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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2158309 times)
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bitewerksMTB
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« Reply #6390 on: June 17, 2017, 01:17:26 AM »

Whitehouse "Thank Your Lucky Stars" cd (Susan Lawly)- highly recommended for the two 7" releases that were rather difficult to locate. Too bad they didn't reproduce the artwork. Memory fails me on what the music used in the background of "Try & Be Grateful" is. Was it in "Deep Throat"?

Niellerade Fallibilisthorstar "Hålrum" cd (SNSE)- similar to the previous cd I commented on but this sounds a bit more free form. It's two years earlier so, maybe, they hadn't quite figured it all out. Parts sound like a drum circle  but other sections are nice n' heavy and more focused. There's a variety of metal objects used along with some yelling, wood, droning, guitar, etc. N.F. are never really very noisy but they do get heavy.

Skin Graft "Condition" tape (No Rent)- excellent! Listened to this while creating more artwork for an upcoming release. Real nasty harsh noise; dense n'  heavy. Some synth-type sounds are used along with field recordings with voices, etc. Recommended!
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« Reply #6391 on: June 17, 2017, 02:01:34 AM »

Niellerade Fallibilisthorstar "Hålrum" cd (SNSE)- similar to the previous cd I commented on but this sounds a bit more free form. It's two years earlier so, maybe, they hadn't quite figured it all out. Parts sound like a drum circle  but other sections are nice n' heavy and more focused. There's a variety of metal objects used along with some yelling, wood, droning, guitar, etc. N.F. are never really very noisy but they do get heavy.
For my money, their best and a classic of that decade.  A bona fide favorite.
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« Reply #6392 on: June 18, 2017, 12:30:02 AM »

I.O. "A.Sigg" private tape about this case: https://www.youtube.com/watch?v=6v1SfGdyh3M
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« Reply #6393 on: June 18, 2017, 01:57:16 AM »

OTTIS IN THE WOODS - Same
Really like this one. Fine anonymous serial killer harsh noise. At its best imho.
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« Reply #6394 on: June 18, 2017, 04:03:22 PM »

kilslug has to be mentioned in this context.

seem to remember from the time, they were (bass) heavier and slower than usual post punk/hc, with pic of aleister crowley on the lp i got.
at the time this slower bass heavier stiff seemed suspiciously metal, but enjoyed along with melvins, steel pole bath tub,, some stuff on noiseville.
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« Reply #6395 on: June 18, 2017, 09:01:51 PM »

Concrete Mascara "Lunar Hunger" (Bacteria Field) & "History of Ruin" tapes (Trapdoor Tapes)- excellent material on both from this 'American Power Electronics outfit'. The "H.O.R." tape has more intense vocals while "Lunar Hunger" has more oddball electronic sounds especially on s2. Some of the sounds are like reversed, slowed down tape manipulation on top of synthesizer. Neither tape is as abrasive as the "Perennial Disappointment" cd on Malignant. Definitely recommended!

MP & Driller "Tormentor" tape (Finders)- debut from this act whose names makes me think of a rap duo. Highly focused heavy electronics; white noise static, crashing around with phaser/flanger-style vocals, some possible acoustic sources, & heavy synth action. It never gets out of control or overly noisy. Everything is kept in check. Children should be neither seen nor heard. Good luck finding it.

Skin Graft "Blind Cruelty" tape (Collapsed Hole)- nasty, slow metal junk abuse. Short tracks, several that begin so low in volume that I thought the tape was over several times. Picture someone in an empty warehouse, on a concrete floor, scraping & beating on metal. That's what you get here. Very detailed heavy metal banging n' scraping, and some rather nasty squealing that sounds like an animal in pain. The second side has a few more elements but not much. Another excellent release by Skin Graft!
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« Reply #6396 on: June 18, 2017, 10:34:15 PM »



MP & Driller "Tormentor" tape (Finders)- debut from this act whose names makes me think of a rap duo. Highly focused heavy electronics; white noise static, crashing around with phaser/flanger-style vocals, some possible acoustic sources, & heavy synth action. It never gets out of control or overly noisy. Everything is kept in check. Children should be neither seen nor heard. Good luck finding it.



Also played this today. Was very fascinated by the dark and morbid aura.
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« Reply #6397 on: June 19, 2017, 08:13:22 PM »

Pleasure Fluids "Amateur Pornography" tape (TF/PE)- P.F.'s debut that needs a proper reissue, which, I doubt will ever happen. damn good heavy PE with violent sex themes. Will have to dig out the other tapes. Looking at his discography, I have all of the tapes but I'm not sure about the "Paraesthesia Of Sexual Feeling (Perversion Of Sexual Instinkt)" cd-r.

Pending Legal Action tape (dub)- rumour is this is Philip Best & Kevin Tompkins. One thing for sure is it sounds just like SJ but there isn't much going on that would hint at anyone else being involved. There does sound like some guitar noise in one section but seems like there was a track on "Campaign" that used guitar... Anyone know anything about 'Pending Legal Action'?

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« Reply #6398 on: June 19, 2017, 11:42:43 PM »

kilslug has to be mentioned in this context.

seem to remember from the time, they were (bass) heavier and slower than usual post punk/hc, with pic of aleister crowley on the lp i got.
at the time this slower bass heavier stiff seemed suspiciously metal, but enjoyed along with melvins, steel pole bath tub,, some stuff on noiseville.

Upsidedown Cross you're thinking of with Crowley on the cover - damn good LP and pretty much same members as Kilsug. Kilslug 2012 LP 'Sins, Tricks & Lies' is a great recent album in this style.

Just remembered this that fans of the style might enjoy, Blight: https://www.youtube.com/watch?v=vUXfqe0NXlc
« Last Edit: June 19, 2017, 11:53:39 PM by AXNAAR » Logged

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« Reply #6399 on: June 20, 2017, 04:29:01 PM »

a real mix of stuff for the past month

Internazionale ‎– The Pale And The Colourful [mp3s] - wanted to check this out via MP3 before investing. i dig the vibes, especially with the summer rain.  very similar to Croatian Amor in sound and vibe. think i'll need to invest in at least this LP.

Lust For Youth - Compassion LP - completely slept on this. i think i totally missed the album announcement when this came out. International was a grower for me but this album hit immediately. out New Orders New Order imo. really good stuff if you're into this kind of thing.

v/a - Port Out, Starboard Home 2xcassette - still one of my favorite industrial comps, probably my favorite PI release. this really needs to be kept in print or pressed onto a double CD. the Damien Dubrovnik track and Caucasian Colony track are fucking ace.

Overlook - Smoke Signals 3xLP - so much hype surrounding this album but goddamn if it doesn't surpass it. at times it sounds like Source Direct pulled through a portal into the modern age. a perfect balance of dread atmosphere, intricate percussion and sub-crushing bass. one of the best d'n'b albums i've ever heard.

Pessimist - Pagans EP 12", Through the Fog 12", The Woods 12", Paian EP 12" - d'n'b meets dub techno meets Berghain. oily black productions for rainy night driving.

Johanna Warren - Gemini I CD, nūmūn LP - really well written acoustic folk. while the recorded material is really strong, her live performance was really something else. totally captivating, even though it was a witch-y white chick from portland sitting on a bar stool. recommended for those who want a witchier Marissa Nadler
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« Reply #6400 on: June 21, 2017, 06:11:26 PM »

Whitehouse "DTPK" LP (Dirter Pro.)- sounds great! I love the noise from being too close to the mic. Pretty awesome how very simple sound sources can be used to create some fairly abrasive sounds: synth-feedback, vocals, the sound of water, & some low-end rumbling. I hope "New Britain" is next!

Body Carve "Scrap Gash" cs. (White Centipede Noise)- B.C. is not re-inventing the wheel here but he is  beating the living hell out of it. Harsh noise, that's all this is but it's well done. Rumbling low-end and static, lots of feedback, and junk metal being thrashed about.

Interracial Sex "Worst of Both Worlds" cs. (Finders)- interesting work from the first release I've heard from I.S. It's mostly PE but with a bit more care went into the compositions compared to others working with similar elements. Lots of high-end feedback (all well controlled) plus some low-end rumbling & gurgling. Some of the vocal processing doesn't agree with me but that's just personal preference & it's only in limited areas. Everything here is very well done. I've heard two releases by I.R. & both are very good; he has
his own style & sound so definitely looking forward to hearing more work in the near future (I know one of the upcoming releases has a serious "What the FUCK?!?" element).
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« Reply #6401 on: June 22, 2017, 04:23:57 AM »

Been somewhat obsessively listening to what is usually called Dark Ambient, despite also having a few other names. This is due to the rather blank and monotonous nature of a lot of this material. It's all so derivative and unoriginal it seems superfluous to name names, but nonetheless I've listened to Sable Sun's "Signal" series about a billion times now, as well as Saturn Form Essence's "Duophonic Space", which are essentially lengthy, dragged-out synth drones with added, highly echo-ed effects. As well as these, Efil's "Anti" (got to love the sentiment), Reza Solatipour's "Arrival", HermaV5's "Abduction" (not sure why I haven't see the pattern of album titles beginning with "a" before now) and albums from ProtoU, solo and in collaboration with other projects like Alphaxone and the rather unfortunately named Dronny Darko. All this can be found on the Cryo Chamber or Kalpamantra labels Bandcamp pages.

While I've never been that crazy for this kind of material before I've always loved Lustmord's heavy, dark, droning and meditative music and these artists are merely deriving and distilling the most basic elements of that. Often very well in terms of structure and sound juxtaposition. For me it's just perfect to have on at any time, in the background or listening closely. Sounds that help me turn my mind off and negate anything normal or "real". There's tones of it around and it's easily accessible which is an added advantage.

The main hurdle for me was the clean, polished nature of the sounds and production. I've always loved filth but lately have been more tolerant of cleanliness. It just seems more relaxing and less involving, and that's what I want now - more relaxation and less involvement, not just in music but in life. Also becoming more tolerant of the more "musical" nature of some of this (particularly the ProtoU material). Although not exactly brimming with melodies and chord structures (thank fuck) there's still an almost essence of actual music. The Sable Sun and Saturn Form Essence material, though, is just pure blankness and monotony.

Still - also downloaded Shift's "Abandon" yesterday from the Cold Spring Bandcamp, and it's as brilliant as expected. Maintaining the pressure and tension on a lengthy spiral like "Armed, Disturbed, Hostile" (which is getting very much into Doom Drone territory) takes skill and it's great to hear the sparse use of percussion on this material. Perhaps not as grimy a production sound as "Altamont" but still gritty.

(What is going on with all these "a" album titles? Maybe a hang over of the old idea that if your album or band name begins with "a" it'll be the first people see in the record shops?).

EDIT - also impressed by the She Spread Sorrow release, "Mine". While I suppose technically this can be catagorised as Death Industrial I think it gets a lot further than that in it's more progressive use of sound material and composition. I've always regarded Death Industrial to be fairly simple in its presentation whereas this is more complex, more musical (particularly the last spiral "Straight Back" which sounds like it owes as much to coldwave as anything else) and seems more topically based on personal emotions than death obsession. I found the vocals a bit hard to get used to as I don't like the sound of whispering, not sure why just never have, but for the most part I find the claustrophobic, horror-movie feel of this release very enjoyable and numbing.
« Last Edit: June 22, 2017, 07:22:04 AM by Andrew McIntosh » Logged

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« Reply #6402 on: June 24, 2017, 04:43:56 AM »

Ańdre Vida : Brud Vol I - III (1995-2011) PAN-ACT 3XCD : this release has had me fascinated for a while, I think the first think to catch my eye was the beautiful layout and design but for some reason it slipped my mind for a few years. Recently having realized all Pans stuff is on Spotify I decided to take the time to listen to it while helping my wife with some freelance work. The music is a nice mix of free jazz/ avant garde, nothing balls to the wall like brotzmann. This has quite a bit more restraint, a focus on tiny sounds (the kind that will have you pulling off your headphones and looking around to see if someone just walked into the room). The first disc is closer to a jazz line up, Braxton (the only player who's name I recognize)  and Vida both playing sax accompanied by cello and drums, at about track 4 things get really interesting. It disolves into a solo situation with Vida playing sax and singing/chanting. Really captivating material, I'd actually love to hear more of this kind of stuff. As it continues Rashad Becker enters the mix adding in electronics and additional players entering and leaving the mix. First disc ends on a nice psychedelic note....second disc is sparse avant garde with touches of EAI, solid stuff, nice mix of electronics and atonal musical improvisation, no vocals on this disc. Overall this work is a bit hard to sum up and describe. But it's solid and now l'll definitely be revisiting and hopefully buying the album soon. I'll try to add some thoughts later for the third disc.
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« Reply #6403 on: June 24, 2017, 05:24:17 PM »

Been somewhat obsessively listening to what is usually called Dark Ambient, despite also having a few other names. This is due to the rather blank and monotonous nature of a lot of this material. It's all so derivative and unoriginal it seems superfluous to name names, but nonetheless I've listened to Sable Sun's "Signal" series about a billion times now, as well as Saturn Form Essence's "Duophonic Space", which are essentially lengthy, dragged-out synth drones with added, highly echo-ed effects. As well as these, Efil's "Anti" (got to love the sentiment), Reza Solatipour's "Arrival", HermaV5's "Abduction" (not sure why I haven't see the pattern of album titles beginning with "a" before now) and albums from ProtoU, solo and in collaboration with other projects like Alphaxone and the rather unfortunately named Dronny Darko. All this can be found on the Cryo Chamber or Kalpamantra labels Bandcamp pages.

While I've never been that crazy for this kind of material before I've always loved Lustmord's heavy, dark, droning and meditative music and these artists are merely deriving and distilling the most basic elements of that. Often very well in terms of structure and sound juxtaposition. For me it's just perfect to have on at any time, in the background or listening closely. Sounds that help me turn my mind off and negate anything normal or "real". There's tones of it around and it's easily accessible which is an added advantage.

The main hurdle for me was the clean, polished nature of the sounds and production. I've always loved filth but lately have been more tolerant of cleanliness. It just seems more relaxing and less involving, and that's what I want now - more relaxation and less involvement, not just in music but in life. Also becoming more tolerant of the more "musical" nature of some of this (particularly the ProtoU material). Although not exactly brimming with melodies and chord structures (thank fuck) there's still an almost essence of actual music. The Sable Sun and Saturn Form Essence material, though, is just pure blankness and monotony.

Still - also downloaded Shift's "Abandon" yesterday from the Cold Spring Bandcamp, and it's as brilliant as expected. Maintaining the pressure and tension on a lengthy spiral like "Armed, Disturbed, Hostile" (which is getting very much into Doom Drone territory) takes skill and it's great to hear the sparse use of percussion on this material. Perhaps not as grimy a production sound as "Altamont" but still gritty.

(What is going on with all these "a" album titles? Maybe a hang over of the old idea that if your album or band name begins with "a" it'll be the first people see in the record shops?).

EDIT - also impressed by the She Spread Sorrow release, "Mine". While I suppose technically this can be catagorised as Death Industrial I think it gets a lot further than that in it's more progressive use of sound material and composition. I've always regarded Death Industrial to be fairly simple in its presentation whereas this is more complex, more musical (particularly the last spiral "Straight Back" which sounds like it owes as much to coldwave as anything else) and seems more topically based on personal emotions than death obsession. I found the vocals a bit hard to get used to as I don't like the sound of whispering, not sure why just never have, but for the most part I find the claustrophobic, horror-movie feel of this release very enjoyable and numbing.


antipodean alan lamb, if not already known, may interest.
his recordings and manipulations of fence wires is conceptually, acoustically satisfying. the remix cd od the then usual suspects was ok.
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« Reply #6404 on: June 24, 2017, 09:23:48 PM »

Aaron Dilloway "Concealed" CS (Hanson, 2013)
          I have yet to be disappointed by anything solo Dilloway. This is his usual layered, 8-track looping exploration but with a more exuberant/happy twist than, say, Modern Jester. But it's still quite similar in some ways, pieces being generally focused on two loops, one of which is at first quieter and later protrudes to the top of the mix, letting the previous subside and morph. Pretty minimal structuring. Some surprises in the bonus tracks, including a moment that sounds like a nightmare from an obscure children's movie, and another that I'd believe you if you told me it was old Mauthausen Orchestra, Murder Corporation, or something like that. The guy's a goddamned genius, that's all there is to it.

Matthias Gustafsson "Tapeworks Vol. V" CS (Hasten & Korset, 2016)
          I wasn't as blown away by this as I'd expected to be, but serves me right. This is refreshingly different from what Altar Of Flies I've heard, but also similar as you might think. Tracks are not too heavily-layered, taking a drone approach that seems to rely on slow pitch-speed knob tweaking. Has more of a content austerity than a depressing vibe to it, although it's not without that distinctive Swedish moodiness. Also doesn't quite have the same mysteriousness as Altar Of Flies, but rather has a straightforward quality which is "taboo" in tape music (supposed to be so enigmatic and intellectual, you know?). Some voice work sampled from radio, I believe, which isn't done as often as it should be these days. Some of this is harsh in the sense that it's disturbing, rather than loud, which is always appealing to me, and some of the source sound and how it's manipulated/treated could cause some frustration in more analytical listeners like myself. I like that M.G. can "wow" you with complexity and difficult technique, but then go and just slow down some horn loop until the tones are damned intrusive and hard on the eardrum. Guy's on the level of Dilloway, etc. Almost too good at what he does.

Burried Machine "Bulkface" CS (Throne Heap, 2012)
          I have to admit that in some cases, I wouldn't like what I hear here - nearly an hour of the same sonic palette in what's obviously an extended improvisation with maybe a bit of layering and editing. This stuff sounds like feedback, contact mic + metal, some tape saturation, and a ton of multi-head tape delay. Spacious but not exploratory mixing/contrast of sounds. Everything blunted slightly by magnetic tape. Certain parts sound as if they were recorded using a 30+ year old tape or deliberately unclean tape deck heads. Great formula, but not one that can always excuse such "jamming." In this case, though, it mostly holds up - Shin Chida seems to walk the line between monochromatic Finnish and German type "gutter filth noise" and Dilloway-Gustaffson type muted subtlety. I like this a lot, although it makes me more curious to hear other Burried Machine tapes than to look forward to repeat listens, which will occur, but not soon.

Agonal Lust "Breathing Through Blood" CS (self-released, 2017)
         Probably risking my ass by mentioning this, but those who might know the name already know who's behind it, what it's all about, etc, so whatever. Really clear, well-recorded atmospheric PE with an Italo-sadist vibe and excellent distinction between sounds - droning background synth, upfront harder electronics work, heavily-effected vocals in two styles, possibly by two individuals. I try not to take artwork into account, but this stuff just looks like it sounds - perverse and elegant. Promising things coming from this project, too; even better and more diverse than what I've heard here.

MP + Driller "Tormentor" CS (Finders, 2017)
          Bitewerks already reviewed this, but I wanted to add that this project gives older Deathpile a run for their money. Not that Canady's work isn't great, it is, but this is fulfilling the potential I saw in albums like "G.R." I certainly hope they do more with this project...hellish, purgatorial PE with a more dark than violent atmosphere. More sinister than sleazy. Very commanding vocals, maybe even more so than the above Agonal Lust tape, with whom this project is affiliated. Nice tape work toward the end of the track. Again, sorry for mentioning artwork, but those who appreciate the Lily Vice signature style of Lust Vessel will go fucking ga-ga for this...almost reminds me of obscure anime combined with old S&M VHS covers...

Pestdemon "Hidden Temple" (Unrest, 2009)
          Glad I finally got hold of some material before he took up the Arkhe moniker. This tape I didn't like even half as much as what little Arkhe I've grabbed, but that's not a dig, this is still good shit. A somewhat bewildering mix of old-Bianchi type anhedonic structures and near-formlessness, with a technical vibe that oddly reminds of other Swedish death industrial like Trepaneringsritualen, shit, even maybe Brighter Death Now. Some moments have a bit more grit, distortion, etc, and some make you expect some hard-edged power electronics to emerge (kind of like Control), but don't give that sweet payoff, rather regressing back into their lunar cave state. I really liked this, and that speaks a lot to how damn good I find Arhke to be, because this barely holds up in comparison. Probably won't get a lot of repeat listens, but damn do I want to hear more Pestdemon and Arkhe.
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