle of song, so it works as compositional aspect. Beginning and end brings utmost headfuck to ensure noise expectations are satisfied.
Crack Fierce is more of tradition of basic noise. Fast short strong reverb. Japanese 90's style high-fidelity high pitch distortion levels. But very normal, static, not so worthy of celebration, but not bad by any means.
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« Reply #73 on: October 15, 2014, 05:58:53 PM »

KAZUMOTO ENDO / CRACK FIERCE split 7"

This is an easy (Endo) favorite. The same stripped down sensibility mentioned in my comment on the Gasolineman split, but significantly fleshed out, ample, full in body. Shit hits so fast and hard one can but gape in stunned approximation of the aforementioned concerned-looking wife... then interlude in which metal-like sources shine bright to counterbalance and- ultimately-  to enhance the straightahead hellfury. The loss of momentum is palpable, never quite fully recovered, methinks, but methinks also this matters not a toss.
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« Reply #74 on: October 16, 2014, 03:30:53 AM »

While back then some people were horrified how (Killer Bug) ripped off ideas of Merzbow

What a strange thing to suggest. Even back then. Unless of course we are talking about the mostly worthless Sounds Like Merzbow school of reviewing, en vogue at the time in some quarters, you'd have to be quite deliberately ignorant to offer such a comparison.

There was a rumor floating around about how Bug-san would show up at Merzgigs  and  photograph Akita's set-up - only one of several beauts re- an apparent beef - but I always liked his line, possibly in response to the rumor, that he "thought it could be done better". Now that's the kind of "imitation" of which greatness is born.
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