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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2395722 times)
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F82123
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« Reply #6795 on: March 22, 2018, 01:47:04 AM »

His first 12" I would consider neo folk, at least musically. After that he went off into a faux Americana type thing. That being said, NOT a fan. I have some mutual friends, but reading old James Madole writings in bed last night was to me a better decision than hanging out with the guy. Hah
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« Reply #6796 on: March 22, 2018, 03:38:27 AM »

hipster neo-folk

Wow. These terms should be mutually exclusive, but I guess the post-modern world is indeed a fucked up and confusing one. I don't even want to imagine what this King Dude fella's sound is like.

Kjostad "Frost Cracking Trees" CS (Prime Ruin, 2018)
Another great short tape from New Forces honcho's...well, I was going to say "side project," but it looks like Breaking The Will has taken a backseat. That said, the cuts and edits on the A-side remind me of BTW, but more focused on the organic sounds over the electronics. Seems to incorporate tape loops, too, maybe. Birds chirping in the forest amid cut n' looped metal clatter with a "medium-weight" sound. Very subtle, sparse electronic touches. B-side seems to start with same basic source sounds but makes more use of the eponymous frost cracking branches as a thick, staticy tearing sound in the Americanoise tradition. I have yet to hear a Kjostad tape I don't like, and so far I like them all equally. I figure most who like the project already probably need this but it might not win over new converts. Someone sell me a copy of Birchbark and Benchmark Ridge, I'd willingly shell out for them.
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« Reply #6797 on: March 22, 2018, 05:59:37 AM »

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.

Kind of forgot about this band - planning to order this when the Grave Upheaval record comes out. Really great band from what I remember of the last LP.
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« Reply #6798 on: March 22, 2018, 04:55:24 PM »

About Ordo Rosarius Equilibrio: it's certainly true that their old work was way more experimental etc, but that split with Spiritual Front is my favorite release of them, maybe because it was the first release I bought from them, even though I had downloaded older tracks from the CMI website before, so I knew the more experimental side as well.

Grunt - Castrate the Illusionist (CD, Freak Animal): Not bad at all, but it does less for me than the last couple of albums.

BizarreSSmania - II (or Nazi Pain Master, is there actually an official title?) (LP, Freak Animal): Great that What's Your Pleasure, Sir? got a follow up and I'm not disappointed. Style is the same and is what you'd expect from these projects working together. Can't put my finger on why, but I think the A side is better than the B side.

Shift - Abandon (LP, Unrest Productions): Hard to describe, but the word dense comes to mind. Packaging is minimalistic, but looks very good. The loops at the end of both sides alone make it worth to choose the vinyl version.
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« Reply #6799 on: March 22, 2018, 05:32:17 PM »

French Death metal assault !

CONFESSOR A.D /
Old school death from Strasbourg.

http://www.dailymotion.com/video/x6gp6xt
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« Reply #6800 on: March 22, 2018, 05:53:24 PM »

I'm glad that this thread made me revisit Ordo Equilibrio's first album and the CMI sampler ...and even Wloves hid there teeth, it was pretty formative for me when it came out (apart from Mortis- shit then shit now)
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« Reply #6801 on: March 22, 2018, 07:41:58 PM »

New records this week:

Yasuo Sugibayashi - The Mask Of The Imperial Family LP

I'd heard and seen "Mask Of The Imperial Family" mentioned before, but it wasn't until recently when I was having drinks at a friends place and he pulled out the "Yauo - Yasuo 7" that I got to listen to this stuff. He said that it was one of the best records he owns, so my interest was piqued. Really was floored with the material, very singular, perfect combination of visuals and sounds creating it's own world. I've been on a very heavy Vanity \ Pafe Record kick for the last several years so this filled a hole that I didn't know existed. This is the reissue on "Lullabies For Insomnia" that collects some tracks from the "Yasuo" & "Relic" 7" along with most of the M.O.T.I.F. LP. Fortunately has my top track from the "Yasuo" 7", although includes almost 9 minutes of material from the "Relic" 7" which is a bit too guitar oriented in contrast with the earlier minimal electronics on the other two records. Would have preferred if it had have put the missing 10 minute track from the LP instead. Important also reissued this in 2017 and the track listing appears to be different, but as all tracks are untitled would need to compare. Or drop 350 euro on the original...

Coil - Astral Disaster Sessions Un/Finished Musics LP

Was just having an argument with my wife last night over what she refers to as the desecration of the grave of Coil with all these new reissues and material popping up the last few years. I argued that I want to hear any unreleased material that exists, even if it's dubious in origins. Well, turns out she was right. There is definitely reasons why this material wasn't put out there when these guys were alive, it's totally unnecessary. This being said- "The Mothership And The Fatherland (Part 2)" is fantastic, and is nearly worth the price of admission, but not quite.
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« Reply #6802 on: March 22, 2018, 10:40:14 PM »

Merzbow - Anicca
This album proves that sometimes it's worth it to randomly buy random albums from artists with overblown discographies and sometimes it's not - at the same time. There are three tracks, and the titles are just the album title followed by "part" and a number. The first one is awful. Stupid drumwork with noise on it. The drums are decently well preformed, and I'm sure it was fun for Masami Akita to play them, but the result is pointless and horrible. Obviously, experimental musicians need to experiment, and some of Merbow's more unorthodox stuff is great (including Merzbeat), but this just pisses me off. The second track is way more impressive; a slab of Merzbow noise the way it's supposed to sound. Still, "Anicca Part III" is where it's at. A shifting, diverse and intense track with a buttload of different loops, industrial noises and feedback attacks that really reminds you that this guy is revered for a reason, no matter what you think about his personal politics and ethos (which, after all, are comparatively harmless and sympathetic - a statement that of course in all honesty is equally obvious for all noise musicians' opinions, at least in so far as they are expressed through the noise).
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« Reply #6803 on: March 26, 2018, 09:02:28 AM »

Intrinsic Action "Sado-Electronics" CD
Listening the Re-mastered re-release of the first CD from 1992.
It's no way as nice looking as Tesco. Have never compared how the "maximized volume" mastering effected the overall atmosphere. Nevertheless, this is great release. 74 minutes may feel at first little long. It's first full length I.A. and then added 20 minutes of Surgical Stainless Steel sessions. But 74 minutes go easy and fast.
If some people always laughed at I.A. for being silly, well, maybe it is advantage of not speaking english as native tongue, but certainly one can't escape thought that many Whitehouse tracks may be equally funny. If some people conclude that americans didn't quite get the British humor, and it resulted this stuff being... well, much more blunt.. In case of I.A. it works out great.
Sado Electronics was sadly the only proper studio album they made. It is very clear how much more advanced this is compared to demo recordings or live recordings. Each track with two elements of piercing sado-electronics. Synth, but also sometimes used in far more adventurous ways than in Bloodyminded. Usage of feedback within electronics signals. And vocals. Hardly ever it is full on shouting or screaming. You got great variety of intensity, pacing and usage of effects. Live modulation of fast electric delay echoes, spoken voice at verge of feeding back, etc. Articulated clearly, not just yelling.
The more years pass, the more I like this album. I recall that c. 10 years ago, Bloodlust! -label was announcing preparation for I.A. double CD collecting all the unreleased demo recordings. Meaning the finalized Electro-Death Suite demo that has been bootlegged and many more. Don't know what happened. There was three versions of the aborted "Electro-Death Suite" album.  Some of tracks eventually re-recorded for the debut BLOODYMINDED album. It would be nice to hear what were those 2 other, most likely advanced demo versions of the album. And on replicated CD, haha....
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« Reply #6804 on: March 30, 2018, 09:10:09 PM »

TRERIKSRÖSET - N/T live tape
"Tommy never disappoints" is a phrase that has a vaguely pornographic ring to it, but in this case it can be taken literally. Treriksröset is something of the Kazuo Ishiguru of noise - once a sufficient number of gulfs of time have passed for another release to be made, something great pops up. This tape on Hatband contains two separate live gigs, one recorded from the mixer table line-out, and one with a tape recorder mic and thus complete with audience sounds at all. Both tracks are harsh, harsh noise with the usual balance of technical finesse, lo-fi, held back subtlety and balls-to-the-wall ruckus. Not even trying to be cute or clever here - these things are what make Treriksröset good. There are many Japanese people that make louder and more annoying stuff, many lonely Russians who field record stranger and more subdued sounds, but there are in fact very few acts that manage to combine minimalism and technical performance the way Treriksröset does it. Two incompatible senses - of intentionality and of improvisation - co-mingle, so that there is no real way of knowing where the one ends and the other begins. This phenomenon, or lack thereof, may in fact be one of the few objective criteria there are to differentiate great noise from your average Bandcamp Joe. BJ's combination of VST effects and a few analog gadgets may well produce atonal feedback a-plenty, but still fail to even approach something like Treriksröset. This, folks, is where it's at.

It is also interesting to see how Hatband has managed to roll with the times to stay ahead of the game, even as tape has rearisen as the weapon of choice for myriads of labels. The grey/black tape and the inlay infested, mainly black cover and packaging somehow thematically merge with the music in the sense that it combines an elitist/Folio Society kind of professionalism with just the right amount of stamp impressed D.I.Y. - real D.I.Y. too. A limitation of 102 makes it all but certain that commoners and peasants shall have to take out a second mortgage on their houses to purchase this on discogs once the scalpers get a hold of it, but such is the nature of True Scandinavian Harsh Noise, or at least the second hand market it creates. And this baby will probably hit Youtube in a few months anyway, in which case I recommend that you check it out even if you're unable to get a hold of the actual tape.
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Punainen Graniitti

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« Reply #6805 on: March 31, 2018, 04:24:06 AM »

BizarreSSMania “II” CD (Freak Animal, 2017)
        You already know if you'll like this without me having to tell you, so stop reading now if you're one of those people who gets all uncomfortable about this kind of stuff. Anyway, the real title was not-so-discreetly hidden in advertisements because you can't be too careful these days, I guess – I find the idea of words or symbols being actually illegal pretty hilarious. As if a handful of outsider music releases would actually “bring back the camps.”
        But if they did, I'd imagine this album would be a better soundtrack for Naziploitation '70s and '80s sleaze as well as heavy-duty BDSM sessions than the sounds of most of us being thrown in the showers and ovens. I have to say, from even the first five minutes of track one or so, I was struck hard by how much different and more atmospheric this was than the “What's Your Pleasure, Sir?” album. Mixing seems to have been left mostly to SS Ofizier and lots of the sounds I can tell were done by Bitewerks (signature reverb and clunking big junk metal) and Ze Offizier (loops, very dark, atmospheric synth tones, strange choices in texture) and frankly it's hard for me to point out what Adolf Christ contributed other than what I assume is the saturation/distortion-heavy parts and possibly some field recordings (but then again, those could be from Mania). Both expansive and claustrophobic, if that's possible. Sound gave an impression of alternating between vivid saturated color S&M videos and grainy, dismal black and white footage of documentaries of you know what.
        A long, synth-texture section has an almost M.B. vibe that certainly fits the subject matter, which also reminded me of Ashley C's “Drift,” also from/received courtesy of Freak Animal. Not as bleak in sound as I would imagine an album with sleaze Nazi-esque aesthetics to be, but more genuinely engaging and of course perversely sexy in a She-Wolf sort of way as I'm sure it was intended. Funny thing is even after three listens I can't keep track of what happens on which track. Pretty good indicator of careful composition when you forget how long you've been listening to an album and who it's by. Even if you liked the first one more, and I am pretty sure I do, this one's still essential and genuinely experimental despite having all the elments that ward off the jaded been-theres and the PC pussbags. I will admit to either not noticing or noticing an actual lack of Uproar vocals – the only major detractor as they were a huge part of my appreciation for the first one. Still great.

Absurd Cosmos Late Nite “2016-17” “Final Lives”
Red Wine & Sugar “Chattels + The Humor and Confidence of John”
                              “Dogs, Blood, Storms, Spiders”                                (Index Clean, 2017)

        I can't think about, let alone write about these projects without rambling in some fashion. There's so little to it that your mind can take it in really any direction. The pitch-shifted background ambience of warped smooth jazz and shimmering keyboards along with the most mundane field recordings imaginable make this compatible for ambient listening, but the lyrics/vocals are almost like pulling the rug out from under you to “reward” your active listening. I get the impression some of these are taken from news articles or perhaps online reviews, but then again, they could also just be offhand observations and reflections from the person behind all this (one Mark Groves, more on him later). Some of the lines are like any everyday thought one might have and others are sort of disturbing and hilarious – on one live track, we hear of his rather intense sense of disappointment at the lack of pineapple on his kebab. A lot of this seems to concern food, as the advertisement for this CD mentioned recordings of “stopping for snacks.” That's literally what some of this is; “Pull over, I'm gonna get some corn chips.” No joke. Later, we hear (yes, hear) the man eating the eponymous chip on the track “Cool Ranch.” I guess this is also the kind of thing that you already know if you'll want anything to do with or not – I don't think most people have the patience for something this bizarre but I find it goddamned satisfying. There seems to be a reflective heavy-heartedness that's sad but not pathetic or hateful, which I think most can probably relate to. There's a great line at one point about how American homeless people often consider themselves "temporarily-inconvenienced millionaires." Other than that, it's hard to posit the intentions of this project or if it's entirely serious, but frankly I don't think that matters. A friend was writing to me a while back and complaining about the lack of genuine experimentation in industrial etc., and I think this kind of stuff pretty much proves him wrong. This is recommended to anyone who gets bored with actual music on a regular basis and uses experimental music/audio as something of a substitute.
        OK, so, Red Wine & Sugar. This project is a duo of Mark Groves and Samaan Fieck, and that's apparent in that it seems as if both contribute lyrics, with Groves doing vocals just a bit more than Feick; and Feick contributing more basic sounds while Groves perhaps does effects. Or any combination, obviously. But the more composed, considered sound collages and loop pieces behind the tracks suggest a good deal more “seriousness,” whatever that means in this context, than the above ACLN. Lots of careful tape manipulations and brilliant electronic microtones, amidst jarringly out-of-place sounds like harsh keyboard strikes and indiscernible sounds. There is a darker, more brooding quality here, where some of the Discogs and advertisement descriptions list “therapy” as part of the genre or quality of the (non) music. Considering some of the lyrics, which seem to (not entirely) focus on psychological matters, I would agree. This sort of pertains to some conversations I've been having with various friends and pen-pals lately, as well as the STAB Electronics interview in SI #10 – the notion of power electronics (etc) being a vehicle for admitting to failure and defeat, and so on. I see this as basically realist rather than whiny and narcissistic (in cases like this, at least – in certain others, well, don't quote me). It's hard to say that I consider this project better than ACLN, just that it's much closer to something you can listen to intently, like other music or whatever. Glad to know they're still going and will get whatever comes next.

Alvin Curran “Natural History” reissue CS (Art Into Life, 2017)
        Really great C64 tape that crosses the lines between sound collage, pure field recordings, and musique concrete – some parts are raw, some with a (seemingly) added slight reverb effect. Some looped almost in a Steve Reich fashion, some as they are. Some organized to a very tonal effect, others rhythmic. Johann here described it as “arranged like a symphony” and that was pretty spot-on, there's a car horn section that actually sounds like Thelonious Monk. Sections which involve boat horns always sound great, somewhat harsh, almost like the types of noises featured in latter Arv & Miljo stuff – there's an interview where Matthias says something like “harsh noises, not Harsh Noise as in the genre of music,” and some of these sections would qualify. That's a great thing to search for by any standard, but Alvin Curran was doing that in the early '80s. Little clusters of actual music for a few bars here and there, mostly if not all piano, I think some voice, too. Some sounds totally unidentifiable without the index on the j-card (and some super obscure even with it), which is always a good thing if you are like me and like pure sound over real music. Super dynamic and attention-grabbing but also good for more relaxed, inattentive listening (if turned down a bit) such as while reading. Fucking goddamned expensive, though. But worth it as this would be hard to let go of, sort of a tape library piece in terms of exemplary sounds. I'm actually surprised this wasn't reissued on Editions Mego/Recollections GRM or something academic, classy and stuffy like that. Easy to imagine as the soundtrack to some experimental film collage, not quite Brakhage stuff but more identifiable.

No Intention “Rabelais” CS (Vitrine, 2016)
        Everyone's probably familiar with the phrase “be careful what you wish for.” I think it's an adage that's not just superstition, in this case. Allen Mozek sure knows how to aim low, and deliver, when it comes to most of his projects and much of the Vitrine roster, for better or worse. Certainly pointless but enjoyable, not dumb like most of the aforementioned. This stuff is like certain Gero material in that it reflects something a friend said: “if he's not just testing the listener's patience, then I don't know what he's trying to do.” When I try to think of why Mozek does things like this, or why I'd even bother with it, the only conclusion I can come to is that people want something to listen to, but they don't want music. Or noise. Somehow, this to me is neither.
        This is some of the most irritating non-music you might hear. It's not quite like the Haters low-bitrate insanity or certain noisecore, but it approaches that realm of button-pushing. We get things like an obviously drunken spoken-word recitation in the most cloying voice possible amidst a retarded drum machine that continues into inane field recordings accompanied by admirable sound work that at first seems to be a drill and then ends up being amp feedback. Some effects usage that seems to nod toward '80s PE tape stuff. If you consider the most lo-fi messing around with junk acoustics to reflect The Haters or New Blockaders, well, it has that, I guess. Things do actually become engaging, though, and build a lot of interesting momentum as things get legitimately noisy, but never veer into extreme or harsh noise. The radio-tuning stuff is something a child would do and I'm talking about younger than Philip Best at 13. Shortly thereafter, the combination of oscillating feedback, guitar abuse, and fuck knows what reminds me of some of the earlier SSRI tapes which can't be bad. The final piece is an extended silence eventually interrupted by incidental clunking and shuffling, which can be surprising when you forget you had a tape on.
        I admire the audacity of things like this but sort of hate that they exist in the first place, considering all the things Mozek could have been doing instead or I could be doing instead of listening to it. And I like the idea of using field recordings that nobody in their right mind would give two fucks about. On his website, Scott Foust says something about how Vitrine is doing most of the anti-music or non-music stuff today that is not that noisy. I think that's a fair objective, even if most of this kind of crap ends up being exactly that. Somehow, I think it's worth the dig. Kind of like life. Takes a lot of work to enjoy it.

Matthew P. Hopkins “Calls” CS (Thalamos, 2017)
        On first listen, this brought to mind SSD's “How Much Art Can You Take?” because, well, sometimes you wonder where the line between avant-garde and bullshit is, kind of like the above work of dumbass genius that is No Intention. The sparkly, bright-sounding synth electronics early on as well as later just weren't working for me. After another, I think I understand the role of contrast they play, 'cause everything else here is pretty fucking bleak. Otherwise, most synth textures here are pretty tasty and very austere. There's snippets of vocal work and little fragments of field recordings underneath and on top of the somewhat downer tones. Apparently this was all improvised in a relatively short period on reel-to-reel – I admire the ability of the artist to conjure a specific atmosphere (or lack thereof) and realize that vision effectively. Also the buzzing yet deep, clear sound of the recording itself. Great editing and stop-start moments with some very unexpected routes taken on the B-side especially. This is sort of lonely, strained-sounding stuff that I think could really appeal to fans of stuff that's come out on Strange Rules or Posh Isolation, as well as the Mark Groves projects like Absurd Cosmos Late Nite and Red Wine & Sugar. In that sense, I've got to wonder if there's something in the water down there in Australia that's making all these mopey Pikers commit their voice and weirdo electronics to tape. I'll certainly look into more of what this guy is doing as I bought it on a random pick and am rarely this happy with my choices when I do so. Very futuristic and stylish stuff recommended for those who enjoyed the Still Image tape on Throne Heap as well as the elegant simplicity of Greedy Ventilator.

Dog Lady Island “Dolor Aria” CS (Alien Passengers, 2015)
        I have a love-hate relationship with Mike Collino's projects as his real name stuff tends to always be ace while every other Dog Lady or Dog Lady Island tape is either totally essential or I wonder why he recorded let alone released a practice session. On the other hand, I think Alien Passengers is meant to be more of an audio document series than a label in the truest sense, so there's not much whining I can do about that. While I got nothing from “Malone,” “Dolor Aria” continues the wonky, decayed take on simplistic modern classical music and nails it. There is a really decrepit atmosphere here that rivals all of the Swedish and Danish projects while being very beautiful and relaxing in the sense that I would imagine Collino intends. While more recent releases seem to be zither-oriented, I would guess this was during the violin period, but who knows? I also hear some wind instrument and harp-like tones alongside brilliant static and hiss work, some of which I can only assume is incidental rather than totally intentional. Need to get his recent stuff as the references to classical music only seem to be increasing, and I really enjoy Collino's take on it.

Murder Cult “The Bridge” CS (Strange Rules, 2015)
        So, here, I was hoping for field recordings of a hanging bridge as Discogs lists this tape as “field recording” and “non-music.” I'd strongly dispute that – this is more like outdoor tape recordings of something like a wood-mallet instrument or a kalimba being fed through a small practice amp. I was really hoping that it'd just be sounds of a swinging bridge as I remember a really perilous one on a hiking route from the town I grew up in. Lots of people either jumped off or fell off while drunk or on mushrooms or whatever. So that just goes to show, don't place too much personal expectations on anything. There is even a photgraph of an unrelated bridge on the J-card! Nevertheless, I like this, it reminds me of acoustic versions of Grim's melodic interludes but even simpler. B-side is basically the same with a different melody, a hand-drum rhythm, and some nice background hum (singing bowl?). This might be recorded in open space but it's certainly not a field recording and certainly is music. Not bad, but there is nothing here I can recommend to anyone, really – this is more like something to record for personal listening than a release, but it's relaxing, feminine-sounding, and very subdued, even for Strange Rules. If this were a little more thought-out, I could see this coming out on No Rent or even Vitrine, but I suppose it's basically the way it should be already.

Infektionsabteilung “Luzifer's Traum” CS (Narcolepsia, 2015)
        I've always wanted to like more ambient, krautrock, and komische stuff, but a lot of it, particuarly the stuff people recommend, ends up being too New Agey and hippie-ish, not to mention compositionally meandering and patchy in terms of enjoyable sections. With this project, I have something I'd consider ambient that fulfills what I want to like about the aforementioned genres. This is mostly very serene but sometimes majestic synthesizer-driven ambient with little concrete loop details and some more “industrial” rhythmic synth parts, but overall with a very film-soundtrack sort of feel rather than something for it's own sake.  Things almost start to get noisy toward the latter of side B which is ironically one of the more hypnotic and “soothing” sections. Very obscure delay clatter in the background which reminds me of a certain project whose name begins with “M.” But much better than that. There's been talk of “black metal intro music” (or “dungeon synth,” gimme a fuckin' break, more like Dungeons & Dragons synth) on this forum and in that sense, I think this is like film interlude or Goblin-type cinematic rock band interlude music, but without the film or the progressive rock.
        But this is good, detailed, and varied, whereas pseudo-medeival-sounding simplistic key synth tones with black metal fonts on logos is the sum of its parts in the bad sense. This definitely has a retro-futuristic vibe which some might dismiss but honestly there is no immediate comparison I can make with this project as far as within industrial music. There's something to be said for that. Come to think of it, there is some material by Graustisch that I think accomplishes a similar atmosphere despite sounding pretty different – both bleak and very moving at the same time. So check one out if you like the other. I definitely wouldn't mind having the complete discography of Infektionsabteilung, also.

Pleasure Island “Drina Wolves” CS (Beyond The Ruins, 2018)
        I was compelled to check this project out after having read some reviews that basically said well, this stuff is so minimal that I don't see what the point is. When you hear that repeatedly, you have to wonder if there is something to it. Here, I think the point seems to be a “death industrial” or Tesco-type power electronics/industrial but as minimal as possible – one synth line, another with delay occuring intermittenly, and a vocal track that is intelligible and enunciated but garbled a bit by reverb. Basically the same forumla each track. Very atmospheric, stylish stuff that somehow works for me despite there being hardly anything to it. Side B track 2 is probably my favorite piece being unclassifiable as noise, industrial, etc but still nice synth and loop work. Also oddly quiet in the vocal-driven tracks, kind of like another very, very minimal US project called Alba Cell which was pretty good, and Hospital Productions-ish but did not totally thrill me. I somewhat admire the odd choice of envelope filter for certain synth parts but on a bad day might consider this somewhat, well, lazy. I think this is the kind of project where multiple releases need to be heard before you totally know where you stand. For both, seems you need some background information on content etc. There seems to be a current “thing” in US PE right now where being immediately engaging is not a big concern, and I have a love-hate relationship with the idea of that much austerity in PE. You have to wonder if it is actual power electronics or something very close to it, and I lean toward the latter, meaning nothing negative by that. Just that this is a specific, limited style I am somewhat unsure of. Check back later. For now, I recommend Walter Khan's “From Nothing To Nothing” or “001” by NIT instead for simplistic but effective, genuine PE.

Knurl/Ames Sanglantes split CS (Phanta Phei, 2017)
        Grabbed this because both are projects that tend to be hit-or-miss for me; really forgettable when they miss and absolutely great when they hit. Knurl has a massive discography and knows his art/craft quite well, but like The Rita, tends to either really thrill or disappoint me. On this occasion, I like it a lot as it's his less monolithic, more dynamic stuff that is more bassy and crude, with a tape fidelity, as opposed to the sharper nonstop blasts I've heard previously. AS side I've listened to a few times already, as it's a really unique style that straddles the line between harsh noise and PE, with a simplicity that reminds me of certain Mauthausen Orchestra recordings, especially in the squealed vocals. Certain sections are almost like MB's noisier parts. Maybe my favorite Ames Sanglantes material yet?
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Theodore
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« Reply #6806 on: March 31, 2018, 12:16:01 PM »

Bad Kharma - 96-98 4xCS Box : I have listened the first 3 of 4 tapes so far and it's so good i am surprised and wonder how there were still copies on Discogs for sale on such good price, given it's also very limited. There were 3 when i bought it, now only one, so if interested better act fast. I guess my case answers my wondering. I didn't know Bad Kharma except 3-4 tracks i had listened here and there in compilations and collaborations. Seeing this box full of 4,5 hours of 90s noise for 15 euro i thought why not, 90s noise, can't be so bad ... Well this deserves every cent and even more. A discovery for me !

What's in the box and details about the recordings you can read on label's site : http://bonbon.ronsun.se/ . There i see he had plans to release more old material from his projects and then new recordings too. But nothing happened, sadly. Except Neghantil on another label.

Anyone has listened Karisma 3xCDr ?
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“ἀθάνατοι θνητοί, θνητοὶ ἀθάνατοι, ζῶντες τὸν ἐκείνων θάνατον, τὸν δὲ ἐκείνων βίον τεθνεῶτες”
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« Reply #6807 on: March 31, 2018, 12:35:39 PM »

Bad Kharma - 96-98 4xCS Box (...) i am surprised and wonder how there were still copies on Discogs for sale on such good price, given it's also very limited.

It's a brilliant set, definitely, and it deserves to be heard. Well composed mid '90s noise from Sweden when there really wasn't much real noise being made here, one would think that would spark some interest. But it's not that hard to guess why Bad Kharma hasn't gained more attention really; the artwork is always harmless/minimal, he hasn't done a ton of interviews, he's not out there playing live, there's no edgy theme framing his music etc. He lets the noise speak for itself, and that's not how you sell records and tapes.

I have some of that Red Tape Rot series he did with Marhaug, but this set here is where he's at his best I think.
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« Reply #6808 on: April 02, 2018, 12:42:24 PM »

Geography of Hell - Hiroshima 1945/Nagasaki 1945

Any soundsamples from this album available somewhere?
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impulse manslaughter
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« Reply #6809 on: April 03, 2018, 10:22:27 PM »

Sutcliffe Jugend - When Pornography Is No Longer Enough CD. Took me a while to find a reasonable priced copy, would be nice if this get's a reissue (on vinyl). Listened to this a few times in a row today in my car. Such a great PE album. Creepy atmosphere, dynamic noises and left me wanting for more due to it's length. Since i've only heard fragments; is The Victim As Beauty CD in the same vein?
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