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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2199376 times)
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Eigen Bast
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« Reply #6780 on: March 10, 2018, 06:27:46 PM »

Spear of Longinus - TYONS
Forgot how excellent this band is. Utterly bizarre black metal with a Rudimentary Penii vibe. Unimpeachable discography.

Geography of Hell - Hiroshima 1945/Nagasaki 1945
While closely mirroring their US debut at the Hospital 20th, this double LP is surprisingly restrained. The primitive martial industrial track that opens it up is still suitably epic, but the rest of the LP hits the right balance of restraint, force and texture.

Vile Gash - Nightmare in a Damaged Brain
Such a perfect punk record - 10 minutes of violence. Production really stands out, somewhere between first wave BM and American HC, never too muddled but suitably analog sounding.

My room mate's pneumonia
Woken up by watery gurgles and desperate gasps at 3AM gets two thumbs down.
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« Reply #6781 on: March 10, 2018, 08:33:07 PM »

Spear of Longinus - TYONS
Forgot how excellent this band is. Utterly bizarre black metal with a Rudimentary Penii vibe. Unimpeachable discography.

The Rudimentary Peni comparison is spot on. That particular record is my favorite by them.

I was surprised by the restraint on the geography of hell, but I really dig it. Must of played it half a dozen times in the last week.
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« Reply #6782 on: March 13, 2018, 05:02:46 AM »

Murder Corperation's "Butcher Meat" is a very nice, satisfying, crunchy-grimey sounding release of "early" sounding PE. Should have got that box set from Menstrual at the time, but I see it's on Discogs.

FFH's "Make Them Understand" is also reasonably satisfying, albeit with a more recent sounding production/recording. Shades of Con-Dom and SPK on some tracks. "What This Means" is a very nice, abrasive chunk of noise.
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« Reply #6783 on: March 13, 2018, 05:10:48 AM »

I'm a fan of WORTH- BLINDER. It is a departure from old themes, away from the (weak sisters) sex paranoia and thought broadcasting expelled in previous tapes, like the sold-out 'Research Patient' (Amnesia Program) or "Slow Hell" (available from LITF. ) On Blinder death stylings is now total nature in and out of the sphere of Pan. Five years in the making Blinder is 4 tracks clocking just under half-an-hour. The obsession with the concept of albums - the immersion of cover art, sound, and content. Worth is heavy music, that's it.
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NaturalOrthodoxy
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« Reply #6784 on: March 13, 2018, 11:16:30 AM »

FFH's "Make Them Understand" is also reasonably satisfying, albeit with a more recent sounding production/recording. Shades of Con-Dom and SPK on some tracks. "What This Means" is a very nice, abrasive chunk of noise.

An absolute modern classic- perfectly balanced thematically and in terms of different sounds and dynamics without ever being "musical". His "A Symbol To Be Forgotten" tape is flawless too.
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« Reply #6785 on: March 13, 2018, 10:41:58 PM »

NIMH + M.B. - Secluded Truths
The "new era" output by Maurizio Bianchi has not exactly struck a chord with everyone, and after checking out a whole pile of it recently I guess I reluctantly understand why. Several of these releases are still not bad at all, and some are great (especially considering the non-prices you pay for them on discogs and other such places). Secluded Truths is a collaboration with Guiseppe Verticchio, which at least worked very well for me and probably should for anyone into softer experimental stuff with some sharp corners. There's certainly much of the ambient stuff that M.B. seems to have become very fond of sometime in the early 2000's (or whenever; I still have massive holes in his discography), but there is also noisy parts, industrial parts, grand piano drama parts, exciting melodies, strange repetitiveness, sampled voices... This IS artsy, and the cover looks like something by a creator too refined to even try to sell or make anyone interested in his music, but despite this there is no doubt in my mind that I will be returning to this one. Most of the tracks are full of interesting little sounds and mechanics, and there's also a lot of atmosphere and even emotion that makes this far more enjoyable than many comparable albums. "The Sacred Outside" is probably my favorite track, with its strange little feedback beep that acts kind of like an LFO (well, more of a "HFO") on my tinnitus, only to move over to combination of melodies and samples that, to my mind, evokes a mix between some Celtic mythological dream world and an Iraqi market about to be subjected to a terror attack.

The ideology of the album is somehow harmless and relaxing, if I understand it right. There are some liner notes about spirituality beyond "confusional indoctrination" and opening "a track through your freedom of mass media slavery". Not sure if there's a problem or an excellent mastery of the English language going on here, but I also don't care. We ain't not too no fuzzy about them language details in Scarnidavia. I really like this, to sum up - a mix of Cold Meat's more ambient stuff, artsy experimental and cinematic score (though somewhat minimalist). Check out; it's basically free for a physical copy if you find it.
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« Reply #6786 on: March 15, 2018, 06:46:54 AM »

CALIGULA031 - Land of Opportunity
Another incredible work from Marco.  Multiple sample passages that now have me thinking of translation possibilities.  The final track 'Bambole Rotte' is my favourite and provides a seething and haunting feeling of conclusion to the disc, the sound in the vein of something like WOMEN OF THE SS.
Excellent accompaniment to all the Taylor Swift vinyl I have been listening to for some time now.
RED
1989
REPUTATION

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« Reply #6787 on: March 15, 2018, 11:15:51 AM »

Excellent accompaniment to all the Taylor Swift vinyl I have been listening to for some time now.
RED
1989
REPUTATION

couldn't bring myself to listen to Reputation after the awful single. 1989 reigns supreme tho
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« Reply #6788 on: March 16, 2018, 07:36:06 AM »

Anna Lockwood: Glass World: I have known of Lockwood for years, maybe even a decade and shamefully had not dedicated proper time to the exploration of her sound world. I first came across her rivers series (which probably fits perfectly within the nature and field recording thread) and though I never bought it I often thought about it, and still do. Glass World is Lockwood experimenting with all different types of glass, all recorded in a Church basement sometime in the early 70’s while she was still staying in the UK. Glass is a sound we are all familiar with, often it breaking, but the pieces Lockwood realizes suggest an experience more meditative, rich, and much deeper than one might expect. A blind listen would lead someone to assume she was exploring resonant metals and bells. Though as the release progresses the sound becomes much more alien, closer to synthesis than anything we would associate as organic. The tracks are all incredibly short, often times just over a minute, while the sound itself is so compelling one could imagine listening so much longer. It does not seem Lockwoods goal was to present realized pieces of “music” (though the time invested and detail to attention is self evident) but a wide and varied world of the micro sound that surrounds our everyday. While some may enjoy this less than others, it nonetheless is an important and beautiful release. I hear there will be a much deserved rerelease on Superior Viduct.
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« Reply #6789 on: March 16, 2018, 05:15:01 PM »

Jeph Jerman – The Bray Harp
By coincidence, this arrived in the mail exactly the same day as Rough Music: The Hands To Library. “Rough” is the first word to mind as fingertips linger lustfully on artfully sandpapered sleeve, and it wouldn’t be a stretch to suggest Rough Music as the first point of departure for the characters involved. There are more of them than might be expected. Characters involved, I mean. Ben Brucato (metals, wood), Eric La Casa (tape) and Oskar Burmmel (tape). Tape… what a wonderful instrument… so suggestive of anything, everything, nothing. So that’s three gents, a whole heap of possibilities (or not!), plus title character to whom all “generous assistance” is lent. Expectations are, if nothing, piqued. Rough music...
    As a long litany of metallic clunks, plunks, clanks and clonks clatter into range, one may hesitate to call it rough. At least in texture. Precise, dynamic, piercing, an artful arrangement lovingly drawn pinched prodded by practiced hands to the task. The squeaky wheel turns in a protest of rusted skronk, nimble fingers worm their way through a field of loaded spring-traps, nuts ‘n bolts drop from shoulder height into empty steel buckets. Come hither... the mind’s ear, deep into conflicted contrary images… of pachinko parlors, mechanical adding machines, bowling alleys… up close and personal, closer still, closer... a slow-mo survey of smacker-ing pachinko balls, clacker-ing adding machines, clattering bowling pins. Get yer head in there my lad. That’s it, right in there m’boyo. The hazards of the job become apparent as scene two announces itself: sixteen pounds of solid steel strike the skull, pitching the field into kaleidoscopic spin, little metal balls bouncing everywhere, getting lodged in the gears, bending and snapping under the pressure, clatter-trap whirl-a-gig whirlwind, chunky hailstorms of clonk plunk clonk clank, I swear it’s bonking cats and dogs in there, and what’s with all the freaking pink elephants on unicycles molesting the furry harmonica? A shake of the head, mad barefoot dash across rough n tumble fields of broken glass and razor wire, hazardously strewn spring-traps slamming shut, appendages wincing in pain. The acoustic cacophony is unrelenting. A cantankerous collage of continuous cascading collapse is no place to lay them weary bones. And then Professor Jerman pulls out his warped and abraded bray harp and just starts flailing away. Enter final scene, open-eared dread. Proportions are all wrong. A dark cloud, no, a... cratered bowling ball... larger than life... blotting out the sky, rumbling heavily over drift and sway, leveling everything in its path, kicking up dense clouds of shredded earth, lathering the surface with coarse grains of thunderous crunch, wide-eyed unfortunates dragged face-first through mangled dry-heave. Here, at last, descriptors like Harsh, Dense and Raw force themselves into the frame, textures flattened, scuffed, deeply abraded, as though the needle were worming its way through groove of solid sandpaper…. Just a- ohshitohshit… quick rush to turntable. Phew. Well, there actually is a dab of sandpaper glued to the record label, and… well, anyway.
    Side B resembles Side A in the way it unfolds. Or disassembles. The opening scene equal in unassuming measure to the leisurely unfurling, or dismantling, first posited- if trading in metallic clunks, plunks, clanks, clonks for more… woody assemblage. Splintered bits of brittle timber crackling underfoot, pastoral stroll down old industrial quarter, front-ended clacks and splacks nourished by vaguely dirge-like machine non-rhythms. As the ear is drawn in for a bit of aural concentrate... considered cycles of crinkling and crackling are sabotaged- suddenly- by fat chunks of collapsing steel. Collapsing CLUNK. Collapsed collapsing ka-BLUNK. Unlike the first side, the heftier grain of meaty THUNK is rather more sporadically dropped, leaving the wide-open field to fill, by increment, with quite the cantankerous range of clunk, plunk, clank, clonk, jazzed up with a good amount of THUD, SKLERK, smash and ker-SKLUNK. Industrial-grade textures to be sure, less the precise focused lens on tripped-out pachinko-parlor-cum-hailstorm, more the scrapped bloodied mess of rough and rugged abrasion. And yet, and perhaps of importance, there is no sense of striving, nor of aggression. Nothing is being forced into the aural cavities. Sound events, they happen, and if one happens to like it rough, well, great. Er, allow me to self-correct. THIS IS ka-BLUMPING GREAT. (Thank you.)
    Closing scene and it is strangely subdued and gamelan-esque. Metal sources un-dampened, to indulge their extended resonance of bonk cling and clang, tinkling liberally upon the ivories, temple gongs swaying in concert. An austere and welcome coda to all that industrial-strength abrasion, distant sounds of highway, or seashore, wafting in through the periphery.

edit
just thought the above commentary needed a bit of retardening up
« Last Edit: March 26, 2018, 03:23:14 AM by Bloated Slutbag » Logged

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« Reply #6790 on: March 17, 2018, 01:36:18 PM »

MERZBOW "Chant 2" LP
Sun & Moon
Thinking now the latest Merzbow reissues I have seen/heard about... there's like Hospital vinyl that has been needed to re-arrange into new length of tracks to fit on vinyl. There's Menstrual CD release that is just one LP from 10xLP box what VOD did on CD. And this Chant 2, 1985 tape, already appeared on at least Extreme label's Age of 369/Chant 2 -CD... so just LP of two c. 25 minute tracks, but the CD version had Age of 369 tape (1984) as well as 10 mins bonus stuff from compilation, totalling 2 hours of Merzgreatness.
So while thinking what's really the point... feeding vinyl collector frenzy... or.. but fuck it, when listening this material, it is simply so good that it seems irrelevant whether there was CD reissue back in 1996. Especially if you do not have it, like many people might not. Still, if someone considers whether buy this, or grab second hand copy of double CD for same price, I may have to suggest latter option is very good. For vinyl fanatics, of course, Chant 2 is not bad choise at all. Simply killer material.


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« Reply #6791 on: March 20, 2018, 03:24:43 AM »

Tervahaat - Noitanaama
Big fan of this band glad to see a new album since the last one was 2014, though I was partially disappointed that the cover didn't contain another black and white photo of forests! This new album from last year does represent a bit of a change, at least to my ears. It is darker, more gloomy and more black metalish, probably the screaming vocals on one track, yet it works in the context of this album. It's still a dark ritualistic take on folk music that is without obvious reference points. Great stuff.
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« Reply #6792 on: March 20, 2018, 09:48:55 PM »

Anatomia - Cranial Obsession 2xLP - NWN! - easily the best thing Anatomia has done. utterly rotten shit. this more drawn out than anything they've done before. it's a logica; "next step" to a point, I think "Dead Body Art" from the last album is probably the best precursor. but the guitar sound and the riffing style are different. way less of an Autopsy vibe, way less comparable to any other band as a result. "Vanishment" is an early album highlight to me. love the dual vocal gurgles and wails. "Uncanny Descension" and "Abysmal Decay" rule hard as well. dead the dead in the dirt, covered in maggots vibe. music for mushrooms and decomposition. best fucking thing I've heard in a long while.

Linekraft - Iwatsuki cassette - OEC - different than what I was expecting, a good different but different. a lot more crunch and decay than the earlier Linekraft releases. only had one listen so far but will be going back for more soon.

Linekraft - Apocalpyse Factory CD - Aussaat - can't beat Bloated Slutbag's review but I can confirm this one is permeated with odd and uncomfortable electronics. I keep thinking that this is what the soundtrack to Tetsuo The Iron Man would have been if that film was made today. weird, fucked up music for a weird, fucked up world.

Mothra - The Remains of Life CD & Doom Engine CD - Three Plugs - of the two Mothra albums I'd go for the later Doom Engine. while I dig the space-y, almost Krautrock vibes of The Remains of Life (thinking especially of Neu! and little of Nisennenmondai), the harsher and heavier sound of Doom Engine really gets my dick hard. looking forward to hearing this in the hot and humid summer months.
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« Reply #6793 on: March 21, 2018, 09:16:47 AM »

been listening many of the older CD's. Simply so much stuff that would require re-visiting more frequently. THE PACT... -compilations, NOISE FOREST compilation - as good as always. It feels that this along few other old comps would really be good to re-issue. Just to give good reference point of level of noise compilations.
LAND OF THE RISING NOISE vol 1 - which is more odd. It's not noise compilation per se. More like "all the japanese". Intense noise tracks by Aube, Merzbow, CCCC, Hijokaidan, more experimental calmness of Agencement, Children Coup d'Etat, DMV and so on. In middle you got cyber-horror-industrial of Dissecting Table or dreamy pop progressive music of Angel'in Heavy Surup, as well as Keiji Haino, Omoide Hatoba, Tokyo Dowser,..... At this time, 1993, CD like this could be made. How would it sound now, if people compiled variation of musical styles into same comp?
I've been told by some guys that Tokyo underground now is very much about mixed shows. Not noise shows exclusively, but something like above. Punk, ambient, progressive, pop, harsh noise, anything thrown at same bill. How well it works, don't know?
To me seems somehow that noise and even power electronics in Japan would be rising again?

Ordo Equilibrio "reaping the fallen..." CD
Once in a while, I listen this, just to make exact same conclusions: Absolutely the best Ordo.. material. Especially the title track. Whole CD is far more experimental, far more innovative than anything they did afterwards. You got gloomy and dark ambient tracks. Heavily experimentally treated musical songs. Not just the same old clean guitar, sampled bells and gentle whispering vocals what became trademark already from second album.
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« Reply #6794 on: March 21, 2018, 12:45:20 PM »

Completely agree on the Ordo one - since then they seem to have found a popular formula and have just stuck with it, often repeating themselves. Unworthy hipster neo-folk along with the likes of King Dude and Spiritual Front.
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