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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2264467 times)
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Bloated Slutbag
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« Reply #6765 on: February 23, 2018, 03:22:51 PM »

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Encephalophonic – Hurtcore
It sometimes feels like these surgical crafstman types need a bit of release. An opportunity to relax, if only momentarily, that tightest of grips constricting the poor, wound up, harshskull. Or maybe the filthy scalpels got left at the cleaners. Very live-to-tape feel here, no apparent edits, no bullshit. As if to prove that Bonini can twiddle knobs with the best of ‘em. And that he can! But with as much ear for brutal and pointed incisiveness as ever. Lots of hurt for your sorry ‘holes. Four pointed brevities on this c20, out the gate with all screeching force, not for a moment to kick back and plead for attention but simply to hammer away through amped up feedback strains. I hope I didn’t actually use the word “relaxed” earlier, did I? (Pause.) Oh, damn. Well, anyway the overall tone here is one of studied, frantic, tension, tightly squeezed pinched-til-it-hurts-to-the-core clench. Tense, clench-fisted, shriekage, with just the briefest loop percussive, reminding momentarily of transitional-era Pain Jerk, before falling back to frenzied, shriekus, interruptus, angular shards burnt to blackened ruin. Side second seems a bit more open-ended, even open-mouthed. Is that a molested screaming vocal I hear? Upper register squeaky-cheeks roughly prised open, through which crunchy frayed-edged chunkies are hacked. The closing ditty commences with total Pain Jerk worship before opening up to a much wider range of spastic attire, metal bashed excess fueling a spazzed sputtering mess of scrunched seethe n stutter.
« Last Edit: February 25, 2018, 07:43:00 AM by Bloated Slutbag » Logged

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« Reply #6766 on: February 23, 2018, 10:33:55 PM »

Been listening to shitloads of Hands To / Jeph Jerman over the last couple weeks. Glad I bought the Rough Music: The Hands To Library DVD when it came out. I transfered it all to an usb-stick, which I can put into my CD Player for great listening comfort.

New Jerman LP - The bray harp on WCN is also simply great. Just can't get enough of his soundworks.

And before putting myself into bed, I'll listen to Putting the Rabbit Down. More quiet, but such a strange record - somehow one of my favourites.
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Neanderthal
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« Reply #6767 on: February 23, 2018, 10:47:05 PM »

Been listening to shitloads of Hands To / Jeph Jerman over the last couple weeks. Glad I bought the Rough Music: The Hands To Library DVD when it came out. I transfered it all to an usb-stick, which I can put into my CD Player for great listening comfort.

New Jerman LP - The bray harp on WCN is also simply great. Just can't get enough of his soundworks.

And before putting myself into bed, I'll listen to Putting the Rabbit Down. More quiet, but such a strange record - somehow one of my favourites.

My first exposure to him is the vinyl release on WCN (which I haven't heard yet). Do you reckon the Bray Harp to be a good starting point for his works?
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Zeno Marx
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« Reply #6768 on: February 23, 2018, 10:54:10 PM »

My first exposure to him is the vinyl release on WCN (which I haven't heard yet). Do you reckon the Bray Harp to be a good starting point for his works?
  http://www.special-interests.net/forum/index.php?topic=18.0
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« Reply #6769 on: February 23, 2018, 10:59:08 PM »

Male Rape Group - On to '83
Closed out the Black Flag Box listening to this one tonight. Excellent, dirty, youthful and lively. I've done stuff like this with buddies, only worse.

La Monte Young / Marian Zazeela - The Theatre Of Eternal Music (Side A)
I also had to check this out. I did so through youtube - ain't got no 100 quid for no odd ass drone. For those not in the know, this is a 12" album whose A-side consists of drones and Eastern chants, and that has somehow managed to fit almost 40 minutes onto each side of the vinyl. And, while sound buffs and other terrible people may have a problem, I must say that it's pretty entrancing. The B-side is some kind of sine wave construct, complete with instructions on how to set your stereo EQ to enjoy it to the max, but unfortunately it doesn't seem to be available online. I might have to start thinking about procuring those 100 quids after all.

All this enjoyed with Magyar: The Medium Sweet Red Wine of Hungary, which although just barely palatable has convinced me never to try the Sweet Wine of Hungary, if there is such a thing.
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Punainen Graniitti

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« Reply #6770 on: February 23, 2018, 11:56:21 PM »

Krey ‎– |« Rewind |« All Perversions In Reversion 2008-2004

Complete and limited edition of 40 copies of all Krey's albums, composed between 2004 and 2008 in leather case out for BeTon records
great analog industrial noise in classic old school style of slaughter prod and in fact the first album of Krey came out for slaughter prod.
Pervert and filthy mood for an intense journey that sounds like N and Atrax moruge or parvas nefandum.



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« Reply #6771 on: February 24, 2018, 03:15:16 AM »

My first exposure to him is the vinyl release on WCN (which I haven't heard yet). Do you reckon the Bray Harp to be a good starting point for his works?
  http://www.special-interests.net/forum/index.php?topic=18.0

Thank you!
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Bloated Slutbag
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« Reply #6772 on: February 25, 2018, 05:40:37 AM »

Liked this Encephalo so much I decided to rewrite most of the commentary. Apologies in advance.

Encephalophonic – Psychopathological Entertainment
Man, I’ve got this guy all wrong. With X, the previous Freak Animal abetted racket, I was sure the Bonini had turned over a new leaf. Or if not a new leaf, had begun to mature. Or if not to mature, was evincing new respect for more drawn out, deliberate, musings. Or… well, anyway, scratch all that. Talk about Regressed Progress. Here the unwholesome ‘hole abuse picks up precisely where it left off x years ago with X predecessor Regressed Progress.
   Rapid-fire staccato bursts hacked slapped left right center, epileptic shudder-loop, raw junk bassburst, tightly pinched pinprick skewer, cascading machine-choke avalanche, momentary pause of feedback whine. That’s the first fifty-seven seconds. A merciful slow-down as whiney tone-drag meets twizzled knob slobber stop-pause. We are at 1:57 and large metal barrels roll onto the scene. The hammer comes out. Let’s get physical. Ka-spunge! Physical. Ker-splooge! It’s time to get- konkonkon-spunnnnng-nnng-nnng. Not so much the rapid fire more the purely violent, petite flecks of echo to dramatize the beating meted out on poor defenseless piles of junk, reverb extensions played into harsher static mass. At 3:38 it is berzerker mode, the hammering growing frantic, ripped junk chunks flying dangerously past the ear before the inevitable shudder-loop to close things out.
   The whole album does not much deviate from this model, the only clear consistency the studied avoidance of consistency. Constant schizo-frenetic movement, the pace alternately herked and jerked from lightning fast to more leisurely strolls through metal THWACK chambers, the rare occasion to admire the filthy work as sure to be violently choked off and ripped to shreds. This is most evident in the second track, which could almost be mistaken for meticulous metal junk study smashed to tiny, twitching bits. Here the source materials are more up-close and personal, but every attempt to concentrate is broken by borderline nutso packed to the gills with unsolved traumas, sent careening out of control. Audiophonically speaking, that is.
   Track the third leads off with pretty brutal docu-perv interview clip and then the more purely electronic molestation to kick in. Episodic bursts of sharp and pointed incision, coming back again and again, as though to condemn the listener to forever relive the trauma, throwing everything into the mix and really upping the harsh flavors through the most severe of screechy shriek-frequencies. Those are some sick sadofantasies there, Bonini-san.
   Another track another brutally trashed junk study, but now a more “live” sense of space, abrupt and uneven cuts as ready to favor squealing twizzle-action as to vomit out physical fits of ker-splungeing violence. On occasion, the surgeon seems dissatisfied with his scalpel work, trading in precision for haphazard, snarled, handsaw rip, pliers furiously pulling at frayed edges, sound bits ground down to crumpled pulp of near non-fidelity. That’ll learn ya.
   If “Hatred For The Human Body” is some kinda Dead Body Love tribute I don’t hear it. What I do hear is exceedingly well put together clusterfuck frenzy of raw and raging hyperspasmation. Hefty, burly, bass-burbles bulging with perverse exuberance, sweet tease-y ear-bleedings repeatedly blasted with overweight freight trains of very dense full-force full metal racket. The surgeon likes it so much he even gentrifies the close of proceedings with sadistic porn clip, tortured shrieks of pain echoed with equally tortured surge of total flip-out electro slather.
   A brief bit of respite as a full-minute’s oscillation precipitates jerk-savvy dialog of ruptured bass-burble and wrinkled, roughly-scraped, distorto-bash. 100mg of seroquel, much of it seemingly administered “live” and on the fly, still the eye for detail as astute as ever, the massed piles of junkmetals ever ready for smash-happy indulgences, every corner of the channel pan engaged.
   Getting close to the end here and more carefully spaced junk chamber deliberation. For the first minute or so. Soon enough the encephalo urges prove overpowering, the seroquel has obviously run out, and the tight-packed scrunchings of curdled, jerk-necked, epilepsy set the stage for the title track and main event.
“Psychopathological Entertainment” is, simply, a pure and furious rager of pure scorching encephalo FIRE. I had some listening notes somewhere I thought might better illuminate. Let’s see now-
“Psycho-spasty wack-a-jack-thwacky, mess-alophonic chugga chugger blung, cheeks prised open,
slammed home screeching, Ruptured be thy bung”

Well, perhaps not. What to say... the razors are just that extra shave sharper, the peaks just that extra prod pricklier, the hyperspasmations just that extra splerk spasmated. Occasional peeps of daylight  squeak in here and there, only to emphasize the hefty physical force of bass-loaded turd-burgling crunchpunchers slamming on through. Call it the Ultimate Masobonini. Precision crafted incisions taken to a wide array of raw, junked, metallic, acoustic, crunch pinch n chisel, all of it on point, meticulously tweaked for maximal damage- to head, heart, and holes… hatred of the human body never felt so goood. Liner notes say the album on whole was a good year in the making, a year that apparently did the good Bonini’s head in, as commemorated in opener “Crazy”. But it wouldn’t surprise me if most of that year went into this one track. The attention to precision and detail is to be commended, as is the profusion of bass-loaded turd-burgling crunchpunchers slamming on through. Perfect and perfectly brutal.
   So in sum, get thee some. Crazed n deranged profusion of confusion, easily the most surgically crafted Bonini to date. Unlike the previous missives, earlier mentioned, space is not wasted with apparent attempt to draw the strands together, such that they cohere into semi-narrative whole. A few strategically placed docu-cum-porn clips, but serving more as texture than wapping the listener over the head with theme. Or if there is to be theme, it is thoroughly sound-driven. HARSH driven. Earhole abuse driven. You say psychopathological entertainment I say mydriasis is on fire. Time to break out the- CUM ALERT! The- SOUNDS FOR BUTTPHONE! The- PISS ANGE… Look, would you mind? Some of us are trying to write stuff. Jeez. The seroquel. Break it out, now, the seroquel. 100mg ought to do the trick. Regardless of the grip on scalpel, or sanity, the return to puritannical harshhead as ventured in Regressed days of yore is always welcome. As is the profusion of bass-loaded turd-burgling crunchpunchers slamming on through.
« Last Edit: February 25, 2018, 07:46:43 AM by Bloated Slutbag » Logged

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« Reply #6773 on: February 28, 2018, 10:14:24 PM »

Maurizio Bianchi - Inexistence
If you've got about 20 Euro to spend on the work of an Italian legend, why would you choose to spend them on one or two classical reissues of some 80's stuff, when you might just as well buy a substantial amount of the man's 2000's discography for the very same amount? Picked up a comparatively large package of M.B. releases and collaborations from the previous, rather useless, decade today, and sat down with a Lonkeri and my discman. Inexistence is extremely stripped down drone/(dark) ambient. It's not shocking or extreme, but also not "painting a picture". It is somewhat relaxing with it's looming drones, but also keeps my interest up. Some lines of texts in the booklet offer a very strange version of the English language and bring but little clarity to the concept of the recording, but there's a philosophical edge that may or may not add to the experience. I'll have to wait until I get back in a truly dark ambient mood to really evaluate this album, but it was a decent Wednesday experience. In many ways, this is a flawless, minimalist form of abstract, intellectual drone. Plenty more of these to go through, I might add, but we'll see how many get a little summary in this thread.
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Punainen Graniitti

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« Reply #6774 on: March 02, 2018, 10:28:34 AM »

Linekraft - Apocalypse Factory
Linekraft has been wailing on hunks of metal long enough that you pretty much know what to expect. Which may explain the decision here to throw a wrench in expectations. Liner notes credit “Metal Junks, Tapes, Electronics, Voices”, in that order. But Electronics- proper, oscillating, analog Electronics- play a much more central role than might otherwise be expected. By the same token, the Metal Junks get prodded a little bit further back along the assembly line.
    This is not immediately apparent in opener “Purge”, feeding back whines setting a somewhat severe tone around which a barrage of Metal Junks get hurled about the channel pan. Sure the Metal Junks are somewhat muted, somewhat rotted, rusted out, distorted, evocative of a decrepit factory grinding itself down, slowly going to shit. But with a title like Apocalypse Factory...at any moment the heavier metal thunder is due to start crashing in from every which angle, through every which orifice. Any moment now. Any moment, just you wait…and wait. Uh…Sequenced machine-bleat takes the stage, fingers snap at the periphery. Wheedling whinges compete with squealing oscillators, scattered speech fragments and a barrage of Metal Junks that are, on the whole, just one small part of a dense and full bodied texture. Texture is in constant sickening motion, weaving in and out, alternately stripped back and overloaded, the overall atmosphere one of woozy, smoked out, near-psychedelic decrepitude.
    Okay, now. Linekraft temporarily “purged” of total Metal Junk obsession, what might there be had in track 2, “Apocalypse Factory-1”? Certainly this, this is to get things back onto track. Uh, isn’t it? Well, there are three of these title tracks, -1, -2 and -3 respectively. They are marginally longer and generally quite “epic” in scope, throwing an unwieldy mass of ideas and sounds into a veritable orgy of decrepit factories gone to shit. They are also, the lot, densely saturated with reams of heavy oscillating Electronics. Way down in the mix what may be enraged vocal howls away, as though caught up in the clusterfuck of howling machinery coming in from every which angle, every which orifice. I surprise myself here to suggest the first clear Dissecting Table influence. I mean, Okubo-san has long claimed a serious Dissecting Table fetish. But with the careful composition and sequencing of elements I am reminded of some of my favorite DT moments- when the head bopping music stops and all hell breaks loose: raging Metal Junk Bash uber alles. Again, though the Metal Junks are crucial to the general atmosphere, there is so much else going on. Hearts pump, synths sweep, alarms bleat. Continuous wooze of weaving organic extraction. Electronics warbling the whole way through. Submerged if impassioned speech fragments threaten to break through slathering liquid burble, and finally do, end.
     As the rhythmical hammering of “Polluted Body” works its way through a mass of dirge-toned sputter-squeal, it is clear that this Linekraft intends to stay the course, eg Metal Junks confined to the under-employed corner, not a single piece of bright piercing steel to the fore, not one bit of it subject to studiously mic’d wailing ‘n whanging. Whanging, of haphazard sort, is rather reserved for unsightly, corroded, piles of discarded waste, a health hazard that should never have passed muster...and which is probably the point. Bring on the Four Safety Inspectors Of The Apocalypse. Squeals grow in proportion, a concerned voice utters a warning, too late, gunshots accentuate the terminal verdict. “Apocalypse Factory-2” finds concerned police reporting from a scene of carnage before the factory rumbles, in fits and blurts, to dense and jumbled conglomeration of slow-rolling cavernous din. In “Public Bondage” descending alarm-slide gives out to steady rhythmical hammering that keeps the occasional steam-powered rupture in check, low-mixed vocals choking in sequence to smoldering fuzz-hum. “Apocalypse Factory-3” is an ode to the ghosts in the machine, which make their presence known in growing layers of glowering backwash, hydraulic thudding flattened under bulging sludgeballs of distorto-junk-scrunch. The Apocolypse is here, I can hear it. Revved up and shrieking. Metal Junks smoothed to screeching sheen. Prepackaged, ready-made Apocalypse for the masses. Get ‘em while their hot. It has been said that all apocalyptic phenomena are strictly at the level of the individual, so maybe I should be forgiven in taking this personally, but damned if the ghosts in the damn machine aren’t speaking to me. A thousand voices of dirge-encrusted decrepitude, entering through every angle, every orifice, negative substance, grinding down the will, slowly going to shit.
« Last Edit: March 02, 2018, 03:01:58 PM by Bloated Slutbag » Logged

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« Reply #6775 on: March 02, 2018, 08:38:30 PM »

Skin Crime "Ghosts I Have Been" cd (Hospital Prod)- it's hard to believe years n' years went by of silence from SC then all of a sudden there's a huge box set then an LP then a live performance plus two tapes and this full-length cd, which, is great! Sci-fi electronic-type sounds, droning/feedback, & all sorts of mishandling of acoustic sources like wood/glass/metal. It gets noisy in spots but never quite gets to being harsh. Lots of patience & attention to detail. Highly recommended!
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« Reply #6776 on: March 02, 2018, 10:02:00 PM »

Linekraft - Apocalypse Factory

Thank you for the thoughtful review. It's become immediately apparent that I do not own enough Linekraft and that needs to be corrected asap!!

K2 - Concerto Grosso: Hate Piano CD - Untergeschoss - so I think I listened to this once before when I first got it but goddamn I forgot how totally great this was. I have little exposure to K2's lengthy discography but this type of brutal non-stop cut-up harsh noise onslaught is what I'm about. how the fuck did I not recognize how good this album is sooner? Makes me wonder about a lot tapes/CDs that I've only given the once or twice over. what gems are lurking in my collection waiting for some love...?

Drowner - Rat Nesting Manifesto cassette+zine - What We Do Is Secret - I love the work of John Lukeman so I was really happy to get this in the mail a few days ago. It sits nicely between his earlier noisier work and the last two tapes Burning Room and Modern Paranoia, which focus more on Cronenberg sci-fi synthscapes.

Gangrene - Cleaning the Wound cassette - Obscurex - another damn good cassette that sat too long in my "to listen to pile". I don't know Edge of Decay very well but this definitely doesn't sound like the latest Unclean material. Nice to hear something different but still very enjoyable from a project I enjoy so much. Rotten sounds for rotten weather.

Worth - Blinder LP - Prose Nagge - to add to the chorus of praise, this is some damn fine harsh noise. even my girlfriend's dog was going nuts when I put it on. i really dig the way it cuts between very different sound sources to create a larger whole of utterly delicious audio texture. reminds me of a slower paced Alzhelgailzehguh at times.

Solmania - Psychledelic CD - Alchemy - I know that other Solmania albums are "better" but this is my favorite. fucking love the cover, the sound sources, the whole package. makes me crave leather and amphetamines.
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« Reply #6777 on: March 04, 2018, 02:07:55 AM »

Where Runes Order are meant to stand in the Industrial movement, I don't know (they seem to be doing split albums with Metal bands these days). Their album "No Future" is all I've been made familiar with. Despite titles like "Attack", "No Future", "A Nightmare (Is Coming)", and so forth, this is calm, considered music with a lot of melody. Apart from the more atonal parts, nothing much I'd compare with Industrial in general. But a very good album. It's particularly well recorded but I see it's only been out on cassette then re-released as a cdr, only a few copies of which can be found on Discogs. Consider this yet another otherwise worthy album that's fallen through the cracks of obscurity, then.
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« Reply #6778 on: March 05, 2018, 07:49:56 PM »

BUS RATCH + HIJOKAIDAN --split live on monotype

bus ratch is insanely good here, killing some turntables + junks, fuck yeah
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« Reply #6779 on: March 10, 2018, 12:13:15 AM »

Prince.
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