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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2431678 times)
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absurdexposition
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« Reply #7350 on: April 09, 2019, 07:22:07 PM »

For the dedicated TEFers, a recording for 2017-03-18 Sux by Suxwest, Club Foot, Austin, TX showed up last week on Dime.  Let me know if anyone wants it.  I believe it is only ten minutes.

Thanks for the heads up. I'll have to login and grip it tonight.
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« Reply #7351 on: April 09, 2019, 08:47:55 PM »

Kostas Kefalianos "Phlegma" CS (Thalamos, 2017)
          Short cassette of synth and tape minimalism (final track for farfisa and tape loop) from one of the label heads. Five great but all too brief compositions, very much from the Maurizio Bianchi school. Apparently, these are edited down from longer pieces by the other label boss (one Panos Alexaidis, whose work I've yet to check out). Should appeal to fans of Arkhe, Copley Medal, Cryptofascisme. Right up my alley and with just enough variety, but too short. Longer, next time, hopefully.

Indeed a good release. Looking forward to hearing more stuff from him.

Listened to this today due to the recommendation. Very nice work. The whole label looks pretty interesting over all. More good tips from Josh!
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absurdexposition
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« Reply #7352 on: April 10, 2019, 03:46:21 AM »

For the dedicated TEFers, a recording for 2017-03-18 Sux by Suxwest, Club Foot, Austin, TX showed up last week on Dime.  Let me know if anyone wants it.  I believe it is only ten minutes.

Thanks for the heads up. I'll have to login and grip it tonight.

There's a Goat set from the same show up, too.
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« Reply #7353 on: April 10, 2019, 05:31:57 PM »

Merzbow - Antimony (Slowdown Records)

Recorded and mixed in 1984-85, released in 2019. Another sweet mid '80s Merzbow noise concrete mixer boogaloo. First track Antimony is just a different mix of material from Sadomasochismo (1985). The three untitled tracks continue in the same vein but perhaps slightly less noisy. Plenty of destroyed samples from records, distortion, feedback, nail-filled tin cans thrown around the garage. At least that is what it sounds to me. Great stuff.
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Bloated Slutbag
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« Reply #7354 on: April 10, 2019, 05:43:03 PM »

See bottom of this post for digest commentary.

Jaakko Vanhala – Cuts Of Grace
I remember the day this was unofficially announced like it was nineteen days four hours and thirty minutes ago. I’d spent the better part of fifteen minutes scouring the net for any mention of new Vanhala, fervently praying for a sign, growing increasingly depressed with every desperate click of the mouse. The best discogs could offer was a minor credit for “voice” in a twenty minute piece tagged Ambient, Experimental, Drone. And though the man was clearly active in a range of sound-making capacities, like, where was the industry standard namesake, the solo work, the decisive, graceful, severing of the head of the competition and the, decidedly less graceful, shitting down of its neck? Then the announcement. Whoa. My dear pervs. I… I just… I was so excited, I almost spilled my beer.
   I thought it might be fun to get the name-dropping out of the way first. Ferial Confine and The Full Use of Nothing. TNB, with and without Organum. Tiechens/Merzbow/PGR Grav, a name I do tend drop a fair bit, but this time I really mean it, okay? I could go on, but perhaps a picture emerges, and it while that picture is certainly noisy, and at times HARSH, it doesn’t quite qualify as harshnoise. Yup. There it is. Fuck this lame Vanhala shit. NEXT!
   Look, you know words like “killer” and “masterwork” are going to drop at some point, but just… chill. Relax them weary bones. Sink, slow and easy, into DENSEly composed industrial-strength hell-hole. Hell howl. Whorls of orgiastic whole-brain consumption, drawing the un-harshhead deeper, deeper, plunging straight into full and bodied, bloodied, mass of metal, scrap, junk, scrape, screech, shriek, clank, clunk, groan. All delivered via sinkholes, sinkhowls, of determinedly draining brood, thick with dirge-laden atmosphere.
   It is the atmosphere- dirge-laden, brooding- that really sets off the chief elements in play, namely the high-energy piles of metal-junk so cleanly, carefully, captured. There are a lot of them, and they rage around at quite the clip, seldom satisfied with just one or two places in the acoustic scope. A descriptor like SPASTIC could be dropped, but settling through the atmos as texture more than inviting of dis-rangement of equilibrium. This one’s all about the equilibrium. Un-spastic equilibrium. Oh shit, another name’s about the drop: Michael Ellingford. Just as far as the twin concerns of loud-in-the-earhole unharsh, and the preoccupation with studied composition and pacing. Also, the precision and economy, necessarily demanded of the 3”, serves the material well, the vision that much more singular, penetrating, refined. In the dialect of the spastic, all butt-driller no butt-filler.

   The inaugural slicings of “Pain Enigma” evince a patience and confidence culled from the intervening years of refinement. Rapid-panned clusters of full-spectrum metal-junk penetration, deep cuts coming in fits of fevered slashing derangement,. But coming at controlled intervals, spaced with increments of crinkled rumble, so as to allow the ‘holes their space acclimate to the brutal, incisive, drilling, stepping back, slamming down, hard, with near-percussive flare and heft. Fevered slashing arrangement. The raw material is almost crystalline in its contours, tasty morsels of exquisitely razored delectables readily inviting of close interrogation. Fevered slashing engagement.
   “Phosphorous Nostalgia” ditches the bespectacled airs and jumps straight into boiling cauldrons of full-flavored flesh-razored fantasy. Layers upon layers, savagely slashed open, torn clean off, twisting and curling in a flushed, reverb-hued, fantasia before dry fits of fevered slashing escort attentions below the surface, strains of mechanized flesh-metal abattoir shrieking overhead. Trapped now in the brutal, tightly-constrictive, belly of the sado-beast, “Iris Star” seems an ironic title. Plea for escape or tortured dementia of mind so far gone as to seek salvation through suffering within? Dragging psych-oscillations lurk along edges, snaking through all-consuming metal-on-metal claustrophobia, rising in confrontation as squealing rust-blades seethe in piqued indignation, bring things to a screeching halt, then plunge pointy-end-first into the next bout of repetitive machine-flesh horror, bits of choked vocal distortions spurting across bloodied pan.
   "Blood Arcanum" and a first flirtation with the gibbering realms of the spastic. Or at least, the lesser-hinged realms of the schizophrenic. Fevered slashing debasement of the fringes, very raw and filth flecked, curdling inward going for the kill, trading the dense punishments previously expounded for straight-ahead screwdrivers-stabbing-through-aural-cavities assault... for a little while. Then it gets schizo. Some recapitulation of the controlled dis-position of Pain Enigma, but drawing out the uneven breaks in thoughtful, reverberant strains, threat of drone almost escaping the heavy-handed, metal bashed dis-possession.
   "Sword Of Death" truly is the coup de grâce, in every way and meaning. Eight minutes and sixteen seconds of tightly regulated metal-machine-gone-haywire chaos. And control. Electronic alarm bleats out the warning just before some nameless horror precipitates hammering on the thick iron door. Then the semi-distorted stabbings of metal screech, squealing drill, whining saw, upping the tensions as bleat hits solid state, door buckling amid localized avalanche of collapsing metals. And suddenly, Death is here, infernal choir announcing the dramatic entrance, dark light bathing the scene. The orgy of half-mechanized junk-frenzy reaches a screeching crescendo of thunderous clang-bang, scorched-raw whang. The sound is monstrous, it is everywhere. And… at this moment I'm surprised to drop yet another name- Dissecting Table! At least, in the play of massed cacophonous metals against choral drone. The better moments of DT will do that sometimes. Why not drop the latter, more DT-influenced Linekraft in there while I’m at it. Just for fun. Here, with mighty clank and clonk, the cacophony loses some of its fire, some of it thunder, the drone loses its choral airs, acquires a more dreary, industry-gilded, sheen. Now to the final frenzied escalation, dense cacophony of raging junk beginning slow ascent to clusterfuck finale, the door ripped clean off it hinges, the clanking shrieking nightmare surging through, blood red promise entering phase of singular screeching scorchout,  
   And the blade drops.


Digest spew:

Jaakko Vanhala – Cuts Of Grace
Just to get a couple naggling descriptors out of the way. Killer. Masterwork. There, said it. Dense masses of slowly encroaching metal-on-metal claustrophobia, with huge gaping spaces, avenues, some of them faintly echoing, into which to sink attentions along for the ride. This is, literally, insanely good. As in- the total focused insanity required to successfully deliver this caliber is frankly rather disturbing.  I am disturbed, dis-possessed, dis-positioned, but, like, in a good way. I hesitate to call this harshnoise classic cause it probably only sneaks in on a technicality. Noise, sure, gotcha. But music. Good, HARSH, DENSE, un-SPASTIC, with loads of that sodding HARMONICANESS sucking up the undertones. Suck it up, fuckers.
« Last Edit: April 10, 2019, 05:48:38 PM by Bloated Slutbag » Logged

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« Reply #7355 on: April 10, 2019, 06:31:35 PM »

TRERIKSRÖSET "Kristen Musik från Rågsved" LP
Mono noise.
I’m surprised no one has said it yet:
“Christian Music from...” = mono recording.
Christianity = monotheistic religion.
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« Reply #7356 on: April 10, 2019, 07:36:59 PM »

TRERIKSRÖSET "Kristen Musik från Rågsved" LP
Mono noise.
I’m surprised no one has said it yet:
“Christian Music from...” = mono recording.
Christianity = monotheistic religion.

Wooooooooow.... omggggggg!!!
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Zeno Marx
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« Reply #7357 on: April 10, 2019, 08:01:37 PM »

yeah, that's a nice catch right there
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« Reply #7358 on: April 10, 2019, 11:25:59 PM »

Stereo is Pagan !
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« Reply #7359 on: April 11, 2019, 01:31:23 PM »

Worth “The Steps” CS (New Forces, 2018)
        I'm pretty much in agreement with all the praise this has been getting for all it's unique character. The A-side had some moments I was going to compare to some of my favorite harsh noise standbys, but the B-side was surprising, dark, and gritty enough to warrant a better description. Manages to sound “Americanoise” without bringing to mind MSNP or Skin Crime. The more chopped, almost-fast cut-up sections are probably my highlight. Although I was a fan of Weak Sisters, this stuff is just fucking killer – very much “harsh noise” but still experimental music, doesn't fall into subgenre/subcultural trappings or references, which is a good thing. Seems to focus more on being grimy (even atmospheric; something far too much harsh noise lacks) than being super-harsh. Will definitely be one of my year-end favorites. Also really good for a rainy afternoon like today.

Been working on WORTH interview for Special Interests#11. Magazine is just about to be "at final stages".  Still waiting few things before can start booking ad space etc..
Related to interview, went through some old tapes and WEAK SISTERS "Puerile Replica" tape ended up to tape player. Good tape. It also is so clear when Worth mentions in interview that Weak Sisters was like amateurish version of Worth (not exact words, but something similar). You can hear that it is good. Even great at times. But not as great as Worth. Technically quite similar, but yet to discover the absolutely best sounds there are.

DEAD BODY ART "DADA-1995" tape
Noting Note Tapes!
Japanese obscurity that varies from Hotel Ultra -style Gerogerigegege esque dada sound collage weirdness to primitive radio-noise and vocal frenzy oddities. Most of this project was probably done on SMMania label from Kyoto. This is even less known Nothing Note Tapes!. I see Vis a Vis reissued some stuff in 2017. Not sure if this is THAT good, that it needs to be reissued, but certainly weird and challenging tape. Brings back memories from times when getting noise tape could be challenge. Never knowing what exactly you're going to hear...

CONCRETE MASCARA "Worms of corrosion" tape
Self released tape that was mainly sold on Industrial Aktions fest in USA. And what a damn good tape it is! I find myself repeating, but seems like not only CM is getting better all the time, but also that these small tape releases are vastly better than the albums! Did I misread, or is this REALLY edition of 25 copies?! Fuck. It could be best works of CM and certainly could demand "proper release". Nothing wrong wih this, except I think there should be way more than 25 people who need to hear this recordings. Fierce and punishing power electronics and noisy industrial stuff.
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« Reply #7360 on: April 12, 2019, 07:23:34 AM »

VASCULAE - New Orthodoxy - C34 (Monorail Trespassing)
This is pretty far from Receding Stasis (2012, and a favorite of mine). I temporarily lost touch with the project after Prolapse (WCN, 2013), but I believe things started changing, or at least taking side routes, by the time of that slew of tapes in 2014? Anyway. The label description lays emphasis on dark ambient. I can see where that comes from. But to me that only works as a superficial description. In these ears, New Orthodoxy sounds a bit like something Daniel Menche might have come up with early-mid 1990's, but with Jon Borges' dramatics. Huge cavernous (and well, dark, if you will) ambiences, with various textural sounds running in the center. Occasionally Jon loosen the reins and lets it blast forth, on side B especially, but it's never full on harsh mode. Nope. The contrast between the various restrained textures and the bigger cave-like ambiences is the thing here.  And it works very well! Quite the eerie comeback, this tape. I might have to track down those tapes from 2014 and '15 that I haven't heard.
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« Reply #7361 on: April 12, 2019, 05:18:21 PM »


STROMSTAD - New Devoted Human. Tape Version

Excellent material. I've had the CD version for a while & has had multiple spins, but whilst in Helsinki a week or so ago I picked up the tape version (released by Cloister Recordings), which has a more driven yet colder and more claustrophobic feel to it. The first track on the album is very much memorable, but my favourite track on there is NATTSVERMER.


Blood Ov Thee Christ - Masterbio Syphilitica - Dokuments 2005-2011

Couldn't make it to the event itself where this was made available so had a friend pick a copy up for me, certainly not disappointed! Nice and rough. Good long C90 of horror!


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« Reply #7362 on: April 13, 2019, 12:58:52 PM »

RxAxPxE - Transgressing Ecstasy 2CD

Really like this. There's not much talk about this project, though there's releases on F&V, Bestial Burst, and so on. Since first tape on F&V I tried to get every following release, and the ones I got didn't disappoint. So this I'd recommend as well.





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« Reply #7363 on: April 15, 2019, 07:58:01 PM »

VASCULAE - New Orthodoxy - C34 (Monorail Trespassing)
This is pretty far from Receding Stasis (2012, and a favorite of mine). I temporarily lost touch with the project after Prolapse (WCN, 2013), but I believe things started changing, or at least taking side routes, by the time of that slew of tapes in 2014? Anyway. The label description lays emphasis on dark ambient. I can see where that comes from. But to me that only works as a superficial description. In these ears, New Orthodoxy sounds a bit like something Daniel Menche might have come up with early-mid 1990's, but with Jon Borges' dramatics. Huge cavernous (and well, dark, if you will) ambiences, with various textural sounds running in the center. Occasionally Jon loosen the reins and lets it blast forth, on side B especially, but it's never full on harsh mode. Nope. The contrast between the various restrained textures and the bigger cave-like ambiences is the thing here.  And it works very well! Quite the eerie comeback, this tape. I might have to track down those tapes from 2014 and '15 that I haven't heard.

It's not for everyone but I HIGHLY recommend his 'In Theory' tape from 2014. He did a full tour on that material, and was lucky to play the NYC show / see it live. Minimal spoken word / electronics juxtaposed with the amazing sheets of blistering harsh noise the project is originally known for. Again, I know some people don't like voice, especially spoken word type stuff in their noise, but this was executed perfectly in my opinion. Comes with a zine of collage work / text. Stands as one of my favorite things Jon has done in general. People compared some of the spoken parts on my split LP with Kjostad to Prurient, but I truly just very influenced by this release.

Looks like you can grab it for under 10 bucks still on discogs.
https://www.discogs.com/sell/release/5882281?ev=rb
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« Reply #7364 on: April 16, 2019, 12:34:54 AM »

Looks like you can grab it for under 10 bucks still on discogs.
https://www.discogs.com/sell/release/5882281?ev=rb

Just did, thanks!
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