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Author Topic: 7" appreciation topic  (Read 42098 times)
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ANDROPHILIA
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« Reply #30 on: September 24, 2014, 07:56:23 PM »



THE HATERS "a furthered pause" 7"
Robot
Two solid tracks of 1996 haters noise. Basically 3 ongoing layers of repeating sonic elements. Extremely neat sound for my own tastes. Enough rugged and coarse, yet far from too lofi. Physical sounds of destruction layered on top of eachother and while composition itself is as liner as we can expect from The Haters, sounds themselves create so good texture it's right there in top Haters materials along "Ordinarily Nowhere", "In The Shades Of Fire" etc!!

THE HATERS "Truncated Formica" 7"
Self Abuse
Year before, 1995, less about everything collapsing at once. Humming bassy rumbles, industrial noises and on top very distinctive metal object smashing. Other side appears like live recording with even rougher sound, lots of acoustic power tools and droning background noise.



7" best format for a project like The Haters
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« Reply #31 on: September 25, 2014, 09:57:03 AM »

Insofar as the genre is concerned, I'd suggest that the 7" format is best for 1 - specifically structured PE/Industrial "songs", or 2 - unchanging blocks of sound (it might be the best format for Wall Noise, in fact). Harsh Noise on a 7", of the Merzbow/MSBR/etc. style, does not work. Pieces like that I expect to be longer - Harsh Noise is as much about gluttony as anything else.
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« Reply #32 on: September 25, 2014, 10:26:09 AM »

My favorite format! Love the fact that there's no room for filler, just focussed blasts of noise. Sometimes you get lame outtakes but sometimes you get the most intense work of the artist! Also, it's a perfect format for handmade sleeves which usually adds a little extra to the overall experience.
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« Reply #33 on: September 26, 2014, 10:14:11 AM »

Great topic, and as a result of it, I've ordered a couple 7"'s and am making a list of what to order next...

Got this today and just spinned it:

Mania - Grotesque Mirth (Filth & Violence, 2011)

If you like Mania, this 7" does not disappoint. Side A starts with fairly painful feedback PE-style and steady metal banging, then it slowly decreases in intensity; at the end, there are those very physical metal bashing sounds almost only by themselves that I love so much in Mania. Side B has a menacing atmosphere, especially the first half with the demented screaming. The beginning also has great, almost subtle sounds plus what may be termed remotely "sci-fi"-like sounds (not digital though). Just like side A, this side also has a great flow. All in all, an awesome 7".
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« Reply #34 on: September 26, 2014, 08:20:51 PM »

couple from today........

aube - sacrament - meeuw music, 1996
source material = 'tabernakel' 7" commented on in this thread previously. 45rpm tracks make this a quick but enjoyable spin.
side a: lush synth drones phase back and forth, slow square wave dots appear and this flows on pleasantly for a little bit as other layers of square wave synth pan the speakers and build up then record comes to a stop before getting to chaotic.
side b: up and down square wave synthesis joins with gorgeous smooth flowing drone tones while a very aube-syle loop slowly takes over... that sums it up... actually very high up on my list of great aube 7"s. i'd enjoy to hear the 7" it is sourced from for sure!

yellow tears - the cult of yellow tears - hospital productions, 2010
side a: starts off with water dripping emerging from the vinyl surface noise, in comes a collage of distorted voices that build up and give way to dark industrial atmosphere sounds. everything going on seems like sample manipulation - no synths or real "noise" - simply barrage of acoustic sounds composed in a disorienting and darkly psychadellic way. same could be said about the second side of this record, though it uses some different sounds, this whole thing is a real bad acid trip. 
side b: begins as nightmarish sound collage with so much madness going on...drifts into barrage of drawn out breath & voices, banging, breaking, signs of a struggle all around, someone being traumatized by an already traumatized person... very deliberate and unsettling unique soundwork.

prurient + john wiese - cloven spike - 1-sided 7", hospital productions, 2006
solid track. for those familiar with prurient style sounds like "body language" lp, this sounds 75% prurient + 25% wiese sounds with wiese at the mixing desk the whole time. chunky white noise blasts, feedback loop torture and loads of sick microphone + mouth noises. i remember a post by rrron once saying they recorded this together in a hotel room with both wearing headphones... if this is indeed an improvised piece, holy shit they were on fire and shouldve done lp length!

faux pas / grain belt - split - small doses/white centipede/phage, 2011
faux pas - pretty standard rough & tumble pedal + mic harsh noise and its done well, but nothing really special here. pace seems like a live take, and in live setting at appropriate volume would definitely initiate physical outburst!
grain belt - cement mixer full of metal and bricks spins onward with mid and high range feedback fighting through from a layer of mic abuse which ends in a lock groove of high end feedback. another one which seems would be best in live setting.
both of these tracks have a live feel, stick with one idea and ride it out awhile and 7" seems perfect dose this time.

mania / the rita - true ass worship - dadadrumming, 2006
mania: starts off ultra low end thuddering, slowly that signature taint/mania feedback starts working its way in as the distortion level is upped and always with metal junks in the background reminding of fat ass crushing face. ferocity comes to a climax then things take a darker turn with low end domination and metal junk abuse now in the foreground which lurches on until the end.
the rita: starts sounds almost like synth noise in the beginning before the cackle increases everything into HNW, which is something i have a hard time describing beyond this is basically low end rumble and trebly crispness until a mic appears and some mid-range sounds of movement enter the mix, then the leave, then come back a little, then its over.
while neither artist is at their best here, i love worshipping womans ass so this box was a must. dirty raw ass artwork and an extra tape i remember liking more then the 7"...should include more then one of each sticker though, major pet peeve of mine to only have 1 sticker come with a release, then i cant use it knowing the box is incomeplete!

two dead sluts one good fuck / suffering bastard - split, foreskin forcefield, 2007
tdsogf: first few tracks revolve around minimal low end slow thudding percussion, while white noise blasts around, and heavily distorted vocals yell about god know what, probably something depraved. the last track is a short quiet piece with some sparse saxophone, seedy lounge feel, almost "twin peaks-ish".
sb: suffering bastard has a great couple tracks here... fuckin heavy as hell guitar riffs and production, recording sounds like it was room recording of live show comeplete with sound of amps shaking from sheer volume. these few tracks switch between depressed doom & violent grind, always with maniacal tortured vocals and crude feedback.

crawl unit - the most dangerous game - self abuse records / murder series, 1997
side a: a low hum builds up, high end screech appears then the distortion kicks on in the left speaker, sound of electricity crackling and huge switch being thrown and now the right speaker is going full force. then wall climaxes and gives way to more scattered electronic buzzing and high pitch tones before what sounds like throwing of massive switch again and the distorted buzzing returns, thinner this time and with looping screeching shrill resonance tones that carry on until sound of layers being switched off ends record.
side b: cement being dragged against cement churns onward as loud popping and crackling go from speaker to speaker. more high end tones ever switch off between being a background drone and a violent interruption before mid-range humming comes in and all layers seem to fluctuate back and forth with one another trying to find the right balance. with about 2 mins before its end, everything finally starts to come together with several layers working together rather then against one another, then record ends.
while i really like some crawl unit this 7" doesn't do much for me and in my opinion is one of the weakest in the murder series. would be better if the best 1 minute section of the last part of the b-side was instead extended and used as whole side!

crawl unit / r.h.y. yau - japan tour 08:98, povertech industries/auscultare research, 1998
crawl unit: first track is wall of humming and buzzing tones with some low-end signs of movement here and there, well crafted and actually very pleasant and really good! a lot of crawl unit has a very "electrical" vibe to me and this is no different. then second track starts and is quickly throbbing instrument cable buzz but now with high end feedback loop knob noodling on top. gotta say i think this pretty much sucks, really wish the first song took up whole side instead. side ends with a quick bit of talking - i assume joe colley - ending in a locked groove of him saying "i'm sorry"...at least he apologized for that lame second track!
r.h.y. yau: this guy is always impressive. track of cut-up acoustic and organic sounds. everything is heard here, including a kitchen sink. lots of crackling, popping, reversed sounds, pitch bent sounds, water or pisssing in a toilet, sprockets turning, gears winding and unwinding at different speeds, wood, glass, plastic, porcelin, voices... would fit in with schimpfluch style stuff. pretty great!
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« Reply #35 on: September 26, 2014, 08:53:42 PM »

Kazumoto Endo - Evergreen 7" is among my favorites. Bloodlust (some great Italian PE), Self Abuse, early Ant-Zen, Drone, Gero, Haters, Aube..
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« Reply #36 on: September 30, 2014, 11:30:38 AM »

collapsedhole - cheers for good post.. few things that should try to get...

DAMION ROMERO / INCAPACITANTS 7"
P-tapes
Tribute to some TNB/Organum release, in similar packaging. Transparent vinyl and printed labels. No cover. Material is rough live noise cut abruptly into two sides of 7". Great stuff, but too short and artificially made edited into couple tracks.

HANDS TO "Cipher" 7"
Powertech industries
One side noisier, one side little more quiet. Or lets say, it's not as much about being loud or quiet, but density and detail is fast & deeper in first side, while second side is more minimal happening. Very high pitched, no bass at all. Perhaps the cling-clang of the small object clatter has gained some extra distortion from 33rpm 7" format, but ruggedness of Hands To survives a lot of impurities...

MORTAL VISION "Great Terrorist" 7"
Membrum Debile Propaganda
Mr. Hasegawa from CCCC with his guitar noise works. He treats guitar as method of making droning noise. It's less about airy and beautiful droning, and not really about large stacks of amps. It feels like line-in recordings of harsh noise esque stuff where guitar works as source. Don't expect early Jojo Hiroshige kind of "normal band sound" guitar noise nor Diesel Guitar type of etheral droning. Something else, perhaps closer to Solmania. Yet still very much own feel to it.
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« Reply #37 on: September 30, 2014, 10:36:56 PM »

diagram: a / m ax noi mach - split - greenwood electronic/silvox/breaking world records, 2009

diagram a: utterly minimal lo-fi electronic sputtering and buzz fall apart into feedback-loop electronics. "primitive home-made junk electronics experiments" is best summary here.  
m ax noi mach: pretty similar to d:A in the crude homemade electronic 'instrument' sound, except more musically inclined. always looping almost danceable if it wasnt so minimal, grainy and noisey recording quality.

teeny bopper - play date - happy face entertainment, 2009

side a: noisey heavily effected samples of bizarro circus freak music and demented voices. looney tunes abound here, like switching channels on a broken tv from the early 80s in the year 1993. ends with some noisey bits and sicko jack-off sounds collage and weirdo bentdown tones.
side b: the most demented version of that love song "you are my sunshine" ever recorded. only thing more bizarre and strange then the recording itself is the motivation to actually do this and press to vinyl! don't know who this kind of thing would appeal to.

urine cop - lean hard - fusty cunt, 2012

side a: blast beats with a wall of noise low in the background, totally in the toilet vocals bent so low it is just diarrhea of the mouth! about half-way through feedback starts flying and noise gets louder, last track everything slows to a crawl and vocals get so low to the point of just a literal shit gurgle!
side b: starts out faster then at any point in the first side. vocals still pitch bent so low as dog shit on bottom of your shoe are now shouted in quick burst so is just like violent vomitting throughout tracks! this is what i love about noisecore! last bit is like barrage of harsh cymbals only with vocals just making a wall of shit splattering - words are hardly broke up at all here so you wouldnt even know these were vocals had they not been the hair more easily decipherable element earlier on.

proof of the shooting... / msbr - split - soundprobe recordings / msbr, 1998

proof of the shooting...: this is rarely mentioned but amazing. one of my utmost favorite harsh noise 7"s. packaging on soundprobe version is like a half-inch thick of weird spitball like material and record held between cardboard pieces with rope. proof of the shooting track is fast-paced excellently composed and executed harsh noise. fierce static interrupted by torturous home-made electronic feedback looping and violent contact mic feedback ear-hole abuse. personally this is as good as it gets, love this track.
msbr: ferocious and fast electronic noise with good decayed quality. in my opinion msbr can be hit or miss but this is very good material. thick and chunky rough noise, sometimes devolving into pure feedback loop or blatant electronic effect when sound changes shape before letting the noise ride out awhile. not heavily layered, but still seeming very active and full. similar to track for split 7" with merzbow but by a little bit not quite as good.

aaron dilloway / the cherry point - fencing - troniks, 2005

tcp: wall of stereo effected noise what seems sourced from fast heavily delayed static and feedback. flat, mostly mid-range sound until a higher pitched more resonant shredding noise cuts through before the track ends with what could almost be violent coughing fit style vocals? can't really tell through the effects.
dilloway: high-end squeel and sputter start this track before it dawns on me that this actually sounds like a sampler track for the 'bad dreams' cd, with a lot of the exact sounds explored there presented here in a highly compressed form. 'bad dreams' is one of my favorite works from dilloway, so of course i like this track, but would probably like it more if there was something here not found on the cd. if i want to hear this, 99.9% of time i'm going to grab the full length cd, but i guess same can be said for TCP side as well...

  
« Last Edit: September 30, 2014, 10:38:32 PM by collapsedhole » Logged
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« Reply #38 on: October 01, 2014, 12:25:08 PM »

BLOODYMINDED "West" 7"
Bloodlust
Sounded quite lame after all the I.A. stuff. Very very dry. All sounds and vocals stripped down to bare bones and synth sounds everything else than interesting. Band got better later on.

BRIAN LADD "Hammerhead / Fuckcharge" 7"
RRRecords
1987 funky electro music is it? Of course one would expect something more of Blackhouse kind of stuff and perhaps noisier due being RRR label release, but well, can't always win...

INCAPACITANTS / MACRONYMPHA split 7"
MSNP
Wild wild japanese noise hits straight in the face. Good sound, good track. Macronympha works in my opinion best in longer doses. It's pretty much exactly what one could expect. Crunchy, brutal, harsh noise. Blown up sound, never too spastic cuts, but certainly edited bits and pieces thrown together in "hand made" kind of mix techniques. Good stuff. Just works better in long format.

MERZBOW "Road Drug 93" 7"
Way Out
Brilliant stuff. Just total harsh noise perfection mixed with loops pulled out from some death metal records, I assume. But don't expect anything "metal" here. Just few sources of roaring pitched vocals what create very neat element for noise. Perhaps the last track wasn't necessarry. Lasts couple of seconds, and many imitates "grindcore" feel, but is just noiseloop that lasts few seconds.

MERZBOW / TEA CULTURE "Whizzerbait" 7"
Betley Welcomes Careful Drivers
Listened this maybe 5-6 times, but still don't know what to think. And even more curiously not sure why is that. It's good 7", that leans more to experimental edge of harsh noise world. Good stuff. short tracks. Two collaborations. Works well, but always after side ends, I'm thinking "what just happened?"..

MERZBOW / BLACK LEATHER JESUS split 7"
Deadline
With this, one doesn't have any such issues. It's 100% noise bliss from beginning to end. First I was stuck at BLJ side. 1993 recordings with 3 members in line-up. Utter harsh noise supremacy. No cut up, no HNW, just plain straight in your face harsh noise. Excellent sounds, good active piece with 3 people pulling track to different directions. Kept playing track over and over again. Only to realize when finally moving to Merzbow side, 1993 Merzbow is pretty much unbeatable in type of harsh noise what he does. Always active, always fierce, always full of energy. I have no trouble to understand why every damn label wanted to get their hands on Merzbow back then...
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« Reply #39 on: October 01, 2014, 01:54:56 PM »

THE GREY WOLVES "The Weath of Misery" 7"
Xn
Damn. I remembered this was very good. Sonically somehow between 2nd and 3rd albums, but didn't remember it was this good. And for GW standards it is really complex recording. Those brillian wailing flanger malformed vocals on a-side, but track has various different phases. From more PE kind of works, with weird melodic undertone like best tracks of Catholic Priests.. Then noisiest moments with fierce electronics and finally atmospheric industrial works with spoken word samples, buried vocals, church like organ tones.
B-side is more straight forward, but basically only on top surface what is utmost noise destruction dominated by high pitched distortion and electronics. But behind that all, there is vast amount of tape manipulation, vast range of source sounds and all that. This 7" is most definitely among the ultimate highlights of The Grey Wolves and feels kind of stupid that people would dismiss it simply due 7" format... Brilliant packaging too!

GENOCIDE ORGAN "Klan Kountry" 7"
White label
Was told the GO "american civilization" set would be sceduled for late this year/early next.. so good moment to remind the supremacy of GO works! All in all simple base of most of tracks is forceful beats and analogue synth noise, spoken word piece and commanding vocals repeating simple vocal lines over and over again. Basic rythm and vocals remains cold and mechanical, while on top operates raw electronic noises and below rest of sounds spoken word and second vocal lines. Less aggressive material on b-side, but overall similar methods. Processed vocals, slow beats, electronic noise and spoken word.

EINLEITUNGSZEIT "s/t" 7"
Klanggalerie
Remember being quite pissed back in 2005 that this 7" was ltd 100 and very high priced. Now seems like price at least haven't gone up. Very good stuff on this 7". Less sub-bass rumble than some albums, more in-your-face frequencies, lots of physical noises. Tons of industrial sounds being collaged in almost harsh noise manner, but tracks have clearly more "song feel" than generic harsh noise has. But easily the noisiest and most brutal works I have heard from band! Definitely good 7" and worth to get.
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« Reply #40 on: October 02, 2014, 10:36:22 AM »

Iron Fist of the Sun - Embers (Peripheral Records, 2011)

A great 7", even if side A is a little too long. It has a simple melody that is unusual for IFOTS, and it works really well except the track gets too repetitive after a while. A couple minutes shorter playtime would be better. Side B, on the other hand, is perfect: heavily influenced by electroacoustic music, there are lots of small sounds happening, and while it's kind of laid back, there's also a mysterious atmosphere to the track. IFOTS always has this unique organic, pulsating, "elastic" quality that I love so much, and this 7" is no exception.
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« Reply #41 on: October 02, 2014, 12:15:44 PM »

That's very good 7". Was about to pick it up other day for spin, but have so much stuff that have not listened for ages..

EMIL BEAULIEAU "That Velvet Emotion" 7"
RRR
Early RRR stuff, dates back to 1986 as far as I know. Excellent noise 7" that belongs among his best works if you ask me. 4 short tracks what offer EB as we know him. Harsh and grim noise, but with dry sound, lots of air and dynamics. Some tasty effects here, but it's most of all dry, mid-toned, handmade rawness, which has compositional quality and pace of "electro-acoustic music", but sonic quality of gutter harsh noise. You can still grab these cheaply from discogs...

EX.ORDER / PREDOMINANCE split 7"

State Art
Ex.Order side is the good old commanding heavy electronics force. Nothing new, nothing phenomenal, but format and age of material guarantees great listening. Predominance I never cared that much. Kind of old style low-bitrate computer sounding sampling, pitched vocals and overall more "goth" feel here than something forceful.

GEROGERIGEGEGE "Mother Fellatio" 7"
AIRP
The most intense, most brutal, most energy filled noisecore blast recording of mighty Gero! Everything is perfect, from material to final presentation. Absolute necessity in any record collection.

REPUBLIC "Freedom through ability" 7"
Storm
1982 electronic/industrial/spoken word with authoritarian leadership worship. One side is more "formless" based on talking & slightly random structures of electronic music, but other side has killer track. I wonder if project had any other material ever reissued? Seems like the good track was released under his name (Harold Arthur McNeill ) on one of the Sound of Pig label compilation tapes in mid 80's.
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« Reply #42 on: October 02, 2014, 01:43:27 PM »

What I'd hope from this topic is not about vague recollections of stuff people liked and appreciated 10 years ago, but stuff what they listen NOW, and comment with fresh feeling about it.

Alright, I've got a free evening and a bit of merlot on tap, I'll give it a crack.

I've made no secret of my admiration for Hal Hutchinson's metal abuse period over the past year or so and was looking forward to his 7" release on Cipher simply titled "Metalworks", which came out recently in a very limited edition (something like thirty copies, was it?). The recording itself is robust, mid-to-treble range but I'm wondering if the sound suffers somewhat from the actual cut - can't remember if this is lathe or not. But it's busy and sedate at the same time, the lower rustle barely audible but providing a noticeable bed for the crashes and squeaks that come across more readily. "Installation" one and two are the title tracks for both sides, both pieces sounding different enough although clearly from the same session. Neither track is particularly long, and there's a total lack of "art" and "craft" to these pieces that are either a total detriment to the sensibilities or a refreshingly blatant ignoring of such sensibilities. I tend towards the latter, myself. But the sound is disappointingly thin for what are clearly very audio confronting pieces. A fuck-off sound system could get more out of this than my humble equipment. The definitive recording of Hutchinson's metalworks is still the lp from Unrest but this is a decent representation of a very singular and very imposing body of work.

The controversy that advertised Antipakt's "Fuck Them Where They Breath" was a joy to behold and take even minor part in, and that same joy is mirrored in listening to the actual artifact. Side two (I think) with it's ultra heavy and rusty tone of what I suspect is some kind of oscillator with hideous effected vocals over it (Markkula, I think), side one (perhaps) with it's more crashing, trebly-distorted noise that sounds like a loop that just gets more and more distorted and heavier over the course of the piece with more bass-heavy shouted vocals through feedback-bleeding microphone. It's this kind of simple, berserk recording that was cementing Filth & Violence's reputation as the premier fuck-you PE label of our times. I got a bloodcum edition, the producer's prick so worn through with constant masturbation over pictures of the dead and hated that the jizzum was starting to wear thin and the glands began to compensate with blood - the poetry for this writes itself.

The vinyl in glorious workers' red, G.X. Jupitter-Larsen provides his more electronic driven noise - squiggling synths, screeching feedback, rushing whatever-the-fuck-it-is for the backing power of Muennich's vocal rendition, in English and German, of "Die Arbeiter Von Wien", one of many powerful anthems that came from an openly revolutionary working class before world wars and global capitalism put paid to any wet dream of utopia. Well, the desires were more serious in 1927 in Vienna when bulls (what police used to be called, because they charged whenever they saw a red flag) killed and injured demonstrating workers, the stakes were real. The same programme musically on both sides, two different languages in harsh, Power Electronics shouting on each. Alas for the rebels who failed...

I've only just realised tonight the packaging of Chop Shop's "Discrete Emissions" has a particular smell I've never noticed before. Tar paper, I believe it's called. Anyway, Konzelmann gives one of his patented abrupt-change self-made speaker-instrument Noise twice on both sides, only one side has your phono needle going "In" as usual, the other going "Out". One just can't get past that beautiful rusty droning that he does so well, a singular whistling giving way to a brief burst of fuck-off before a longer, drained out quietude. It's almost like a point is being made, but the point is probably all things pass and fuck it anyway.

These releases, I think, are good examples of what I described before as the best way of using a Noise 7". Singular ideas are the key. It's only a short amount of time, you have to concentrate and give not necessarily your best, but something that is going to stand up on it's own. For me, that's either particularly plotted pieces, or singular slices of sound.

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« Reply #43 on: October 03, 2014, 05:20:54 AM »

This format has many aspects that push it to the top for me, brevity, scale, strict forced parameters.  I admire when an artist has the ability to edit and sculpt abstract work to come across effectively in a short duration.  I also really like when bands only release a 7" or two, and they feel packed with dreams and hope, and I love when the story ends there.  Put the two greatest songs they've done on one thing.  I like when I can feel the excitement, when a 7" is like a message in a bottle.  I have less interest in a 7" when it's just a promotional item, and especially when it has a wasted cover.  I personally have a difficult time being concise, so when I can get a full experience in a short time, that's great.  Most of the music I listen to across the day is extremely long minimal stuff, but when I sit down with records with the intent to listen close, I love a stack of 7" records and just flipping and making notes to myself.  And I love playing 45s on 33, like having bonus music.  All formats have advantages, but I do get an extra unquantifiable kick from these.

I collect a few different areas for the format: classic Japanese noise / weird (NOT goofy) industrial / geeky 90's "budget rock" = sloppy fake 60's garage rock / Japanese pop from the 60's / older black/death/doom metal / oldschool noisecore / shoegaze/twee / weird postpunk / and then I have a couple boxes of contemporary noise and a box I call "hipster" music, oh and a box of old country 45s, and prob 10 or 12 unrelated specific artists, like I have an 8" deep stack of Bowie 45s.... almost all the Kriesel99 series.

Gods of the format to me: David Jackman, The Gerogerigegege, John Wiese, Seven Minutes Of Nausea (up to a point), Final Exit

Here's some I listened to today:

Ultra - I Can't Stand A Bitchy Chick / New Centurian 7" Aquilifer Sodality
This is a compliment: I love the almost mundane / straightforward / non-performative tone to the voices of some early US Industrial / PE.  Monte Cazazza, Factrix, German Shepherds... anything that sounds like just some guy I vaguely know unexpectedly going off about how he wants to butcher people while still sounding almost approachable, not like anyone visibly frightening, highly agitated, or spike laden, just a guy in a button up and khakis maybe, not even all that often yelling and screaming, just vehemently stating somewhat unpopular opinions... very enjoyable.  I guess I’m so used to monstrous screams, that a normal voice saying this kind of stuff is more exciting.  The A side is a classic of convincingly direct proclamation with shy submissive screams, abstract electronics and marching pounding percussive elements (heard this a few years before The Sodality original), I remember being ecstatic when Bloodyminded played a cover at a church basement show I set up that nobody went to in like 2006?  Oh my god, they're playing my favorite song!  B side is also endlessly classic, I love the screaming, the sinister delivery, the subtle riff, excellent sense of space.  There's room to move around in it, makes me feel complicit.

Satan's Cheerleaders ‎– Devil's Drag '88 7" Living Eye Records
A side is just a downer surf riff with drag racer sounds, I always play it on 33, sounds doomy.  I love any of this retro garage worship / pre internet stuff.  Endlessly enjoyable for me, I think since I liked Man Or Astro Man in 5th grade, I've just always liked any sort of - campy yet committed to the gimmick - retro 60's kinda garage shit, up to like 1995~7 or so.  B side is a variant of the A side with more feedback, and played a little different.  Just more of the awesome sound of the A side, with louder drumming, and then just a quick little bonus song, not as cool as Devil's Drag, but a nice little fadeout.  They did a couple 7"s with Vampira that I want, but am not holding my breath for.  Also changed their name to Satan's Sadists for a bit and did an awesome 7" "She's My Witch" and double 7" "Black Dahlia", those have vox though, but still sound awesome, sunset killers garage scum.

Burning Star Core - Body Blues 7" Hospital Productions
I enjoy what Spencer does the most when it's more droney and electronic sounding, particularly when he combines it with songlike refinement of structure.  The collab 10XCS box with Prurient is really excellent because it feels like they both fed off eachothers abilities to be brief and focused.  I feel like this material would work super well in a long duration for both A & B sides, but I think the pieces are just as effective as shorter statements.  On the A, droning vocals, with a tonal bed and somewhat sunken frantic activity, maybe violin, all gels together.  Elements do drop in and out suggesting cognizance of formatting, and not that these were just sliced out of a big thing.  B side is a beautiful melodic synthesizer piece, and luckily it all seems to be in service of the song, not just some guy excited about what his dumb synth can do.  Isn't this a series, I think there were supposed to be two more volumes?? 

Vehikel & Gefäss (& Ventilator) ‎– Make ‘Em Pay (!)… 7” Schimpfluch
I think I didn’t even have a record player when I bought this originally.  Super cool poster cover of a bunch of destroyed records and glass and a chair on one side, and the other is just clean “punk” aesthetic design, by Insekt I guess.  A side: junk moving around, rubble, some birds, drilling, just sounds like a room with stuff going on, not really loud, sounds cool on 33, until slow voices come in, has more punch on 45.  I don’t know why I like this kind of stuff so much, I have hours and hours of similar recordings I’ve done, weird spaces and unclear objects and environments.  I love trying to piece together the picture based off the sounds. B side is a little more theatrical, feels like it has more, poetic timing, than the sort of… documentation of simultaneous mundane events, that I really like about the A side.   It’s still extremely satisfying, just in a different way.  Still has birds and actions, but they feel like calligraphy, even has what kinda sounds like noisecore tracks with count off drum sticks, and a bike horn and vox, great end.  an excellent Schimpfluch record.

Countbackwurds, The ‎– Rip It Up  7” Sumppi Wertheimer Records ‎
This band is made up of some people I don’t follow, and a dude from The Mummies (I think I already wrote about them on this board, so chose this record instead), who I always liked cus it seems like maybe they really do just sit around trashed and dressed like mummies, and they would probably break and steal your shit and ruin your parents house after showing up unannounced to play a party, I don’t want to know them, but I like that they exist.  I know also that these narratives are all in my head, but I love a story, and Whitehouse is so much more interesting with the myths, it’s just that all these bands were probably too drunk to write anything and all that’s left is these dumb cheap records, and I can’t help imagining.  I really only like these retro garage bands when they have a theme, and these guys (set at the tail end of the era I’m interested in) are all dressed in cheap pirate costumes, I imagine them as the aggressively inconsiderate workers at the burger place featured on the cover.  I also appreciate the useless tour dates on the back at places like “Bay Fair Rollerina July 5” and “Castro Valley Library July 9” and the list of imaginary side bands (or maybe bands that just never released anything, was there a Neil hamburger & The Krinkles 7” or an Undertaker & His Pals band?).  The A side opens with a dumb skit, I hate when these budget rock bands do that shit, fake commercials and dumb intros, but it’s so incredibly uncool, that I accept it as part of the package.  After the skit thing, it cuts into a nice raw lo-fi garage blast, short, yelling, simple, perfect.  A super thin and brittle, shitty recording.  B side is another awfully recorded great rocker with a catchy chorus and more screaming, and it ends with a… mastered much more clearly and much louder than the music… dumb collage of sound effects, like they just thought fuck it and added it on.  Ugh…

Speculum Fight / Three Bond / MSBR ‎– Split 7” (Lathe) MSBR Records
Speculum Fight: Cool minimal humming with some sort of electric sawing sound.  S.F. and most of the D.R. that I’ve heard captures a subtle area between coldly scientific and minimally poetic.  Probably some fragile feedback system, but also sounds like a radiator rattling something, which is a great space to me.  It eventually starts to transform with the rattling layer of the system becoming more active and it terminates.  On the B side is Three Bond, does anyone know what “Three Bond” is?  I can’t remember if I ever saw a write up for this record… it’s basically psych style instrumental noiserock, it’s cool, I know Damion played in that band Slug, but this could be some other completely unrelated band?  The MSBR track, is one of those slightly hollow sounding live ones like the Spastic Colon split, it’s cool electronic sounds, you know that MSBR sound, grindy textures, with like one surging line of that chromatic beam noise, probably like the monster sound of his noise spirit.  I prefer his heavier and denser work, but when I’m in a different mood, I love the organic impulsive gestures.


More later...
« Last Edit: October 03, 2014, 05:29:56 AM by SILVUM » Logged
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« Reply #44 on: October 03, 2014, 05:57:01 AM »

Psychologische Abwehrfront ‎– Bürgerkrieg (Multi National Disaster Records, 2004)

This 7" comes in a box with a surprisingly low quality print on the front and the back. It looks like the picture and the lettering were all photographed in a way that the pictures came out blurry and then they were used for the box... There's a small booklet inside; my German is not good enough to read the whole thing, but it looks like some kind of military manual from 1919. On to the record: side A's first track starts with crowd noise, then formless noise comes in. The crowd recording stays in the background till the end. Musically it's not very interesting, but atmosphere-wise it's not a bad track. The second track is the highlight of this 7" for me: German-style rhythmic, crushing heavy electronics with occasional looped metal banging and distorted shouting. There's even a looped horse neighing which fits in perfectly. Side B starts with another rather unremarkable track of formless noise. Track 2 is much better, a bit similar to track 2 of side A; the rhythm sometimes disappears, then comes back. So all up there's one awesome track, one good one and two so-so ones. I've got another 7" of P. Abwehrfront that I should spin soon, but at the moment I'm not sure if I should pick up anything else by them.
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