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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2684549 times)
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« Reply #7860 on: March 26, 2020, 07:21:42 PM »

Worth - Heroin Vampires 3" CD-R (Nefarious Activities)
Another year, another Worth release destined for the top 10 list.
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« Reply #7861 on: March 27, 2020, 07:25:56 PM »

Svetovid - Nature's Fury (Klaxon Records)
Brotherhood of Light black metal record originally self released in 2013, but now pressed to LP by Klaxon. I consider the BoL projects pretty hit or miss, and was pleasantly surprised by this one. Very obvious Forest/BBH influenced sound; acoustic sections, vocals ranging from shrieks to bellows, tasteful use of synth, lofi riffing. The variety of styles on display contributes to the epic atmosphere; beautiful art too. Ajna has copies for 10 USD.
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« Reply #7862 on: March 28, 2020, 08:28:57 AM »

V/A DECAY OF THE ANGEL LP
I can’t really decide what is my favorite approach for noise (in broad understanding of the term). Era, style, aesthetics,... so much good stuff out there. The way it sounds and looks like, I can’t really deny that this approach is among the very top favorite things. Blend of experimental industrial and power electronics. You got many small and almost forgotten projects of late 80’s here. Some famous names too.
Frans De Waard was in one of the projects. AMK guy in one of them. Guys with real sense of composition and creating sound. You got the violent offenders, provocateurs, and esoteric sound sculptors. Everything LITERALLY blends in. Graphics are brilliant.
DAYLIGHTSAVINGSTIME "No indian gaming" tape
AM-10
Very early American Tapes stuff. Before there was Wolf Eyes, Olson was doing his noise stuff. Playing American tapes 10, Daylightsavingstime c-60 with utterly broken feedback loops and saturated live noise electronics. Good stuff. If packaging would be something else, this could be thought to be some 80’s raw PE recordings. Or just... raw electronic noise sessions what it is.

D.L. Savings Time ‎– Gluttony/Flat Tax tape
Limited 12! Haha.. really good!! Even more forceful and PE-esque stuff!

Related to these, had to observe the quite rare piece of Olson making mistake of collaborating with Finnish brute GRUNT. That tape has not made its way to discogs, nor any reissues or... not sure if it is mentioned even as part of Grunt discography? Anyways, exists since about 1996, but heard and seen by very very few. Tape crewed into piece of wood.

EMIL BEAULIEAU ”Moonlight In Vermont” LP
This LP has some curious things around it. It was Emil’s chance to do album on bigger label Ecstatic Peace! Or it it bigger? Who knows, but run by Thurston Moore, so it could be potentially way to get into hands of different crowd than typical RRR buyer.
Story goes label pressed vinyl, but didn’t get the covers printed. RRRon got bored to wait, and manufactured to his royalty copies handmade covers to be able to sell them without waiting for months. So xeroxes spray glued on top of used LP covers. Really the ”RRR” way to do it.
Ecstatic Peace! Sees the version, and asked Ron to make covers for entire pressing. So basically every copy of unique, but some are little more unique than others.
RRR made edition of 5 copies for Freak Animal, that was box-set, with extra insert, only XXX rated graphics, though-out whole box. Front, back, insides and the double sided insert. Also, as special gift, he jerked off inside every box. These special editions were sold back then, of course the best looking I kept for myself and is now rotating on my turntable.
I know artist considered this to be his masterworks. It is clearly recorded in other ways than the old stuff. Probably still no overdubs and overt post-production, but that ”room recording boombox” type of sound is not present. As far as I remember, this LP abuses heavily one Jason Lascalleet album... Nevertheless, it really is a masterpiece, whether you credit just Emil or give acknowledgements to source sounds too.
There is that fairly recent youtube video interview with Ron, where he talks about RRR now. How his passion for noise is basically gone. It is quite weird, though, that when interview proceeds, and he starts to actually talk about touring, making noise, playing shows etc... suddenly the first minutes jaded or reserved Ron sort of sparks into... Emil Beaulieau type! That passion he talks about the best noise gigs or the urge of making noise... Well... I’d say it is there. But one also got to admire his attitude, to conclude that of course he could play and could do stuff organizer would pay him to do it, but it would not be honest. Not feeling the urge to do it. So he doesn’t want to be one of the ”career artists”. Got to respect that! Both RRR and Emil created such body of work, even if nothing new emerges, we got lots of things to listen.
I got archives of pretty much every Emil Beaulieau 2005 (or was it 2008? Well over decade ago anyways..) UK live gig on minidisc. One day should rip those to computer and see what’s up. Same for Purient, Jessica Rylan etc.. And tons of never seen video footage and artists interviews from that era. Long ago there was plan to do CD+DVD set. Back then obstacle was so shitty video editing gear it was too big task. Nowadays editing gear is fine, but how to import the old video tapes into computer... uuhh. Brain hurts of mere though! Even if there is hours and hours of noise history, from some of the masters...

BLACK LEATHER JESUS "Jesus is stoned" tape
Deadline
Might have mentioned already, but I was listening Ramirez podcast interview while ago, and there was talk about this tape ”jesus is stoned”, that is supposedly amazing, but nobody has ever seen it, nor have it. Not even Ramirez himself has master not covers.
He mentioned in interview that ”Mikko might have it”, and I was thinking Mikko who? There are bunch of same name even in Finnish noise scene. Then I thought, it is likely it means me..
Did not find the tape until today. As there was no info what kind of packaging it could have, while browsing some mid 90’s American Tapes hand made tapes, checked out odd misplaced plastic sleeve packaged tape, about the size of many SPITE label items.
So, here it is. C-90 tape, but only dubbed like 20 minutes per side. I can confirm it is good stuff.

PRURIENT / A SONIC DETERRENT split tape
1999, very early PRURIENT split with A SONIC DETERRENT. Limited edition of 25 copies. ”Packaged in handmade sculpted garbage”. I still remember when I got this in mail. Prurient sent it to me in ’99 for review and I was so amazed someone sent me bag of garbage in mail from other side of the world.
Review probably said that this is average USA noise, but that was not meant as negative remark. Average noise is good thing. Only thing you don’t want to hear, is the lame noise. Back then, there was some undisputed masters, but the rest was doing... normal, average stuff. Especially relating to my own works, I considered if someone is doing something I know how it is done, it must be pretty normal.
Listening this now, I would say both are ABOVE the norm. In fact, Prurient side would stand bright and energetic next to well known Prurient noise releases. Both sides are mostly loud straight forwards 90’s noise. Both get quiet for few occasions.

JOE COLLEY "Project for an LP" LP
Joe Colley LP, I didn’t even remember I had. While ago I tried to check out what all Crawl Unit and Colley I need to get. Discography doesn’t appear to be too hard to make ”complete enough”. This LP, like name suggest, is basically the set-up playing by itself. Artist role it more in the set up (as seen in cover pic and explained in liner notes) and then it just... plays. Not his best works, but in genre of conceptual sound art - good stuff indeed.

LINIJA MASS - STALNOY PAKT etc...
Then entire other atmosphere is the Russian 10” series published about 15 years ago. Some of the absolute best industrial-noise of the time. Linija Mass, both 10”s are G R E A T. Linija Mass Pas d’acier is phenomenal ”machine noise” collage type stuff. Triumph stali goes far more into early Laibach kind of militaristic industrial-loop driven machinery. Commanding voice, crowd roar, grinding rusty machine noises... there are no ”music”, no ”beats”, no instruments, but it certainly is *musical* as opposed to abstract sound collage.
Lunar Abyss Quartet 10” is least interesting of these. One side has pretty annoying loop repeating far too long, but eventually material is good nevertheless.
Stalnoy Pakt 10”, like modestly toned down version of Linija Mass.
I got bunch of other parts of this series. Should again check what is missing and update collection if possible.
I recall some people saying that this stuff was mostly sold to germany. That vinyl market in russia was small or non-existent, and interest for this kind of sound was quite limited in most countries. I don’t know if this observation was accurate, but it was mentioned that it was almost like businessmodel to ”make money on selling industrial to germans”, haha... Conclusion was that to focus on such narrow way would not be suistainable. Whatever the idea was, result was great design, great releases, great projects that had established themselve to be amoung the best. I think the biggest interest towards Russian industrial is gone...
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« Reply #7863 on: March 29, 2020, 10:50:53 AM »

The TobacconistsThe Dark Secrets Of Doctor Perati / Prometheus (7”, Plinkity Plonk Records/Swill Radio)

I’ve had this 7” for a long time and spun it a few times, yet it never clicked with me until now, and I’m not sure why. The Tobacconists are/were the duo of Frans de Waard (Kapotte Muziek, Shifts etc.) and Scott Foust (Idea Fire Company etc.). Both tracks are cleverly done and have an ominous atmosphere which I don’t remember noticing before. Side A has a recurring sound that might be a door creaking or perhaps it’s Foust’s manipulated trumpet, and among the other sound elements there’s what sounds like someone fidgeting with an old radio. Befitting its title (The Dark Secrets of Doctor Perati), the track evokes a movie from the ‘50s about a mad scientist experimenting on humans in his basement (not that I know any movies like that, but that’s the image in my mind). Side B is quite different with its underlying synth (or synth-like) tone and various noises with some reverb on top, but it retains the sombre atmosphere. All in all, a great 7” by this band I’m otherwise not familiar with, and an example that there might be unexpected surprises in your music collection.
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« Reply #7864 on: March 29, 2020, 05:37:59 PM »


There is that fairly recent youtube video interview with Ron, where he talks about RRR now. How his passion for noise is basically gone.

BLACK LEATHER JESUS "Jesus is stoned" tape
Deadline
...//...and there was talk about this tape ”jesus is stoned”, that is supposedly amazing, but nobody has ever seen it, nor have it. Not even Ramirez himself has master not covers.
...//...
So, here it is. C-90 tape, but only dubbed like 20 minutes per side. I can confirm it is good stuff.


Great story, do you have the youtube link for the interview? Couldnt find it or i missed it when looking

//

Your reviews are a big reason why i come here. Being a good business man, you surely know how to keep the mouths hungry with that build up to conclude "it's good stuff" haha. At least one more sentence? Good or great? Line up? Ramirez, Houston x2, Gilden? Is it one of the best BLJ that you've heard?
« Last Edit: March 30, 2020, 09:23:13 PM by accidental » Logged
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« Reply #7865 on: March 29, 2020, 06:37:26 PM »

Great story, do you have the youtube link for the interview? Couldnt find it or i missed it when looking

https://www.youtube.com/watch?v=WsNpqMurDvQ
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FreakAnimalFinland
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« Reply #7866 on: March 30, 2020, 08:16:35 AM »

Quote
At least one more sentence? Good or great? Line up? Ramirez, Houston x2, Gilden? Is it one of the best BLJ that you've heard?

A-side is more industrial type of sound. After years of mostly HWN, some may forget Ramirez often did more "structured noise" or even almost "composed". Here you got even vocals! Those are actually less good thing about a-side, but noise is really good. B-side has surprsingly "colorful" use of efx. Tape really stands out, it's not TOTALLY mindblowingly amazing in all the aspects. Its not the noisiest, not the most brutal... but it stands out. It is different. I think re-issue of this, so people can hear, could be good.
I don't have really time to "rip" things into public circulation, nor I ever had any file sharing accounts anywhere, so unlikely I'd get one for sake of one tape when multiple new important recordings need urgent attention. But tape is in safe place now so get dealt with if necessary.
Line up is Ramirez, Scott Houston, Randi Shrum.
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« Reply #7867 on: March 30, 2020, 06:14:44 PM »

See bottom of this post for digest commentary.

A Fail Association – Yellow Pearl
Not your mother’s Fail Association. At least, that’s what she said. Today, there’s more, much more. More study. More control. More authority. More care in the plotting of course, and staying it. That it would utterly fail in failing the ‘holes their requisite riiiiiiiiipping, well, need barely go with saying.

A partial rewind may be in order. Let’s go back, waaay back to, what was it, uh, July 2018. In them days did drop a live-to-tape session dubbed Less Than Approval. Of this, well, the sorts of harsh purity only a motherFUCKING noiseperv would love. This were the first outing for the Association, after a rather lengthy hiatus. Observe if you will the quaking hand, clearly itching to plug in, go nuts. Indulge, too a few secs of room acoustics, sucking up essential fuels to feed fires. And then: twenty-straight-minutes of heaving, textural, blurt. Crumpled thunder, crunched out bludger. Full frontal physicality, agile, dynamic. Punishing. The hand lightning quick, squeezing hard, choking. Little breathing space, little more than concentrated flatulent hogsnort. Smattering of screech-nasties to squeal out the flip-side. For the greater part, though, marginally hinged, ugly-as-fuck, blown out, bludgeon fest.

Yellow Pearl, on the other hand, is quite the measured and delicate affair, showcase proper of the Association’s ample charms. In the opening ditty, a title track consuming the whole of a c30 side, electrified fever buzz sets attentions alight. Then the dropping of a certifiably ridiculous rhythmic loop stutter. Whaaaa-thoomp. Whaaaa-thoomp. Whaaaa-thoomp. Whaaaa- Brrrreeeuughgh! Brilliant start whereby listener is inclined to question not just the sanity of the person responsible but the sanity of sitting dutifully through it. Cut now to extended high end squeal as distant FM drops into, into...wait for it… DEATH. Black, blackened death. Dead on the outside, dead on the inside. Dead. Dead. Dead. Fucking demised, alright? Seriously some seriously heavy suffocating chunder, dense, crushing, unyielding. Through the dead calm, erratic bleed of white-sheeted stab, and wash, but nothing sufficient to penetrate the pulverizing pressures.

Pause.

Burly bulging thunder-bludger laying it on thick. Call it what it is, walls of barely penetrable crunch, ghostly whiteout shimmering around the edges, insinuating into cracks, whinging, seething, wheezing, attempting to bring the whole fucking thing down, harrrd. Florescent flashes of yellow, white, red, daylight cracking through, occasionally threatening to blind. Considered and controlled, sure, but the feeling of fleet-footed fucker feeling out the psyche-tinged possibilities at ultra-torqued extremities.

Flip the tape over and a live track recorded in HCTX 4/04/19. Here that same consideration and control, but more in thrall to the psychedelic rush, echoing flashes of the Association’s white-hot contribution to the 7inch split with TEF (White Centipeded Noise). Seriously, was this recorded live? It  is a stunner, pure fire, over, out. The sort of thing one might attempt under the influence of a Hiroshi Hasegawa or two, but edging toward more puritanical salivations, the white heat simply blinding, blistering, sufficient to render in an audience of taste mute, slack-jawed, genuflection.

With barely a pause, the final studio number, All The Way Down, but a better title would have been All The Way Up, reaching for the heavens, the skies, repeatedly slamming back down as each shriek-peak slakes its zenith. This, well, this is the Fail Association the aforesaid mother would recognize, at least as far as the apparent commitment to upper-ended, slathering, blistern-ment, erratic slippety-slops ratcheting up the scorch-levels. Still even here, in this brevity, the sense of studied control. Whitened sheets jabber against hailstorms of oversize ice-shards, shattered teeth grinning through alternately fractured, crystalline, dystopias. Clearly the hiatus has not been without its merits. One can but dream to fail this harrd.


Digest spew
Dead on the outside. Dead on the inside. But raging, all over, with unspeakably intense fire. Never before has the Association sounded so assured and in control. So learned in the projection of passions both suffocating and seething. From the most heavily weighted dead-calm bludgeon through to white-sheeted psych-tinged scathe. With a good dose or two of semi-erratic white-sheeted blistern-ment. Multi-faceted lesson in HARSH, fractured, smothered, rrriiiiiiiiiiiiiiiiiiip.
« Last Edit: March 30, 2020, 06:28:17 PM by Bloated Slutbag » Logged

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« Reply #7868 on: March 30, 2020, 09:32:36 PM »


A-side is more industrial type of sound. After years of mostly HWN, some may forget Ramirez often did more "structured noise" or even almost "composed". Here you got even vocals! Those are actually less good thing about a-side, but noise is really good. B-side has surprsingly "colorful" use of efx. Tape really stands out, it's not TOTALLY mindblowingly amazing in all the aspects. Its not the noisiest, not the most brutal... but it stands out. It is different. I think re-issue of this, so people can hear, could be good.
I don't have really time to "rip" things into public circulation, nor I ever had any file sharing accounts anywhere, so unlikely I'd get one for sake of one tape when multiple new important recordings need urgent attention. But tape is in safe place now so get dealt with if necessary.
Line up is Ramirez, Scott Houston, Randi Shrum.

Sounds interesting, thank you. I never ask for rips or do download. Proper CD reissue would be nice.
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« Reply #7869 on: March 31, 2020, 12:51:49 PM »

Cheek Biting/The Rita (C30, Nil By Mouth): I hadn't heard Cheek Biting before, but I like what I'm hearing, Harsh Noise of the not-very-chaotic kind, but just good. How do you call what's between hi-fi and lo-fi? Good sound, but nothing polished or lazersharp, but that's good for this kind of stuff. The Rita, well, I don't know too much of his releases, aside from this I've heard the Citalopram Shunyata reworking, the splits with Caligula031 and Antichildleague and the Dark Angled Eyebrown 7". That's more The Rita than I care for, this has some vocal samples here and there, but still, the noise itself sounds very much the same as the other releases I heard.

Kosmodrom - Journey To The Far Side Of The Sun (C30, Nil By Mouth): Hmm, mixed feeling. I like the idea of giving Harsh Noise/Harsh Noise Wall a cosmic touch, so what we have here is a kind of HNW, but with additional synthsounds layered on. Not bad, but I think it could have been more than what it is.

The Vomit Arsonist - Meditations On Giving Up Completely (CD, Malignant): Listening to this makes me realise I still don't have his last album yet. Bleak Death Industrial, as always. Don't know what else to say other than that I so far always like what he puts out.

Four Armed Death Wheel/Plantation (CD, Europa Erwache): Four Armed Death Wheel is minimalistic, mostly effected vocals and minimal background noise. Is it good, however? It does create a certain atmosphere, but it's not great or anything. Plantation is rather standard PE, I'd say, but I like this stuff. Have missed out most of the tapes released in the last couple of years though...
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« Reply #7870 on: March 31, 2020, 07:25:17 PM »

PAIN JERK ‎– Mission Invisible CD

Typical Japanese crunchy dynamic noise. Very precise mixing with all the layers in perfect balance. Record is not too long so it holds my attention and makes me want to give it another spin.
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« Reply #7871 on: April 01, 2020, 09:15:56 AM »

THE RITA / TRERIKSRÖSET - LP (WCN, 2020)
The opening side is a live collaboriation between The Rita and Treriksröset. Starts out with sharp stuttering distorted coughs. Slowly things start rolling. Treriksröset coming in from the side, and tradeoffs begin, and it's amazing how well the two match. Not that I doubted they would, but given they hadn't rehearsed or anything as far as I know. Sam's thick crunch stabbed nonstop by Tommy's feedback daggers. Goosebumps. Wish I was there to see this live in the flesh! Somewhere in the middle some melancholy piano tune halts the action. I wasn't prepared for that. Beautiful. When Sam comes back in again with his bowelbursting noise, it feels like the piece somewhat loses its momentum, which is regained a bit later on, oddly enough, when the piece starts falling back into the stuttering it started out with. I'm pretty sure that second half had momentum to the audience though, and played loud in speakers it works very well. So, not to be played at a respectful volume. Very good!
Treriksröset solo then. Takes off from the same trenches as his Harbinger LP and the abominable self-titled tape from last year. Grandiose feedback sheets open up, with heavy chunks of red hot coal quickly being shovelled in underneath. Train takes off. Maybe too much coal? Feels like the whole mix could fall apart at any moment, which is fucking great. Feelback and nasty snoring roaring crunch in a fistfight over who gets to show off. It's a bumpy ride! Towards the middle the sheets of feedback wins and soars ever higher, while being peppered to pieces from the heavy artillery below. This second half is pure bliss, really. It's massive allright, but with enough air between the thick fibres to hear and feel all the ugly nuances inbetween the bottom and the top.
One of this years must-haves, no doubt.
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« Reply #7872 on: April 01, 2020, 11:07:46 AM »

GENOCIDE ORGAN "In-Konflikt" CD
Maybe their most industrial album? I'm not that familiar with their early stuff but of the three last full-lengths, this is easily my favourite.

DIETER MÜH "Feeling a Little Horse" CD
Long unedited live recording (with annoying false start) and three bonus tracks from compilations. Especially the live track had its moments, and considering it was improvised, according to the sleeve, it has some near-magickal moments of interplay between the performers. However, as a whole, the CD didn't hold my attention too well and I was slightly disappointed in the end. I have a couple of other of their CDs waiting and I expect more from them.

MERZBOW "Aqua Necromancer" CD and "Sphere" CD
I last heard Aqua Necromancer maybe 15 years ago and remember l liked it quite a bit. Revisiting it now, it has its very good moments but I found it mostly rather dull unfortunately. Not full-on harsh noise but plenty of manipulated loops, some of them musical even. Sphere is "computer and percussion" and that's what you get. Masami plays different kinds of drums and manipulates the sounds on computer. Some of it works, most of it doesn't and sounds more silly than anything else.

Also listened to disc one of "Another Merzbow Records" 3CD compilation and that's a whole different beast... See you on Merzbow Top Hits topic when I've played the whole thing!
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« Reply #7873 on: April 02, 2020, 02:25:18 AM »

Four Armed Death Wheel/Plantation (CD, Europa Erwache): Four Armed Death Wheel is minimalistic, mostly effected vocals and minimal background noise. Is it good, however? It does create a certain atmosphere, but it's not great or anything. Plantation is rather standard PE, I'd say, but I like this stuff. Have missed out most of the tapes released in the last couple of years though...

Is Four Armed Death Wheel playing pure noise on this split?  I was considering purchasing it a little while ago, and when I looked them up, they seemed to play more noisy war metal like Chaos Cascade.
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« Reply #7874 on: April 02, 2020, 02:52:41 PM »

No noisy war metal or anything, only vocals and minimal background noises.
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