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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2199369 times)
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New Forces
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« Reply #6990 on: June 26, 2018, 04:03:03 PM »

Amplified Humans Fest 2xDVD
Firstly I can't believe this was nearly two years ago, I couldn't make the fest due to travel issues so this DVD set is the next best thing. The obvious main issue is you don't get the physicality of noise when watching a DVD vs being there so I can only comment on it as a viewer but overall the standard of sets was high, only lost interest a few times. What I did notice was generally how static most performers were which is partly why the likes of The Rita and Killer Bug stand out. Had a question for those who were there - the Ramirez set seemed constrained sound wise, is that a fair reflection?

My impression was that Richard's set was one of the most powerful I've seen him perform, very loud, quality harsh noise.
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« Reply #6991 on: June 26, 2018, 04:52:10 PM »

Amplified Humans Fest 2xDVD
Firstly I can't believe this was nearly two years ago, I couldn't make the fest due to travel issues so this DVD set is the next best thing. The obvious main issue is you don't get the physicality of noise when watching a DVD vs being there so I can only comment on it as a viewer but overall the standard of sets was high, only lost interest a few times. What I did notice was generally how static most performers were which is partly why the likes of The Rita and Killer Bug stand out. Had a question for those who were there - the Ramirez set seemed constrained sound wise, is that a fair reflection?

My impression was that Richard's set was one of the most powerful I've seen him perform, very loud, quality harsh noise.

Thanks. I once flew back flew back from US to Europe straight into a show he did and it was one of the most amazing noise shows I have heard.
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« Reply #6992 on: June 26, 2018, 05:07:22 PM »

A Machine Called Orgasm - Daddylove

I wonder what happened to the Total Fucking Filth-label, which released this one and a bunch of other stuff in 2012 before seemingly dropping off the face of the earth (there was also a second part of 'Daddylove' which came with a  nasty small format zine).
The Repeat Offender-tape and those ultra crude K.ocK.choK.er-C10s were pretty awesome Power Electronics.
« Last Edit: June 26, 2018, 05:22:05 PM by TerribleMiasma » Logged
Bloated Slutbag
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« Reply #6993 on: June 26, 2018, 06:16:15 PM »

Wince – Bullets For Germany
Another day another study in texture. Par excellence. This one kinda jumped the gun on the listening pile after the Treriksroset s/t, that other recent texture study par excellence, decisively rocked the sphinct. It’s always refreshing to be reminded how much I dig this kinda shizzle, when done right, and in the wake of such fond recollection-cum-sphinct-rupture I find myself obligingly forced, by never forgiving dint of the noisedonkey, to dig in. Way in. One thing about these texture studies is their tendency to invite studied-if-ill-advised plunges off and into the deepest of deep ends. (Hey, don’t look at me. Just ask the chap on the cover. Plunger discretion advised.)

Bloated Slutbag to reader. I’m speaking to you now from deep within the endzone, tightly clenched, on the edge of terminal strangulation. Frozen in endless time, very little space, dare I draw breath, gravitational constant to render transmission little more than incoherent blurt. Will I or won’t I. Claw. Myself. Out. The knotted puckerhole. Thank mercy for the “stop” button. <flush>

“Deader Than Kelsey’s Balls”. Well I guess he’d know. Slow creeping ragged brittle crumble, walled static fizzle churn, bristly knifings of electrified unease. Pure audio massage, for the harshhead in you. This is one of those studies whose harsher properties are gradually served over the inclination of the volume knob. At the lower curve a warm and immersive acid bath, soft and pliant intercourse with but the subtlest hint of skin abrasion, long pointy fingernails electric but starting to burn as the curve inclines, nine inches is a monstrous size, the cavity tightens, winking endzones increasingly red, bloody, angry, blistered. At the upper end, speakers threaten to rip clean apart as crumbling walls close in, tight, choking, for the inevitable suffocation, distorting space, time, trapped in deadzones of aural paralysis.

“Deader Than Kelsey’s Balls”. An initial synthetic molestation, ripped wide open to admit quality assortment of discolor, discord. From the twenty second mark what sounds to be redacted flanged vocal swallowed up, whole, in bilge-encrusted crunch. Spitting sputtering pressures. A feeling of variegated temperament straining to push through the tightly regulated overarch. I wanted to use a word like “pissing” or “piddling” but that simply with not do. There is such a range of competing elements, or streams, seemingly liquid in shape but bristling with solid-waste-level wretch and scrape. I am speaking to you now from deep within an avalanche of collapsing ice-shards, turbulent underbellies undercutting, overarching, how to square the circle, the depth, the heft. Gaze drawn again and again to that poor chap on the cover, it all seems so unfair, I'm telling you there’s still life in them bones. In fact, the shifting strands of decay apparent positively burst with energy with life with constant continuous extrapolation of one level then the other, and the other.

“Deader Than Kelsey’s-"And the… truth be told, it is difficult to say where one tail ends and the next begins, and that is, frankly, a fine thing. Grit-layers, one overcoming the other, and the other, and... hefty, ground-down, brittle, clenched, filthed to core, and suddenly a sense of movement, het up, surging, pushing toward some greater harsh, or unearthed sense of dis-ease. Three minutes left and the texture full bore, deeply saturated, flapping out to wide-panned glitter-edges, curdling in, again, giving up the faintest shade of drama, human, not machine, this is physical, fleshly, elemental, brutal, skin, decayed, de-fleshed, burnt off, dis-eased, lovin it-

“Antibiotic Hip" an almost anticlimatic denouement to the above. First a rather soft-padded bulge of bass-bilged flatulence. Then a range of reduced elements come to play. None of them, however, seems ready to breach the composed, considered bulge-ence. At four minutes, a brief stab at cutting through the monolithic outer wall, channel-edged hacking jabs seeming to signal a fresh attempt at bestilling the calm. By the seventh minute it is clear that nothing is getting through. Resolved then to bluntly rage at an all-blotting, unyielding, mass. A mass nevertheless with palpable shape, shifting by degree, hinting at hidden dimensions, as though to tempt more ill-judged attacks on the perimeter:

hint of flanged vocal, crunched feedback bleeds, wracked sobbing bleat, overdriven belt sanders, jackhammers on concrete blocks, choruses of donkeys slowly sawed in half, wet wafts of torn tissues ground down and splattering out in chunky mangled tufts, caught in the gears jamming the shit draping the whole stinking scene with rivers of fecal putrescence. The competition, for attention, is fierce as it is fruitless, shot through with woozy electrified smothers of dry, saturated, shred. So not texture but textures, plural, grit granules caught up in petite maelstroms of controlled, de-spaticized, violence.

Whether any of this, including the Trerik aforementioned, actually qualifies in the department indicated- “texture study” - is academic. Fortunately school is out harsh is in and the ‘holes... <flush>
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« Reply #6994 on: June 26, 2018, 07:11:59 PM »

WINCE "Bullets for German Radio" tape (New Forces)- without reading it all, I agree with Slutbag's gibberish. This is a highly recommended release!
« Last Edit: June 27, 2018, 12:20:56 AM by bitewerksMTB » Logged
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« Reply #6995 on: June 27, 2018, 12:09:28 AM »

I dunno if Stoa's recordings are quite as good as his reviews, but that's a hard one to top.
It is my belief that further alcohol consumption in the coming years will reduce that gap, seeing as inebriation is far more detrimental to cognitive skills such as focused writing than it is to noise production.

TIBETAN FUNERAL - Janma
TIBETAN FUNERAL - Kankala
TIBETAN FUNERAL - Griphana

In the world of Eastern European wall noise/ambient noise wall, Sergey Pakhomov occupies a special place. It was not that long ago I praised his "Cherries in the Snow", and that is really just one example in a long series of great S.P.-recordings (and quite a few duds, as is the nature of the five-year plan, over-prolific style characteristic of Russian HNW production). The extremely lo-fi, minimalist crackle-pops of Shishanote is, by the way, a personal favorite of mine. Tibetan Funeral is a download only (I think) thing released on his personal bandcamp page, and as per usual it's all minimal, lengthy walls of what might properly be called "noises" rather than noise. On the minus side this is almost completely useless if listened to outdoors in earplugs - in stark contrast to Cherries... which works anywhere and everywhere. On the plus side, with a good pair of headphones in the comfort of your own home, there's lots of strange repetitiveness and almost-but-not-quite-static atmospheres to enjoy here. While the sound is less ritualistic than one could expect from the concept, things do happen during the tracks, and at times the subdued murmurs and cracklings escalate into something almost ominous. Since this is free unless you want to pay a buck or two for it, I don't see any particular reason not to check it out.
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« Reply #6996 on: June 28, 2018, 12:29:13 AM »

YANA - Chimerism (Freak Animal)
One of the more recently released albums I've bought lately. While completely opaque as far as concept or contents goes, this is some very rough-and-tumble, hands-on industrial noise. Presumably signed in part due to mr. Aspa's interest in concrete and physical-sounding dirt, Yana manages to create a great sense of space, without skimping on the electronics. The chime-like echoes, the feedback singing into the void, the clanging manipulation of inscrutable objects... The rawness just keeps on coming, and the whole album ends with an indescribably awesome bass part that manages to be heavy and minimal at the same time. This is an album that deserves to be sold out already, and while I am happy that it wasn't when I bought it, I am also a bit annoyed at the prospect of lacking swastikas/serial killers/booty pics possibly hampering the "commercial" success of Yana. On the other hand, as long as he/they keeps on producing music this good, it doesn't really matter.
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« Reply #6997 on: June 28, 2018, 06:08:12 AM »

Zone Nord “Roeferon A” CD (RRR, ??)

This is probably my favorite from the Pure series. I usually describe this as good grave-digging music- as heard from the POV of the shovel
Quote
Kjostad “Environment Electronics” CS (Found Remains, 2018)
        Another where the title pretty much says it all – “Environment Electronics” is what you get. Could be Ricardo Mazza's mastering, but this is probably the best-sounding of any of the tapes so far, and might be my favorite.

Might be mine too. It's a good overview, I think, of the projects various preoccupations. The title kinda reads like a statement- signalling the imminent turning over of a new tree?

Also really like the recent Bear Baiting, the title of which may or may be tongue-in-cheek reference to... somethinorother. Full figured subdued almost brooding atmos to underscore the inevitable tufts of rough. Seems promising that the most recent work is also among the best.
« Last Edit: June 28, 2018, 06:15:19 AM by Bloated Slutbag » Logged

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« Reply #6998 on: June 28, 2018, 06:09:47 AM »

I am also a bit annoyed at the prospect of lacking swastikas/serial killers/booty pics possibly hampering the "commercial" success of Yana.

Heh!
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« Reply #6999 on: June 28, 2018, 06:12:25 AM »

WINCE "Bullets for German Radio" tape (New Forces)- without reading it all, I agree with Slutbag's gibberish. This is a highly recommended release!

That reminds me, I’d meant to start including a digest version when the diarrhetic spewage reached critical levels.

Wince – Bullets For German Radio
Dense, fully fleshed, wall-liked layers, studiously submerged in pure texture. I imagine this is what a sandstorm would sound like if the listener were sand, or some other suitably microscopic phenomenon: constant shift and drift, sufficiently amplified out of proportion as to achieve a certain gritty, abraded, consistency, coarse granules rubbing each other wrong, slowly grinding themselves down in symphonies of dry shred n crumble. Mixed together with intervals of close-mic’d sand-blasting for good measure. A bit disconcerting to keep checking one’s crack in sympathy.
Full gibberish:
https://www.special-interests.net/forum/index.php?topic=52.msg73651#msg73651

Treriksrøset ‎– Treriksröset (Hatband)
Convincing demonstration of craftsperson at peak of the craft. Carlsson crafts textural tutorials out of bulging bags of testosterone. Far too aggressive to qualify in any one dept of academia, but studied enough as to invite a chin-stroke or two. It sounds real good, real heavy, real full-in-body, a good and powerful masterwork from Hatband so hats off to those responsible. The flip-side is a shocker of another order, tectonic indulgence in the deepest base, harsher inclinations very slow to emerge and for but the briefest of moments. Fuck the texture this is all about the tension.
Full gibberish:
https://www.special-interests.net/forum/index.php?topic=52.msg73560#msg73560
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« Reply #7000 on: June 28, 2018, 03:49:42 PM »

YANA - Chimerism (Freak Animal)
One of the more recently released albums I've bought lately. While completely opaque as far as concept or contents goes, this is some very rough-and-tumble, hands-on industrial noise. Presumably signed in part due to mr. Aspa's interest in concrete and physical-sounding dirt, Yana manages to create a great sense of space, without skimping on the electronics. The chime-like echoes, the feedback singing into the void, the clanging manipulation of inscrutable objects... The rawness just keeps on coming, and the whole album ends with an indescribably awesome bass part that manages to be heavy and minimal at the same time. This is an album that deserves to be sold out already, and while I am happy that it wasn't when I bought it, I am also a bit annoyed at the prospect of lacking swastikas/serial killers/booty pics possibly hampering the "commercial" success of Yana. On the other hand, as long as he/they keeps on producing music this good, it doesn't really matter.

thanks for the recommendation. will have to check this out.
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« Reply #7001 on: June 29, 2018, 12:35:36 AM »

thanks for the recommendation. will have to check this out.
You're welcome, and yes: most hard-workin', hard-drinkin' stand-up citizens probably should check Yana out. Glad to call attention to the album, and that the unbelievably ugly (but, I think, technically correct) opening sentence of the review didn't turn you off.

UMPIO - Trankilo 3" CD (Freak Animal)
After one of the most terrible ten hour shifts I've experienced in a while, I am now winding down with a drink consisting of Koskenkorva with Coca Cola Zero. An abomination from a political point of view, and not really something to brag about flavor-wise either, but it gets the job done. Umpio also gets the job done, but goes a little further than that. Very crude, very organic sound manipulation spanning five tracks that don't last any longer than they have to. In fact, most of them could have held my interest far longer, but the compressed format does give the material an edge and helps with the focus. I am shite when it comes to identifying precisely how sounds are produced (a fact that helps me enjoy noise - the day I learned a little something about guitar was the day that metal lost more than a little something of its allure), but I can tell there have been many different things going on here. There's distortion, collapsing tape-work and I would at least guess that there are some savaged synths hidden in here somewhere at times. Some fairly traditional noise (not very aggressive, but rather drunkenly feisty), some stranger forms of ruckus and even slight nods in the direction of melody. The closing track has an awesome bass line of sorts, which keeps going with various modulations and audio pollutants interfering throughout. I could see myself listening to this in my car, if the format didn't make it virtually impossible. The band image is inscrutable but flavorful - a cover pic of dogs strung up to be sold as food with an Asian man in the background creates a tense mood for the sensitive, while the inside of the small foldout packaging reveals a man's severely injured back skin, something I don't know what it is and an adorable hand drawn logo that looks like it could belong to some hippie noise act. All things fall into place here, and the band's homepage's description of the release as "rippin’ junk electronix about worthless animal life and other spiritual weaklings" really ties a bow on it all.

If you sometimes feel like the whole noise/P-E thing is just a circle jerk of sheep pretending to like whatever incompetent non-music is promoted to them by arbitrary authorities you may well be onto something, but stuff like this says your feelings are wrong and should go away. This could not have been put together by just anyone, its publication in this clever little format is not arbitrary, and this is another home-run.
« Last Edit: June 29, 2018, 12:38:05 AM by Yrjö-Koskinen » Logged

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« Reply #7002 on: June 29, 2018, 04:43:53 AM »

A Machine Called Orgasm - Daddylove

I wonder what happened to the Total Fucking Filth-label, which released this one and a bunch of other stuff in 2012 before seemingly dropping off the face of the earth (there was also a second part of 'Daddylove' which came with a  nasty small format zine).
The Repeat Offender-tape and those ultra crude K.ocK.choK.er-C10s were pretty awesome Power Electronics.

Dug out Porn Fed after reading the above review, best release from TFF. The two Daddylove tapes and the Stepfather one were pretty forgettable but will revisit soon out of curiosity. Always thought TFF was a Worthless Recordings sublabel...
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« Reply #7003 on: June 30, 2018, 11:55:26 PM »

Ibliss - Supernova 1972 - krautrock - never been big on the first track, unless I'm in just the right mood, but the rest of the album is smart and pure stoned bliss; one of those bands I would love to go back in time and see in the period - while I don't like sax in rock very often, this guy is an exception; no overbearing wailing and getting in the way of everyone else; clearly a good listener of a player - Recommended.

Lie Still - s/t 2015 - power-violence - channeling No Comment - I like...a lot.

Asche - Non Apocalypse 1994 - I think I liked the first couple of tracks, and then it seemed to fall off - not as good as I remembered it, and I remember it being very good.

P·A·L - Signum 1995 - new to me - didn't hit as hard, or as interesting, as I'd hoped.

Slang - various 7" tracks - "Black Rain" has a nice Cro-Mags riff.

Pacific 231 + Sub. S. Ritual - 9 Mélodies Blessées 1989 - an interesting, engaging collaboration - struck me as somber and folky with an old, hazy vibe in the recording - I'll have to think about this more, but post-listen, I was fidgeting with possible similarities with the folk tracks on the Book of Wisdom "Catacombs" album, which is an album I love - nothing I was expecting at all - recommended.
« Last Edit: July 01, 2018, 07:15:20 AM by Zeno Marx » Logged

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« Reply #7004 on: July 02, 2018, 08:48:32 AM »

BLOOD OV THEE CHIRST
No one will ever reach the level of insanity of Blood Ov Thee Chirst. They shouldn't even try because it would eat them alive. Fucked up fuck up who doesn't give a fuck. This is how I want to see Hatemaster. I'm not talking about the person, I'm talking about the alter ego. Hatemaster. Nothing matters. Only sex, drugs and rock'n'roll are real. Hail Hatemaster! Hail Satan! Never stop the madness!
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