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FreakAnimalFinland
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« Reply #75 on: October 18, 2014, 12:44:07 PM »

Obviously one must relate that to time when pretty much each Japanese band had VERY unique and different approach. Although still mid 90's certainly did, even if more pedal noise kind of stuff would emerge..

Sewer Election /  Sanchez Is Driven By Demons split 7"
Sewer Records
SE here, back in 2004, is still high energy cut up noise lazer war. I think I would say I like even more his next phase, but nice to listen this side of Sewer Electrion now, 10 years later. Restless and strong material. On other side of split you have drone/melody/electronics kind of stuff. Nice 7" with hand made sleeve, at least I have SE patch too.

SHIFTS "the absent guitarist" 7"
Korm Plastics
Huh, this is crap. Someone sents Frans De Waard guitar noise and he manipulates it. Yeah. Push flanger on and that's about it. Weak, crappy sound, no imagination in composing the pieces at all.

SURVIVAL UNIT "One mans war / No surrender" 7"
State Art
This was discussed earlier on forum. Really good 7". I remembered it was pretty good, but no, it's better than remembered. Perhaps SU was kind of band who took what Grey Wolves could have been, and with slightly more advance technological know-how and touch of germanic heavy electronics, resulted typical, but very strong material.

SÖLDNERGEIST "Hyperclimax" 7"
Self Abuse
Still damn good german heavy electronics. Maybe their best works would be full length CD's, but this 7" easily gets rotated multiple times when needed dark, brooding, heavy and slow pace electronics. Never quite as violent and noisy as would be to fully qualify "power electronics".

S*CORE "Tarnish" 7"
Drahtfunk
S*CORE "A Jest of Nature" 7"
Afflict Records
Two first 7"s from band. First self financed one all the way back in 1987 and second from mid 90's. I have talked about it so many times in various forums over the years, and I still feel like S*Core is absolutely underappreciated Japanese industrial bands! I mean, you got all the GRIM, White Hospital and all that kind of stuff sought after and worshipped, and then this band who started back in '85, did lots of killer releases of lo-fi gutter industrial, what could be noisy tape works, could be noble loop oriented soundscapes, commanding beats etc. all sorts of stuff, but still very much into S*Core style. Things like "Missing Volume" LP on Zabriskie Point 1998 you can find on discogs for mere 5 euros?! fuck.  Anyways, link here for most atmospheric track of the older 7". Despite years between the works, they could be easily on same album..
from 7":
https://www.youtube.com/watch?v=TIpuf4DYo8I
and to check out his early utter postmortem works: https://www.youtube.com/watch?v=LaDxJvpQFpk

SMELL & QUIM "Jim Seed Collector" 7"
Praxis Dr. Bearmann
Very charming noise 7"! Always tasty cover, nice lo-fi clatter and possibly short-wave experiments, which makes this S&Q release more easily digestible. No overt goofiness, hardly anything that distracts from just nice racket.
https://www.youtube.com/watch?v=DVE7itL5xzc

SMELL & QUIM "Scum-Grief"  flexi 7"
stinky horse fuckers
Great classic cover image. Nice package on one-sider flexi 7" with odd distant beats, some sorts of reeds or whistles blown. Little bit of some sort of crackling acoustic noises on top. Its right there on edge whether this could be sold to you as mystic ritual music from 80's post-industrial underground, or is there bunch of english wankers making fun of something?! Good nevertheless!
 
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« Reply #76 on: October 18, 2014, 01:21:15 PM »

SHARON'S LAST PARTY "Blue Light and blue eyes" 7"
Segerhuva
Seger 04! Ochu, Jarl, some others in line-up. Swedish industrial noise / heavy electronics kind of works from 2002. One side more busy, aggressive vocals, rhythms and goofy electronic noises, bass too? B-side more subdued, more into tradition of death industrial in Sweden. Good 7"!
https://www.youtube.com/watch?v=INpL9mbJJPk

SPLINTERED "Link Cnadleskin Headwound" 7"

Dying Earth Records
Heavy and slow bounding noiserock industrial music. Besides the sloppy and slow tempo band rocking here in early 90's UK style, good spice is all the experimental additions.

SKULLFLOWER "Total" 7"
Vinyl Communications
one side great drone/feedback stuff, other side pretty lame live material. I wish both sides would be as solid as opening piece. Of course, it's the "same old" we have used to expect from Bower. Guitar and feedback. Nothing new back then, nothing new now, but this era Skullflower appeals to me.

SMALL CRUEL PARTY "Ceremonies of Memory I & II" 7"
Fylkingen Records
Recorded back in 1996, released in 2002. I remember talking with guy in Fylkingen about their releases couple years ago, and he mentioned that none of that stuff is able to live up to their own. I mean, solely depending on state funds that you can make release, which is neat digipak cd with neat booklet, by some apparently who-gives-a-fuck, just to big portion of disc collecting dust at warehouse. Yeah, 2002, still could put of stuff like this. 7" by SCP, band who someone actually wanted to hear and wants to own. Two electro-acoustic pieces here, which sound like field recording of wet stones or other physical matters? I wouldn't rate this among the top of SCP, but it is after all "proposed and unrealized collaboration with visual artist", which maybe originally wasn't meant to stand-alone? Nevertheless, SCP = always pleasure to listen.
https://www.youtube.com/watch?v=BSFqFdBgX1s

SMALL CRUEL PARTY & SUDDEN INFANT 7"
eM 13n
Perhaps this is among least favorite of SCP. Even if we have two masters teaming up for live show in Switzerland 1997... well, you can't always succeed 100%. It is just clumsy and not so interesting. Hard to say what exactly is wrong, but maybe the rugged SI trash sounds and expected elegance of SCP just doesn't meet here with style...

K2 / RUNZELSTIRN & GURGELSTOCK "noise tournament vol 4" 7"
Kinky Musik Instityte
But if other Swizz hero didn't quite make it above, R&G here comes as winner. 7" is absolutely fantastic masterpiece. Think of K2 cut up techniques mixed with R&G cut up techniques, and most of all, bizarro audio-world of RG combined to rusty metal junk. Both sides. GREAT !!

K2 / HANDS TO "noise tournament 7" 7"
K2 / AUBE "noise tournament 5" 7"
Kinky Music Institute
Two hard 7"s. Again, how one would "cut and edit" Aube?? It's already work consisting loops, drones, processed sounds. It's difficult task to get anything really exciting done from material that is already chewed up and regurgitated into fully ready sound installation. Aube seems to be no more successful in getting K2 material treatment that would make in unusually good. Hands To doesn't appear like project who'd be too good in mixing other guys works. What to do? Leave tape player to desert and capture that sound when it blasts K2? Could be actually good, but he doesn't do that. Both 7"s good, but choice of partners here bring challenge.

K2 "Hofradama" 7"
Myotis
Silvum wrote good piece about this. Not much to add. Great vocal burts here!

K2 / JALOPAZ split 7"
KMI / Leg Meat
1996 split release. Cut up metaljunk from K2 I've said enough. This is basically just good substitute to Hofradama, Iron Kulture, The Rust, etc etc. but not absolute mandatory if you have them all. Jalopaz is very very raw and primitive noise. Perhaps would do unjustice compare this with Sonic Disorder or at least Earwigs, but its still same sort of no effects, household whatever-makes-noise primitive compositions. In a way, I like it quite a lot, since it evades so much of "normal" artistic sides of noise and relies of sheer primitivism.
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« Reply #77 on: October 18, 2014, 01:41:19 PM »

two more for now..

THE CHERRY POINT & NVH "salt killers" 7"
Troniks
listened this few times last week, then decided to give it little more time. Listening couple times today. Live recording, one sider. Whats the point someone could ask - me included. But it requires you only to listen this and you know why. Starts with someone saying in venue "no fighting! no fighting!" and then blasts the noise. Short and rough noise assault here. Lots of improvised electronics, bassy rumbles, high pitched feedback noises, etc. but managed to completely escape the usual Cherry Point distortion wall approach. While noise itself is just live noise, nothing phenomenal, simply due lack of obvious high-force distortuon screech, this 7" manages to present reason why it would be welcomed into collection what already has lots of Cherry Point stuff. Suitable for especially those who want to sense "room sound" instead of pure line recordings.

STABAT MORS "Ich Bin So Wild Nach Deinem Erdbeermund" 7"
Drone
Two tracks from 2004. Raw, unfinished, abrupt physical noise thrown together. All the things I like in Stabat Mors. But not lo-fi. Very sharp and direct sounds. I don't think this is his best, but what exactly is? Unfinished feel of his releases makes me think its not about "best release", but about overall mood.
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« Reply #78 on: October 20, 2014, 02:11:48 PM »

Abe SadaOriginal Body Kingdom/Gala Abe Sada 1936 (Stomach Ache Records, 1994)

This 7” is the only release of this duo of Masami Akita and S.M.U.T. (who, according to Discogs, is one Timm Williams). This is top-quality material; harsh noise with a lot of activity going on. It could almost pass for solo Merzbow around 1993/94 except it’s a bit more rhythmic and varied.

AhlzagailzehguhMisinterpreted Injury (2x7”, Razors and Medicine, 2008)

What a band name... This is harsh noise, plain and simple. There are a few clever audio tricks, like channel panning, and some rhythms. Nothing earth-shattering, but a solid release.

Darksmith/Altar of FliesEvery Actual Body/Brittle Bones (Hästen & Korset, 2011)

Split 7”. The Darksmith side is quite weird. It lists “tape, body, room” and the piece consists of extensive tape hiss and the occasional sounds of someone doing some kind of activity in a room. It’s a 5 minute piece and I think it’s just the right length for it to have an impact as something strange in atmosphere and execution, whereas 20 or 50 more minutes would be boring. The AoF side is awesome: it has a bit of a menacing atmosphere at first and then it becomes openly aggressive. The piece has a nicely built linear structure and great sounds; at one point you hear what sounds like a violin or something similar, playing a relatively conventional theme, which comes as a pleasant surprise. Too bad the surface noise on this side is a bit more prominent than would be ideal. Regardless, a very good 7”.
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« Reply #79 on: October 27, 2014, 11:08:12 AM »

Government Alpha / Bruital Orgasme 7"
Underground Pollution / Rohs Prod / Nhdiystrec / Le Magasin De Porcelaine

It's not said anywhere, but I assume that this is a case of one artist manipulating the other's source sounds.

Side A "In Reminiscence (Government Alpha Mix)" is at times noisy but definitely not noise. More of a(n electroacoustic) musique concrete collage of clatter'n'thump. Sounds are good and arranged well, the piece has a logical structure and flow from beginning to end. Works fine at least in this length.

Side B "Ligne De Pression Sélective (Bruital Orgasme Mix)" in its turn is definitely noise. Not overtly harsh though, a couple of fuzz layers and some other sounds in the background. It starts out ok but soon loses its momentum and stays more or less the same (not HNW though) to the abrupt, disappointing end.

Faux Pas: Stoy=Gull 7"
Turgid Animal

Another Lasse Marhaug project, right? No problem, he is good in what he does.

And what is done here is harsh, energetic NOISE. Sounds like two guys recording more or less live. Junk and electronics, feedback, whathaveyou. Tiny music snippets appear a couple of times, maybe from radio or manipulated tape? Side A is more direct harshness with a nasty, piercing feedback section. Side B starts with staggering rhythm and guitar abuse and soon all harsh noise hell breaks loose.

I'm not sure but it feels that these tracks are recorded precisely with 7" in mind instead of being cut from longer jam?

This is harsh noise of energetic, vital, cheerful and life-affirming kind.
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« Reply #80 on: October 29, 2014, 05:21:41 AM »

Lasse Marhaug And G-Hörsturz - Mail Collaboration Inferno
“G-Horsturz, what the hell is that?” So opens a review of their wonderfully-titled '95 release on MSNP. Here in 2014, G-Horsturz? Still no idea. A few quite worthy comp tracks here and there. Preference for words like “industrial”, “machine”, and, er, “mega”. And oh- discogs has a Complete Works released on Scrotum in 2008. Hmm. May need that. G-Horsturz. Certainly we are to get no idea via this particular 7incher, the material of Seniors Gebauer n Strübe treated, mixed, molested by the inimitable Marhaug. In a word, primitive. All the familiar filth-grade flavors composing a rough and brittle fabric ever threatening to fall to pieces under the repeated lacerations of cruddy, feedback-tinged, shit-twizzle. Fubar'd stereo in accelerated decline. Not overwhelming, nor of the sort that grabs with anything particularly characteristic, but certainly hits all the correct notes in my book. Flip over and... INFERNO! Is goddamn right. A scorching conflagration from word go, scorch me all the way. Not too much fuel thrown into this fire, an easily managed range of screech and grind brought to harshlife with frequent and tasteful “metal smashing”. No relent, then, not till about the 5'40” mark, at which point things slowly burn themselves to a crisp.


Ruido De Odio / Outermost - No Title / Dissociated Personality
This has sat unopened unplayed for over fifteen years. Thank you Special Interests! (Um, possibly.) How to sum the assorted grindcore diversions of Ruido De Odio? Utter crap. Useless, pointless, garbage. Kinda like it. Grows on you anyway, or it would, if they would just TURN DOWN THE GODDAMN DRUMS. Vocals nicely ground to pulp, will give them that. And at least each brief fecal bi-product does not overstay its diswelcome. What more to add? Um... er... uh... geez, isn't it over yet, fuck. Okay, Outermost. The main event so to speak. Cheap-o beatbox opener abruptly shredded apart by very Maso-ish vocal incursion and the utmost white-hot flanged-out primitivo. All points scored on the level of harshness, few others worthy of note. Then the Real Outermost steps up and things get a tad wider in range- spasticating masticating assaultive, vocals up a few rabid notches, all cut to ribbons in the briefest of un-artful fragmentation, a good thirty-eight seconds worth. Then it ends. Certainly not among the better Outermost, certainly among the worse Outermost, and easily among the most brutal of shite he has offered. I might just listen to this side again some day.
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« Reply #81 on: October 29, 2014, 08:15:35 AM »

There's G-Hörsturz interview in some old old Freak Animal zine.. #8 ?
I used to be in touch with one of the guys. Members came more from punk/grind background, and in such a youthful scene, considered themselves old guys. If I'm not mistaken,  they were closer to 40 in mid 90's. Making them now approaching magical age of 60+ and unlikely very active in scene..? They live far away from eachother and recorded rarely. It's great noise, though! Bass + guitar. That's about it. Some power tools to play instruments was used, I think? Demo tapes and MSNP releases very good. One 7", this collaboration 7"..  mr. Gebauer was the one I was actively tape-trading with and got lots of Japanese noise goodies..
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« Reply #82 on: October 29, 2014, 05:36:27 PM »

Thanks for the info. The MSNP was the first – and last – proper full-length I heard from these guys. Of course, when the hidden hand of Roemer is in play, “proper” is a relative term. I found the tape to be very dense, very heavy, slow moving, suffocating; more so than anything else coming out of the label at the time, but not to the extent that one couldn't wonder whether a little label-boss-molestation was in the works. Would wonder too how the MSNP might compare to the somewhat comparably titled “Crush The Mega Machine”, listed under Miscellaneous in discogs and looking rather MSNP-esque. One might ask: whom was riffing on whom? Or perhaps just a generational thing...
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« Reply #83 on: October 31, 2014, 06:26:40 PM »

Brighter Death Now‎– Nordvinterdöd
Damn, this is one heavy slab of vinyl. Literally. Let fly and get some good air on this puppy. Figuratively speaking, with respect to the character of the sound proper, this is, by the BDN standards enshrined in the Great Death set to which it is appended, far from heavy. Stripped back, bared in the bones, as emaciated as the corpse depicted on the title-side of this picdisc, one could easily envisage this as culled from earlier CMI archive material, or as out-take from, say, the first Archon Satani tape on (CMI sub-label) Sound Source. Throw in the word “Nekrophile” just for fun. In this latter capacity, of course, is where the material really comes to Death. That is, with respect to the wonderfully dirge-flavored ritual atmos. And there it is, friends, a perfect candidate for my favorite nonexistent genre: Ritual/Dirge. Principally percussion-driven, enlivened with groaning shit-moans, the two sides complement each other perfectly. Where the title track simply throbs, in considered deliberation, to the aforementioned fecal-devotional, the flip-side ups a notch in muted aggression, under-scoured shizzled vocal distortions fighting a thunderous tide which comes, and comes, in continuous waves of thugga-thugga-thugga. At intervals I could swear I make a word or two out, a seeming mockery of the subject at Death's hand, as meanwhile the racket underscoring the tri-thugga bleeds a little more ragged. Never to let itself get out of  (Death's skeletal) grip, of course, as we screech in style to the grave.


Here's one that I wrote some evenings back but in the cold light of day could not bring myself to post. After a few cans, looks alright...

The Hearing Trumpet / Knurl‎– Marvelous Love / Torticollis
The Hearing Trumpet. Always associated them with my earliest, fanboyish, forays into the genre of Cool Music; the Zoviet Frances, the Illusions of Safety, the P16.D4s. A genre to which, in deference to FILTH, I would pay gradually diminishing ear service as the 90s wore on, and a time around which the decidedly untimely work of Mssrs Garmbier and Hallock would formally present itself. Got a fair few tapes of said work, can't remember if I ever gave but one the most cursory of listens. Nary a chance accorded, in other words, and in the meantime, quite shockingly, probably skipped the attendent Knurl, too. (Well, excuse me. Got plenty prime tapes from the prime welder, what I need with his dinky little 7inch?) “For fucksake man, quit yer dribbling reminiscences and drop the needle already!” Alright alright. I'm getting there. <sigh> <drop> What the FECK? <beer shoots all over the screen> Not at all what I expected. Cold. Subtle. Machine-like. Solenoid-valves-approaching-end-of-life-cycle-ish. Flow-regulators-on-the-blink-esque. Distant. Distant as in presented at the volume of the sound found. Almost dirge-like buzzing, yes, not quite approaching drone, no. A drear afternoon, a buzz-killed. Are those darkened subloops I detect or merely the natural cycling of an unspecified gaseous circulation? And then, in the distance, someone, let's call him Dave, Dave is a good name, starts bringing the noise. Or at any rate starts bringing another, upper register, layer to the increasingly buzzed-out, increasingly enriched, increasingly frontal- as in, LOUD- proceedings. At this juncture, one may begin to appreciate a compositional sensibility seldom suffered in the land of the unliving, so mayhap this capture of a peculiar atmos is nothing more than Mssrs Garmbier and Hallock very convincingly faking it. Convincingly is the word of note. (Faking is not.) Will definitely be cracking out those tapes, The Hearing Trumpet ones, in the very near future. Just as soon as I mop up this spillage. End.
Whoops! Where's me head? Almost forgot the Knurl. Where's that fecking needle. Okay. <drop> Just a sec. Is this right? Is this Knurl? While reflecting on this I am suddenly reminded of a story Mr Bloor once told me. At least, I think it was Bloor; could just as easily be something I read once in Bananafish. Here's Mr Bloor, at a Nimrod-related event in Montreal, surrounded by, well, a pack of nimrods. The amp hum seems to be growing louder than it ought. This skinny Japanese guy in a leather thong crawls mid-stage and curls up into a fetal-like ball. The stage characters appear to be molesting some sort of scrap metal. And there she is, the butt-nekid dominatrix in thighboots plus whip. As she strides to center stage and starts whipping away the sound acquires mass, depth, presence. And Mr Bloor has his epiphany. I mean, how could you not? (Later, it takes him hours to wash the epiphany out of his pants.) So yes, this Knurl certainly softens the blow, a sweet, strawberry-lip-glossed breathing upon the metal-pronged raptures, to reproduce the raging sound of the sea (in his pants). A kind of dual harmony here, between seemingly looped, effected,  scrap-metal throb and a widened wash of deceptively harsh vapor. A sound seemingly seldom explored under the Knurl nomination, a more probable point of departure, perhaps, the parasmodic, pluradimensional, paroxysms of Paraphasm, and, possibly, to prefigure posterior probings into Pyrox and Pholde. In (comparative) plainspeak, Knurl slathers the end product with reverberant psyche-permutation in seeming tribute to CCCC. He calls it “Torticollis”, but then, he would.
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« Reply #84 on: November 02, 2014, 03:24:51 PM »

SHARON'S LAST PARTY "Blue Light and blue eyes" 7"
Segerhuva
Seger 04! Ochu, Jarl, some others in line-up. Swedish industrial noise / heavy electronics kind of works from 2002. One side more busy, aggressive vocals, rhythms and goofy electronic noises, bass too? B-side more subdued, more into tradition of death industrial in Sweden. Good 7"!

Yeah that was the early days... Martin Bladh was very involved in this release and doing the vocals. I don't think ochu was played on this one but I could be remembering wrong.
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« Reply #85 on: November 03, 2014, 06:33:21 PM »

Iron Fist Of The Sun: Embers / Bedroom Is Human 7"
Peripheral Records

Side one has all the qualities of a power electronics hit song. Strong, simple, catchy, original yet respectful of its roots.

Side two. God, I hope no one has a bedroom like this. It's more like dungeon or cellar. Damp walls, creeping and crawling things you don't want to touch, buzzing lightbulb, bad memories, suffocating air.

Modern power electronics / industrial masterpiece.


Cloama / Mutant Ape: Dementia 7"
Turgid Animal

Cloama's "Procedure Dementia" is built from loops that are like small, insistent fragments of thoughts and memories that never go anywhere, stuck in vicious circle that is dementia. Superb sound and structure, and one of the best meetings of form and content I've ever heard. The stop-start part near the end is fist-pumping-and-cheering excellent. You thought it was over but it just continues.

Unsurprisingly, Mutant Ape doesn't reach Cloama's level of excellence but their track is by no means bad. Heavy synth layers, I guess, and semi-buried strong vocals. Not much unlike some Shift material I think.

Heavy and uneasy listening experience, especially side one.


Mo*Te / Encephalophonic split 7"
Audio Dissection

This is my first touch of Mo*Te and based on this track, I hope it won't be the last. Instead of cut-ups and hard panning or all-out chaos that you'd usually expect from Japan, this is layered noise loops of different kinds. Definitely noise, definitely harsh, but with a kind of industrial feel thanks to the rhythms.

Encephalophonic's side isn't bad, but feels like a kind of routine job. Still a head above most other harsh noisers out there.

I want more Mo*Te. Where should I look at?


Encephalophonic: Alone 7"
Audio Dissection

All right, now we're talking! If the 'phonic's side of the above split was slightly lacking in spirit, that's certainly not the case here. This is a no holds barred harsh noise attack of the most vicious kind!!! "Auto-Induced Maniacal State" indeed. Make sure not to consider this as "just" fast cut-ups. They are the, no worries, but E knows when to step back and raise the fists in the air and just let the sounds flow on their own.

One minor flaw, to my ears, is that both sides of the 7" fade out instead of going out with a bang. It works, though, and there's enough ear candy already. Maybe there's even no sense trying to top what's been going on with an even greater ending.

Nice artwork as well, and one that will make those who like to bitch about noise cliches bitch like there's no tomorrow.

Nearly perfect harsh fucking noise 7".

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« Reply #86 on: November 11, 2014, 08:53:58 PM »

Mo*Te / Encephalophonic‎– Broken Stone Glass / Spastic Emotions
For a project so short-lived, or at least, so unproductive, Mo*Te is certainly versatile. From the minimal, understated, even grim, murmuring creep of Needle Freak (with Government Alpha), to the wacked-out, barely describable, epic, tribal-ambience-or-something, of MeltingPlasticHeadCore (with Crack Fierce), to the sheer brutal awesomeness of Rest Stop Entrapment (with Humectant Interruption) and Life In A Peaceful New World (with, possibly, Stimbox). Certainly unpredictable. And almost as certainly, every time, killer. I'm not quite sure what it is that so readily renders the killer possibilities. But thirty seconds into “Broken Glass Steel”, the Mo*Te side of this split, and I'm immediately reminded of my very first sexual experience: the abovementioned and still sexually charged Life In A Peaceful New World. This latter tape is easily enough described: layers of deep, rumbling, almost ambient, envelopment, through which quite harsh intensities attack with consistently pointed exactitude, cycling into stratospheric heights that approach veritable psychedelic permutation. Now, nearly twenty years later, what do we get? Layers of ambient envelopment through which harsher intensities build with persistent, if not exactly pointed, rigor, cycling through a reliably earthed minimalism that could, from a distance, suggest the possibility of psychedelic permutation. Perhaps here we may identify one area that occasionally sets Mo*Te on the road to killer- the expanded role he allows the more ambient flavors to play, occasionally to the detriment of harsh noise proper. The ambient flavors here played cycle from near drone-harmonization to an increasingly recognizable rhythmic throb, but all the while the Harsh Proper seethes, principally in the background. Matter of fact, there is no foreground. These are, plainly speaking, some well-grounded sonics. Okay then, let's flip this boy over, I crave me some Encephalo. Hmm. “Spastic Emotions”. Pregnant pause. Slow snowball into this well-intentioned slobber-fest. Slow in the Encephalo sense of the word- at least half a second or so. Then things get plain ugly. Dude seems to be chucking shit all over the place. Tinpot shit-pails hurled all over the room, ripping holes in filthed-out distortion walls. Pull back, wait, metal spokes hammered at irregular intervals. Full-force all-cylinders KA-BLOW! Hard-right zing. Crinkle. Stop. Crinkle-snuffle. If the intent is to achieve a maximum of listener dis-orientation, then I would call this success. “Spastic Emotions”. Repetitive rumpty pumpty, stop-pause, lurch. Shudder. Sricka-cracka-crunk. Distinct slowing of pace. Classic Encephalo, you might suspect. But then things get interesting. Through the relative calm a tingly little electro-crackle sizzles into the field, farting, fizzing, agitating. This is it, this is fucking it! you shriek with triumph, here comes that megafrasticspastic assault... and then- thumpa-thumpa-thump. Bass out, end. Talk about anticlimatic. Not your classic Encephalo, and one I'm probably going to have to play back several times before I get my few remaining befuddled braincells around it. Frazzled, that's the word I'm looking for. “Spastic Emotions”. No idea whatsoever.


Kazumoto Endo / Encephalophonic‎– Quattro Pulsanti Bomba / 終身性的虐待
Perhaps Endo has always been a bit of a gear fetishist. Back when he was performing as Killer Bug he would literally “play” his signature springloaded-washboard-thingy, AKA Killer Bug. The Killer Bug – the gear - as performer, Kazumoto Endo - the man - as the, um, low-paid techie? When the name changed to Kazumoto Endo, the Killer Bug left the stage to be replaced by... laptop. And, it ought to be said, a significantly diminished stage presence, to go with a significantly diminished interest in earhole destruction. Not a lot of recorded output released in the laptop period, and when he would return to the stage in all-analog mode it was as... Killer Bug, with Killer Bug center stage. (Subequent performances as Kazumoto Endo would feature something rather Killer Bug-esque but we'll ignore that for the moment.) Now here comes Endo or should we say, here comes Quattro Pulsanti Bomba. A straight-ahead piece of gear responsible for a straight-ahead piece of work. With the four pulsanti in action, this is as frantic as anything released via the cut-up workings of the earlier Endo; but without apparent studio editing/trickery, this is much more rough, unrefined, rugged. Ragged-edged. I could very much imagine Endo delivering the exact performance here recorded live, on stage: the man, the gear, the new legend to be born? Well, I suppose it depends on what your expectations are of your Endo at this, um, stage. Yes, the edges certainly, are ragged, which is, of course, great! But persuasiveness comes via the very raw materials proffered: blistering sharp, bristling fury. Never has Endo sounded this brutally harsh. And never, not since Killer Bug, has dead air been so violently cleared. Straight-ahead blast, exploding momentarily across channel pan, crinkling into near null-fidelity... very hard to offer a play-by-play without sounding like a fucking spastic. Still I'd hesitate to call this random: each abbreviated event feeds directly into the next, the barest hint of subtle manipulation betraying a tell-tale care, and control.  Erratic, certainly, as erratic as fidelity proper is shredded, with heavily percussive cut-up-ish textures achieving a kind of constantly unsettled, er, shreddus interruptus. A bit of a strain; re-strained, even. Net impact: as frenetic as one might hope, if not all that fast-paced, and never straying far from the essential quattro-layered attack, fenced in, finally, by a consistency quite well-defined. In any whathaveyou, those unpersuaded by the Endo mixwork gracing the recent full-length Bonini-Endo collab, to which this is to be regarded as a prelude, will not be won over by the raggedy Quattro-textures on tap, and may I therefore direct the sagacious seeker of sustained sonic-sensual satisfaction to the satiation to be derived on the flip-side, courtesy Encephalophonic. Encephalo hits immediately, hard, with tightly focused fits of metal-pronged stabbing. Buttloads of painstakingly edited fragments compressed into the most fleeting of spasms. This was just in case you thought the Endo side wasn't spastic enough. Very little deviation from the subject at hand: that of acoustic junk sources punched in stuttered, arrhythmic, fashion to splat out a net, crunch-filtered, epilepsy. Repetitive, crunch-filtered, epilepsy. Sounds like someone's been listening to way too much Pain Jerk, staring at Retrogress-ive album covers, and has somehow drawn all the wrong (right!) conclusions. Repetitive, crunch filtered, epilepsy. Muttering to himself in frenzied self-reassurance: “Sounds For Buttphone. Sounds For Buttphone! G-G-G-Gomi-s-s-s-sss-ssan had  the right idea, the right idea.. ye-ess – CUM ALERT! - but never quite realized, NO!,  his true, his true, his TRUE potential. The fu- the fu- the FOOL! Yes,  yes, it's okay my little piss angel, yesss, you know you want it...” Ahem. Pardon me there. May I say something? I mean, look mate, the shit does not necessarily have to sound like this, okay? Not necessarily. But how can one assign blame when the vision is so purely, so convincingly, staked? Repetitive, crunch-filtered, epilepsy. No doubts at all, I am a convert. Hook me up to my Electronomicon and be done with it. FUCK! Massed junk armada: unload. Smash in. Smash through. Smash. Smash-smash-smash. This was in case you thought the Endo side wasn't percussive enough.  A thousand shards of scintillating textural rrriiiiip.


Encephalophonic‎– Alone
Geez, this boy is fucked. Fucked raw. Raw. That's the fucking word, you fuck. Wonderfully blown-out sonics from A to B. A to Z. Whatever, you fuck. It's three in the goddamn morning, the earholes are absolutely mangled and here I am flipping over again, and again, you fuck. I did say raw, right? But I could have been letting the essence get to me. The stench. Encephalo has certainly expanded his sound. Or upped the gear. These are surprisingly full-bodied workings-through of fantastically flavorsome fudge-punchies. And surprisingly bereft of the more spastic inclinations of yore. Y'know, like, way back in, what was it, 2013? Yeah, those were the days, lemme tell ya. In them days, Encephalo was more noted for, well, how shall I put this? YOUR MOTHER SUCKS COCKS IN HELL! Now, he seems to have settled down to a more focused brutishness. SOUNDS FOR BUTTPHONE! For the moment, anyway. Side Peace-Signing Asian Kid starts with the familiar looped stuttering, slams into the familiar acoustic hacklery, dips into the familiar pincer grip, then rasps in fits and starts through unhealthy hawking splurt. Then he breaks out his surgical utensils and gets down to a pointed, business-like, needlepoint seethe. Come to think of it, this was just about as spastic as ever, but perhaps the clarity of elements set in motion renders a different species of perversion. Less agitating to push the shit out, more plain grim. Side Pierced Chick With Handsaw In Mouth is perhaps the more settled, thus to be second. Thunk-thunk-thunk-thunk. Ground-up propeller fizzle. A seemingly undercooked shit-bed acquires a threatening quality by successive increments. You'd think we were going to launch into the wacked-out Encecphalo we know and crave.  And we do- almost. The knives are out! A few glinting spasmodic incisions threaten to rip the fabric apart before heavier densities roll into view, start to encircle the periphery, come into focus, then to escort proceedings to an impeccably subdued denouement. Nicely crafted bit of faux drama there, really had me going, think I'll flip over for more Peace-Signing Asian Kid.
« Last Edit: November 12, 2014, 09:00:14 AM by Bloated Slutbag » Logged

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« Reply #87 on: November 12, 2014, 04:41:49 PM »

COSMONAUTS HAIL SATAN "Bizarre And Tortuous Rituals Of The Primitive World" 7"
Secret Devil
One of the most sludgy things from CHS. Slower beat, cruncy bass, guitar feeding back. Fewer samples, more room in everything. Great stuff.

COSMONAUTS HAIL SATAN "A Beautiful Girl Like You / Mystery Mountain" 7"

Secret Devil
One side with possibly crunchiest instrument torment heard in CHS 7"s! Fierce feedback, rough slow overdriven drum beat, etc. I may be called heretic here, but to me, CHS beats bands like Swans, in the repetition of loud bounding rhythms, hehe...

COSMONAUTS HAIL SATAN "Mortuary Sorcery" 7"
Suggestion Records
I remember being little confused with this 7" when it came out. One side is almost like free-noise chaos. Certainly overdrive dominated and noisy, but like percussion impro noise?! And other side is with melodic song what could be almost background music of experimental hip hop songs?! It's good song, but weird.

COSMONAUTS HAIL SATAN "Cosmic Invocation #1" 7"
A.I.P.R.
Remember this german label? Nice work with Merzbow Project Frequency LP and handful of other items. Also this 7" looks great. Good example how spray paint ain't totally worthless in packaging noise. You just need to use it properly. Of course it would be foolish to expect band to remain exactly same, year after year, but I always associated CHS the most on their early recordings. 1997 ain't 1992, that for sure. Cosmic Invocation sounds more like ritual music. There is the slight humor element of CHS, but really it is so well done and atmospheric mix of drone most of all created with violins, percussion, and processed spoken pieces that it no longer carries the comic-feel of industrial rock, but could be mistaken to be filed together with all the "serious ritual music". When b-side track is called "Bloodlust Of The Sexually Deviant Swingers", I guess you won't be making that mistake, though. Loop taken somewhere, slightly out-of-tune guitar noise, percussion, odd vibrating feel and CHS trademark movie samples on top. Less feel of industrial, more of krautrock esque Ritual music from perspective of comical vintage exploitation.

CHS stuff is still cheap as fuck. I guess I've written about all of the 7"s? Except of course Grunt / CHS split 7" as it feels stupid to write about your own releases. That 7" was last of the CHS stuff, made merely 200 copies back in 1997. It's noisier, it's much more rugged than most of the other 7"s.
https://www.youtube.com/watch?v=thXmlim6sIg
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« Reply #88 on: November 12, 2014, 05:11:40 PM »

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.

Been nerdy enough to have 2 copies of this. One opened, one still sealed. Just listened opened one - obviously. It's really nice work. With all the seemingly one dimensional approach and compositional simplicity, there is something unlike just about anything else. RUSTY HUM describes so well what he does. This 7" has also longer segments, which is good advantage for sinking into sound. But 45rpm 7"... well, it goes fast. I hope Chop Shop would do proper full length album someday. Especially if he would offer his longer humming. Not only the pieces made out of small fragments.

CRAWL UNIT "Tucson Mon Amour" 7"
Drone Records
Live performance in 1996. Cymbals, various collected junk and tasteful use of effects. Recorded.. outdoors? Says under night-sky, next to sewage treatment plant. This is Crawl Unit in somewhere between his early noise works and later arty sound. I'd file under industrial-drone. Good 7"!!
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« Reply #89 on: November 19, 2014, 03:04:09 PM »

KALLABRIS "Consideration sur le cafe" 7"
Werkform
From 2000. ltd 250 copies, with two almost 8 minute songs. Mixing together slowly played electronic-piano and electronics. Slow, soothing melancholy, with slow ambient-synth tones and various electronic sounds that create almost rainforest type of texture. Some spoken word happens as well. Not among best Kallabris, but there is something nice in this too. Tones and harmon patterns etc

CHERRY POINT + JOHN WIESE "Pyramid Suites" 7"
Troniks
one side silent groove, that makes this basically one-sider. But split anyways? Hard and fuzzy harsh noise static from CP and more lively electronic noise from Wiese. Not much else to say after many CP & Wiese releases. 45rpm one sider goes quick. 3 times after, was time to move on.

THE CHERRY POINT "Superstar 84" 7"
Troniks
2002 one sider here too. Harsh, fierce and brutal. Hard to say that it would be highly dynamic, when it might suggest some sort of heavy duty cut up work, but no. "Cutting" here is more like Chop-Shop kind of stuff. Abrupt changes to next rumble.

CONTROL "Praying To Bleed" 7"
LSDO
First listened couple times at 33rpm, but realized maybe band isn't using pitchshifter for vocals, even if he uses extensive vocals, hah.. On correct speed, it is actually much much better. Multi-layered, extensively effect processed USA power electronics. I've said many times before, but perhaps should still say it. Band would probably benefit from focusing on less things. Even when songs really do differ from eachother, overall sound style and way of layering things and mastering it into thick compressed wall of sound, removes a lot of potential to make tracks memorable. You know. Control did GREAT releases, but what is his great stand-out track? Besides massive albums, perhaps tracks that jump in your face as distinctly unique (from artists other songs) would be great. Good 7", nevertheless!

CLOAMA "Provokaattori" 7"
LSDO
Finnish obscurity what is often impressive and many time odd. Doing something quite unlike anyone else. In this 7", comes together sort of power electronics. Beat oriented music what leans almost more to some sort of techno than "euro pe". And most of all, electronic textures what appear too colorful or too neat for "noise" or "pe". Weird stuff, and despite perhaps this kind of stuff packaged in LSDO style artwork and big print run, doesn't have possibility to be sought after cult item, it's good there are still stuff available. Many distros appear to still sell this as new, despite being from 2001.

MAEROR TRI / CRAWL UNIT split pic 7"
Disaster Area
I was told by someone mr. Drone rec/Maeror Tri / Troum likes to work quite spontaneous. Just plug in his guitar and start droning. Not focus on too much technical matters or too nerdy details. And that's pretty much what this particular piece also sounds like. Bunch of things by few members that probably took part, just starts and abruptly ends. Good stuff, but also at the same time, just blurry lo-fi drone muzak.
Crawl Unit does things much more elegant and with care. Good icy reverbs. Mix of micro sounds and almost cosmic levels of reverb drenched sounds that create minimalist tonal element too. Listened this many times last week. Over and over again. Decent sound for being pic 7" too.
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