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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2801900 times)
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Yrjö-Koskinen
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« Reply #7965 on: June 20, 2020, 11:09:26 PM »

GRUNT Someone is Watching CD
For some reason I never got around to checking this one out. Now I have, and it's probably one of the most focused Grunt releases ever (and I say that despite the fact that this project has a quite "personal" sound, recognizable vocals and so forth on most releases). Cold sounding, razor sharp power electronics with a heavy foundation, thematically centered around surveillance and the reduction of the person to information. Surveillance cameras and such old-school snooping technologies may seem quaint and outdated in an age when everyone is voluntarily giving up every detail of their personal life to random social media corporations and by extension the government for the benefit of playing Pongo the Dinosaur on their mobile phones. These latter social developments strengthen the central points of the album, though: something is going wrong. Someone is watching.

Also, there is great, suggestive electronics work, awesome samples, etc, but you already knew that.
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« Reply #7966 on: June 22, 2020, 08:42:59 AM »

See bottom of this post for digest commentary.

Star – Last Vestige of Malehood (White Centipede Noise)
Surely not the last vestige? After all, who knows what traces lurk within the heart of [insert gender here]? Speculations aside, here’s something you’d be hard-pressed to question: discog’s 61st namesake delivers. And delivers, in its commitments to unfettered mic abuse, the quite emphatically singular.

Singular singularities start in the exceedingly condensed range of frequencies brought to bear, ditto the sharp, tangy, metallic taint saturating the palate. [trigger alert! names due to drop in t-minus…] For reference please see Shinsen na Clitoris Masonna and Purgatory Monde Bruits. See too WCN-pumped Wrzosek, M and the perfectly descriptive His Voice Had Become An Unintelligible Mass Of Pain. Very focused auricular concerns, very stoical as T. Mikawa might say. Yes, dear namesake, focus focus focus those energies, those stoical-isms. If it feels like you’re tapping into some good ‘ol witchery it’s cause you are. Messing with shit of what one must not mess, excreting something entirely not of this orifice.

An initial one-two flatulent blurt signals rather straight-ahead excretions to come, but then the first hard-mic’d gasp through cybertronic rocket chamber pots. In its wake the tangy leavings of ascendant, almost psych-tinged metallic rasp, brittle, abrasive, fighting the heftier thunders flatulating beneath the surface. Here, precisely, is the singular. The duality of texture gnawing at itself. I was tempted in these moments to flop out Thirdorgan, or rather- the Roemer molested Thirdorgan shearing through the debut of Optimum Volume Maximum Noise. (You’d think something so singular would resist so many damn comparisons but, er. Yes.) A singularity too singularly focused to say hydra-headed, but there’s a genuinely conflicted sense of working through exactly what it is to be, the last vestiges of each given moment struggling to assert themselves.

The point is only reinforced as straight-up feedback shriek enters the frame, then starts jerking around again with the cybertronic rocket chamber pots. Heftier thunders gain re-entry and suddenly we’re balls deep in the rocket shrine, only to be ripped apart by a second feedback jerk around, legitimately HARSHtronic spasms flushing through steely grate. (Note to self: delete balls.) Grating cybertronic rocket chamber pots mutate on cue to quite convincing facsimile of shredded jet engines firing on all cylinders. As the fuselade flushes down the proverbial drainpipe, flatulence enters full spiral, ending in irritated style, busted cuckoo-clocks and other outrageous props flashing tongue to repetitive toy ding-a-thunk bopping heads and popping weasels out an incredibly bass-heavy piehole.

On to the flip side and On and On and On and On and On, deprincing much as before (don’t ask). This one stays pretty much right where you want ‘em, few sudden moves, almost completely awash in ripped rasps of psych-tinged abrasion, heftier thunders flatulating but this time well above the surface. Meanwhile, that repetitive toy ding-a-thunk continues bopping away, but in much muted capacity, reduced to almost completely smothered thud, the last vestiges thereof soon succumbing to the net flatulations. At a key juncture, the cybertronic jet engines gain the upper hand, completely obliterating the field in scratched raspy wretches of dry shred.

One might be forgiven in expecting things to take a new direction, but soon enough: back in the gross, blown-out, flat-stacks. Still, this is some seriously thick and hefty excreta, packed to the fucking gills, the rare and pathetic voice-driven bleat-whistles barely punching through, or not in a way that really threatens the suffocating dominance of Crunch Almighty. Pathos rules, almost to the point of tears, the miserable brute’s voice reduced to unintelligible mass of pain. Remarkably, toward the very end, a perceptible upping of tensions, the sense of fierce and full-figured fires roaring at the grate. Whatever vestiges remain, clearly they ain’t going out without a serious, and seriously singular sssss-

smother.


Digest spew
The last vestige of seriously singular commitment to unfettered mic abuse steeped in exceedingly condensed range of frequencies, bitter taint of sharp, tangy, metals saturating the grate. Gratingly abrasive cybertronic engines roar through brittle rasps of psych-tinged abrasion, fighting heftier thunders flatulating beneath the surface. Come the flip and its all thunder all the time, blown out orifices in a world of butthurt, the descent of Crunch Almighty, the inexorable steely fisted death-grip, the last limping vestiges of malehood ripped clean their moorings, bleeding in drizzled pathos, pathetic whistle-bleats reduced to unintelligible wracks of pain.
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« Reply #7967 on: June 22, 2020, 04:00:33 PM »

^^ that tape sounds right up my alley! thanks Bloated for the in-depth review

this past weekend I mostly took a break from Japanese psych rock and noise to work on some of my own music and to take a left turn into FLA country.

Ok except I gave Mortal Vision's "Nacht Musik" Urashima reissue on Friday. Just picked it up hoping it would satisfy my lust for both Japanese noise and psych and also help me slowly build my reissue based collection of GROSS material. First impression is it's good but not the sharp kick to the brain I was expecting. I wasn't expecting balls to the wall heaviness or heavy psych vibes but I also wasn't expecting how freeform it all felt, or the specific nature of the sound. I'm not sure if it's just a 50 minute single session straight to tape or something with more editing but I'm guessing the former. Once full stride is reached maybe 10-15 in I was really enjoying it but the specific sound of the guitar kept me at arms length. Although I wasn't able to give it immediate subsequent listens, it is already calling my name so I have a feeling its one I'll warm up to, even if I never worship it.

as for Front Line Assembly, I tried listening to my old copy of Caustic Grip on CD but it's so beat up from my high school years I couldn't get through it. I thought "fuck it", I'm buying this on tape only to realize seconds before hitting that order button that I already owned it on tape. Whoops! although being my favorite FLA album by a mile, I wouldn't mind owning it thrice. track 3, "Overkill" gets me so hyped up I can't help but tap my toes and shake my fist. What an anthem! Listened to Tactical Neural Implant and Gashed Senses & Crossfire for good measure too. Took me back to those early days of partying all night, trying pitifully to fuck on too much coke and the extreme depression for days following. Good times? I certainly miss parts of it but I could never have the good without the bad. But the same isn't true with FLA. As long as you stop listening after Tactical Neural Implant  and Total Terror comps/albums(?) you can avoid basically all of the awfully bad stuff they did.
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« Reply #7968 on: June 23, 2020, 06:03:51 AM »

Glancing quickly over my comments on this and thinking a quick glance-over might create an impression somewhat other than intended-

Star – Last Vestige of Malehood (White Centipede Noise)

Perhaps not worth saying but I just thought it better to emphasize that discog's 61st namesake sounds nothing like the several (mostly Japanese) names mentioned. With regard to some of the textural highlights, yes. Ditto the narrowed, focused, frequency range. But in general, it is more in the sense of doing more with less. And doing that very well. The project would seem to have a pretty minimal set-up and is all the better for it. (Though I wouldn't think any of these aspects is mutually exclusive in any event.)

edit
Guess I'd ultimately felt it needless to say "Needless to say..." Then the usual post-comment guilt kicks in.
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« Reply #7969 on: June 23, 2020, 02:35:56 PM »

STAR - Last Vestige Of Malehood is great, I concur. The sounds themselves are nothing new, but there's something about the execution as a whole that's just a little bit awkward, which makes it great. Alot of odd and unpredictable twists and turns. The artwork and the titles follow that (lack of) principle as well.

NOEL MEEK & BRUCE RUSSELL - Say No To Hate LP (Ikuisuus, 2020)
The store's little note on the protective sleeve calls it a mix of classic Dead C guitar skronk and Alchemy noise. Not sure about the latter, but there's definitely an element of the more purely electronic kind of noise here, although the droning and feedbacking guitars are the main thing here. The cover art is more than an homage to the first Harry Pussy album, so there's that too. Good one!

TOUKASEIBUNSHI - Stratosphere Sound LP (Art Into Life, 2014)
This is one strange looking LP. The cover art would have made more sense had this been some dreamy This Mortal Coil album or whatever, but if that's what you're after you'll be disappointed. Seems like Hironari Iwata picked up where he left of in the 1980's and recorded some more of that strangely hypnotizing old style industrial. Chilling, slightly distant and nightmarish sounds weaved in fog and hiss. Seems like there's plenty of copies left of this, which is a bit sad as I'm sure  anyone into old industrial would appreciate this. I really need to get that CD P.S.F. released in 2009.
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« Reply #7970 on: June 24, 2020, 04:25:26 PM »

I greatly enjoyed the latest batch from Easy Listening. 3 60 minute tapes gives each of these artists room to breathe. While given that the shitswirl of the modern world is eroding all of our attention spans, there's something comforting about diving headfirst into 60 minutes of sound.

Witches of Malibu - Ills C60 (Easy Listening)
Deepsea trogotronic abuse. Cavernous reverb and the insect hum of electricity as only Nelson's artillery can produce. Having used some of these devices, I've come to appreciate W.O.M.'s "restraint"; subtle movements inducing tidal change.

Minoy - Red Tape in the Sunset C60 (Easy Listening)
No surprises here - tape saturated to the point of liquifaction. Churning alien groans from 93.

Mental Anguish - This Isn't Kansas, Dorothy C60 (Easy Listening)
Not familiar with Mental Anguish prior, I was pleased to find something neither harsh nor rhythmic, seasick synthesizer tones rolling over each other, aquatic in aspect. Where this kind of thing can come off as "noodly" there's a sense of focus here - one tone follows the next, never repeating, never turning to pure drone - always churning.

Mo*te - Love the Junk of Society C20 (Skeleton Dust)
a total ripper fro Mo*te. I dug this tape a bit more than the New Forces tape (though that one is rock solid too) - bizarre and nearly rhythmic noise. Psychedelic in approach and execution. Hyperkinetic, with an industrial aspect calling up Tetsuo the Iron Man through bizarre vocal samples and ringing klaxons.

Crazy Doberman - Illusory Expansion (Astral Spirits)
This variation of C.D. open with some of their most rhythmic material, almost ...catchy? jazz jams that eventually decay into (presumably) Olson's trademark reed abuse horn blasts. It's easy to throw psychedelic around as a descriptor (see directly above) but how the hell else do you describe a room full of 16 competent musicians going from amorphous jams to tightly played jazz and back again? Freaked out stuff and some of their strongest material yet. Great layout in the style of Robert Beatty too.

Worth - Satan Witches Lactate Pincer 3" CD-R (Nefarious Activities)
It took forever to get this CD to work, anyone else have that issue? REGARDLESS!! Strange and chaotic noise. Somewhat less contructed than other material I've heard (using Hidden in Christ as a reference point). There's a brief lull you could consider a break in the chaos, but otherwise 20 minutes of blissfully urgent sound.

Arvo Zylo - Children of the Stones Re-Envisioned 2x 3" CD-R (Ballast)
As typical for Ballast, a beautifully packaged 2x 3" CD-R collection using the BBC classic "Children of the Stones" as source. Vocal passages repeat bizarre mantras, strange synth passages burn out into something ugly...fans of the series will likely get the most out of this, recognizing how plot points can be translated into wigged out chaos, but these pieces stand alone, particularly the bleak final track.

Run for Omniphobia - The Mall of America Suite (Detachment Programs)
Where as there was something almost playful in Executive Order 13603, the Mall of America Suite instead opts for sheer bleak consumer abyss. Thick with tape hiss, this hits a vague voyeuristic note; private eye sitting in a sunbleached Sports Authority parking lot waiting for a deadbeat dad to emerge reality.

EmptyDNA - Moon Crawls Above (Hospital Productions)
Curiously this was the first thing to sell out from the latest Hospital batch, so I am glad the whole thing is available on the bandcamp. After the subtle and ominous opening track, the rest of this tape evoked the neanderthal dub of John Olson's Henry and Hazel Slaughter project layered with morbid synth work. Slasher movie soundtrack dunked in Ketamine.

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« Reply #7971 on: June 24, 2020, 05:47:08 PM »


EmptyDNA - Moon Crawls Above (Hospital Productions)
Curiously this was the first thing to sell out from the latest Hospital batch, so I am glad the whole thing is available on the bandcamp. After the subtle and ominous opening track, the rest of this tape evoked the neanderthal dub of John Olson's Henry and Hazel Slaughter project layered with morbid synth work. Slasher movie soundtrack dunked in Ketamine.


Can concur this is good stuff. I spent hard earned English pounds on the download for this cos I know I'll want to absolutely rinse it on the go. Not particularly original by any stretch but totally hits the spot if you're craving lo-fi (yet clear) cheap-sounding murderous atmospheres.

Also checked out the preview tracks of the Computer Murder tape. I don't have the money to buy the physical version but it's looking like an awesome release. Say what you will about Hospital's forays outside of industrial but they know how to put together a good compilation. Strong concept, heavy industrial, and solid atmosphere overall.

Artwork for the Vatican Shadow/Salford Electronics is very cool but the preview didn't excite me.
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« Reply #7972 on: June 24, 2020, 05:59:27 PM »

Mania – Eros + Massacre reissue
Mania – Miserable Disposition reissue
Mania – If They Move... Kill Em reissue

The most tragic thing about Keith Brewer’s untimely passing is that he never lived to collect his lifetime achievement award- on perversion alone. That and the simple fact that the last of the work so lovingly lustily bequeathed to the pervs of this world represents his very best. Perhaps, in availing said pervs this trio of Swedish reissues, indefinitely available at near cost, Tommy Carlsson too ought to qualify for some sort of consolation prize- a Lifetime Perv-vision Award or something (we’ll work out the details later). Truly, the man is doing the Lord’s work.

Eros + Massacre comes to us originally via Carl-ssan’s inimitable Abisko, with cover art almost equal to title. The opening is…heavy. Low, ominous brood which quickly thickens into bludgered rumble- and then the thick metal bludgerings start hammering down. Some nasty feedback pierces into frame, the picture grows more distorted, slow oscillations rise in waves of hissy metallic gristle. Tensions grow pretty tight in the ensuing dis-calm, possibly sampled squeals and screams snaking through wheedling feedback as though impatient for the massacre to proceed in earnest. At long and brutal last, synthetic insectile buzzings join in the grimly lubricious bloodbathings and...suffice it say, the shit gets ugly. Fucking ugly. Nowhere near the later Mania, in other words, as concerns the more recently refined strains of delicate nuance (if such descriptors may even be permitted where the project is concerned) but possibly no the worse for that. Halfway through and almost harshnoise-ish knob slobbery obscures an inward cantanker of junk-scrap chain-rattle, physical junk-slam fits only rarely succeeding in breaking the tightness of their close-walled confines. Such moments are priceless, however, their rarified gasps in deadened airs finally strangulated in the unforgiving crush of flattened deathscrunch.

The flip side wastes no time in going full ugly. Heavy thud commences the deathscrunchings straight off, junk scraps almost completely buried in the thick of it. Deceptively so, however, as an occasionally widened stereo field allows the subtler refinements to wink through. Quite unexpectedly, straight-ahead stretches of distorto-belch barrel through the center, as though to up the harshenings but in fact to usher in a good and acoustic meeting of heavily manhandled metals. The hammerings-on-down start getting real ugly here, bass-heavy lows trembling with the impact, distorto walls blowing apart, and then the voice. The voice. No doubt nothing good to say so probably for the best that not a word can be made out, assuming anything more than agonized howls were in the offing. Now the tug and pull of alternately harsh-whitened wretchings and more grim-flavored metal-thunk. In the closing minutes a huge and doleful round of successive percussive thunks absolutely butchers the field, metals clobbering slobbering together, dungeon door slamming shut, locking in the lubricious proceedings to come.

Miserable Disposition more than lives up to its promise, but I'm not one to take chances. I spend the better part of the day watching re-runs of Happy Days, slamming bottles of Elk Brew, trying my damnedest to get in the mood. Finally muster the will to press play, and...greeted by surprisingly sharpened shrieking shear, knife-edges smoothly carving grimly grinning rictus into the grayed glistening face of dirge-tainted metallic sheen.

Now, I’m not necessarily going to call this purely harsh, or any more harsh than say Eros + Massacre. I mean, not to be harsh, but who knows what harsh really means anymore? Still. It wouldn’t be a stretch to say that, in putting together this work for Harsh Head Rituals, Mania is playing for the home crowd. In the harsh and unrelenting screech of piercing metals repeatedly scouring into piercing metals, in the severely pitched feedback shriek, in the pain-wracked vocals railing in wracks of incoherent anguish, in the excruciating commitment to total earhole abuse, it is hard to call this anything but pure, harsh, noise.

By the halfway point there seems little resolve other than that by which to peel paint, the sheer screeching severity of it wallowing in the deliciously vicious viscosity. Then the acoustic junk metals come hammering back in cascades of roughly bashed-to-shit scrap-collapse, squealing feedback strains ensuring just that right measure of the goddamn nasty.

Flip the fucker over to: gorgeous cataclysm of acoustic metals bashing the living fuck out of one another. Amped humming spices up the latent low-end bilgeries, essential fed-back screechings carrying the bulk nastiness forward. Soon metal bashing resolves into heavy-handed, semi-regulated, percussive ker-thunk, breaking down and breaking off, making way for the much more structurally sound, industrial-strength, seethings of the follow-up. The follow-up floats slow cycling wobba-wobba against infrequent incursions of jagged scrap-shreddings. Cold, almost clinical acoustic elements murked in repetitive buzz-saw coruscation, whitened scathe-rasp progressively flattening along a mildly disheveled harsh curve.

Quite a lot of ground covered on this release so far, genuinely intrigued at what the final ditty will bring. Well first, just a bunch of mid-level curdle, threading the center of the occasional pealing strip of straight-laced feedback bleed. Then the mid-level curdle starts to agitate, tearing into rough patches of whitened belch. A sudden revelation as agitations roll into pained vocal rufflings, all the while the screechy pierce and bleed serving as guarantor of the expedited expiration of auricular faculties.

If They Move... Kill Em. Right you are, boss. Seems that someone unfortunately did move cause the results here are damn punishing. And just fucking DENSE. No screwing around even for a second, just dropped straight into the pure punishment, thick, rich, almost ridiculously overburdened and heavy. Stretched, too, to the edges of the audible spectrum, of the channel pan, flat flatulent chunks of bilge-crusted thundering bludger. Into this a fully filthed feed of carefully panned extremities, equal parts metallic, brittle, white-hot, scrunched tight, burnt to fucking shit. Filth, filth, and FILTH.

BT.HN. guests on track the second, but honestly after that first salvo you’d barely know it. Well, okay, now that the densities are sinking in, a crowded sense of forward non-movement, buried in even filthier burdenings of utter sludge. This is definitely of the capacity to challenge the capacities the low-end playback gear. Halfway through these eight minutes of perv-vection, scrap-metal scrinchings and wrenchings attempt to prize open the shut-tight airs, with more than modicum of success, the suffocating density somehow both weightier while seemingly hollowing out the core. A final give out of the insufferable pile-on and the pure metal scraps bash out a finely-hewn close.

The whole of the concluding side is given over to Hate On Hate. There is no fucking way this could not fucking destroy and, like, fuck. Destroyed. The opening intervals sound as though the protagonist were simply digging in the dirt, priming the destructive capacities. Then the huge and, yes, melodramatic slams of echoing metal distortions. A pull back and it's like only the bare distorted echoes vaguely beating against sludge-heap as the close-mic’d scrapes bite at the eyesocket. The descent to derelict dungeon hell is both steady and blurry-eyed, crud-slathered exertions piling onto crud-smothered oscillations, the barest echoed edges suggestive of so much gruesomely mangled meat. The brilliance here is in the very deliberate unfolding of the perversions, at all costs, snaring attentions in cumulative strangulated heaves of full-form saturated filth, the horrific gruesome spectacle of it simply too sick, and twisted, to ignore.
« Last Edit: June 24, 2020, 06:36:01 PM by Bloated Slutbag » Logged

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« Reply #7973 on: June 25, 2020, 05:17:45 PM »



Also checked out the preview tracks of the Computer Murder tape. I don't have the money to buy the physical version but it's looking like an awesome release. Say what you will about Hospital's forays outside of industrial but they know how to put together a good compilation. Strong concept, heavy industrial, and solid atmosphere overall.

Artwork for the Vatican Shadow/Salford Electronics is very cool but the preview didn't excite me.

Agreed on both counts - love that Skin Crime is pulling from Dr. Who and Harlan Ellison for "inspiration" on this one. Rogue State sample sounded pretty good.

And yeah, Vatican Shadow lost it's aura for me a long time ago, thinking about the time "Remember Your Black Day" dropped and it became a part of the Resident Advisor/Boomkat churn of mediocrity.
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« Reply #7974 on: June 25, 2020, 06:07:10 PM »

GRUNT Someone is Watching CD

I'm fond of that one as well. I was lucky enough to score a copy of the original tape from the shelves of Hospital about 10 years ago. Damn time flies...   But anyway I was disappointed when the reissue later came out and cut my favorite track, the atypical "synth" workout DNA Test. It's such a weird bit of squiggly sci-fi goodness. But still a good album in the vein of Europe After Storm and Terror & Degeneration, even if it falls short of the heights of those two.

Working my way through the killer K2 CD boxset on Urashima, Burst After Burst (Early Recordings 1990-1996). Having relatively limited exposure to K2 besides 4 albums, a couple 7"s and comp tracks, I didn't know what to expect from this compilation of early works. Yet somehow I was still surprised by the relentless metal clang that starts of Materia Informis. 20 minutes of rapid metal banging that's so continuous it tranced me out for most of it. The second track slows it down into more industrial territory. Hell of a start, although not my favorite after listening to the later CDs in the set. Autopsy Soundtrakks is really nice stuff. Lots of synth and weird sounds in free-flowing tracks that feel almost ambient at times. Easy listening? Not quite but at this point I was lying down on my coach just soaking it in. There's some metal clang and scrap but it feels mostly like weird synthesized factory sounds. Could easily work as a soundtrack to a spooky factory level in a video game. Part 3~Part 4 gets spacey even, reminding me a bit of the recent Hypertrophy reissue. Souls Are Kontrolled By Molekules is quite similar albeit maybe a bit choppier? As it's a remix of Autopsy Soundtrakks that's no real surprise. Hard to say which is better but since you get both you don't have to chose. De Novo is where it becomes the K2 I know, to a point. The pace relatively relaxed compared to the harried hyper-fast edits of The Rust or Metal Dysplasia, but the tasty metal sounds are oh so familiar.   Had it been released anonymously around 2010 I would've thought it the work of some Finnish metal fetishist for sure. It's an absolute joy to listen to!

And that's where I leave off because I haven't had time for Rusty Tongue or Destruktion For Model Citizens. Given the progression I assume these will be testicle-tingling, ear-drum shredding rippers. Praise to Urashima who did not combine multiple tapes on to single discs which I really hate. It's so nice to have each CD be a complete work with nothing added or missing. Even though I've only heard 4 of the 6 discs I can easily recommend this compilation for those who want a taste of true variety K2 offered in the '90s.
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« Reply #7975 on: June 26, 2020, 10:17:46 AM »

De Novo is where it becomes the K2 I know, to a point. The pace relatively relaxed compared to the harried hyper-fast edits of The Rust or Metal Dysplasia, but the tasty metal sounds are oh so familiar.   Had it been released anonymously around 2010 I would've thought it the work of some Finnish metal fetishist for sure. It's an absolute joy to listen to!

And that's where I leave off because I haven't had time for Rusty Tongue or Destruktion For Model Citizens. Given the progression I assume these will be testicle-tingling, ear-drum shredding rippers.

Safe assumption! Almost anything from that period of K2 is pure gold to my ears. I seem to recall around that time certain American metal-fetishists talking about K2 like he was the second coming of Noise Elvis. It would be hard not to hear that influence in subsequent Macro, to be realized most literally in the split-collab lp on RRR and of course the seminal Membranes And Black Holes.

I remember Metal Dysplasia being a lot more harried than The Rust* but now you've got me going back to get reacquainted with it all. Up to and including ye olde perennial fave We Destroyed Barcelona, the relative harried-ness of which always seems to vacillate in these increasingly fucked 'holes. I have this suspicion I'd be listening with very different ears now (I mean, for one, they are a lot more fucked!)

* edit had the two backward in the initial post appropriately enough!
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« Reply #7976 on: June 26, 2020, 03:52:44 PM »

Picked up a copy of the Gnawed - Subterranean Rites CD, and with it came an instant download. Had a listen to this in circumstances the polar fucking opposite to the vibes of the record - a boiling hot blazing bright walk to Sainsburys dodging maskless bacteria vehicles. So it's a testament to the album that it was still incredibly atmospheric. Perhaps it's also cos I've read about the process for recording it- endless venturing into abandoned underground industrial spaces, caves, tunnels, bunkers, hidden away in dense forest, recording metal scraping, percussive knocks, and dank dead air.

The closest thing I could compare this to is recent Hildur Guðnadóttir soundtrack for Chernobyl, but with rippling phasered vocals bringing into the morbid death industrial realm. No sound feels accidental or superfluous, each knock and crash contributing to the narrative in my own mind of a Silent Hill-esque journey into the depths of empty concrete caverns haunted not only by those who might have perished on previous explorations but also by the purpose for which these now defunct spaces were built. A testament to man's failed ambition.

If you know Gnawed's output so far, it's nothing that will surprise, but it is the total refinement of a sound to perfection backed up by real obsession and dedication to subject matter and process.
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« Reply #7977 on: June 26, 2020, 09:17:39 PM »

V/A - Bar Noise (Full Volume Live Vol. 1) CD - Japan Overseas 1996 - Another compilation of Japanese noise... I bet you can guess which act brought me here. More on that at the end. So this is a quaint little slice of history,  a compilation of live recordings taken from shows at "Bar Noise" which was in Osaka from the mid '90s until ??. Apparently you could go in for drinks and listen to blasting harsh noise on the proverbial jukebox while drinking, smoking, eating. Sundays were for live shows and this is the fruit of their labor and honestly, it's not quite ripe! I went into this one knowing only 2 names but wanting to like whatever I got, similar to the Riddle of Lumen compilation I recently reviewed. But where that compilation was an exciting window into the world of Japanese weirdos doing noise rock, avant jazz, turntabalism and harsh noise that I want to peer into again and again, this is something closer to being in a cigarrette smoke filled room with an unknown band constantly soundchecking for an hour. It's not painful, mostly, and maybe some of this stuff was powerful live but crackly recordings after the fact mostly fail to translate.

The first 15 songs are all pretty short, with New Mexico, Mutant and Anglers providing the most interesting offerings. Mutant is over very quickly but it's violent blasts of noise and vocals leave me interested. New Mexico is weird, shitty and somehow charming noise that's more groove than aggro. And Anglers first song is obnoxious as shit but the second is a jazz-y saxophone led romp that I can't help but like. At 32 years of age I've really gotten horny for the saxophone. I never would've guessed. Next up is Kevin Sharp from Brutal Truth with friends, which is basically feedback, screaming, and crowd noise. It's fun, even if familiar sounding to anyone whose been at a show where the audience overtakes the stage and microphone.

The next 3 tracks are long 12, 10 and 12 minutes a piece, are probably "full sets". I was intrigued by the project Prisoner No6. but my hopes were dashed by the cracking mixer sound and delivery which felt limp in the recording. Some kind of lo-fi industrial maybe? If only the vocals were better. Kouzui was next with some straightforward blasting harsh noise. No ground is broken but it's enjoyable just the same. The cracking mixer sound detracts again, and shows up for the last one, Solmania. Although this CD is from 1996 it appears this is a solo Solmania performance and it's vicious as hell. The poor recording quality limits the brutalizing effect but this isn't squiggly, off-kilter style of later recordings. No, this is ASSAULT and a clear indicator of that he's the "pro" compared to what came before. At $5 it's was worth it for this single 12 minute piece. Having already lost my mind I could've paid x4 that and still walked away satisfied. And I like owning this little piece of Japanese history about a bar that's surely gone but tried to do something different. And for all of the artists on the comp that gave it their best and still sucked, we all start somewhere. I shudder to think of what my early live recordings would've sounded like.

Next up is Dry Lungs V. Can you guess who is on that one?
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« Reply #7978 on: June 26, 2020, 09:35:11 PM »

MANIA – Eros + Massacre
I just now received the trio of tapes eloquently praised by herra Slutbag above, and would like to jot down my own perceptions of the first one I decided to check out. I have not heard the original tape on Abisko; Mania is one of those projects I've spent far too little time with. The artwork is minimal, but very tasteful and in a similar vein as the other two reissues. Noise-wise it is just plain fantastic. Heavy crunching, groaning bass and beautiful treble/midrange crashing and hissing... Noise rarely gets any better than this. My impression throughout is that despite their awesome power, both tracks feel absolutely electronic, as if someone had found a way to reach through copper wire to pummel and abuse the actual current inside. This impression lasts throughout the tape, though the end of side B features a plot twist: the relentless distortion lifts somewhat and we hear someone moving around. Bizarrely, the whole 30 minutes of massacre (and eros) seems to be the result of some violence which has been deconstructed and distorted beyond recognition for the whole sitting. Extremely impressive. Looking forward to sitting down with the other two.
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« Reply #7979 on: June 29, 2020, 07:48:03 AM »

THE GEROGERIGEGEGE 7"s
Decision was to go through complete Gerogerigegege 7” discography, excluding the 80’s lathe cut/acetate releases which I do not have. Everything else should be in shelves.
Gerogerigegege noise at its best, is such a odd thing, that almost nobody manages to be as noisy and as ripping. When Senzuri monkey Metal Action hits in, oh damn... It is hard to say who would be more piercing, more tormenting, with noise noise assault. Total ear drill goes through a-side and more noisecore trash on the b.
Ant-Zen, before turning more into rhythmic noise, would put out things like Gero sucking sounds.
Bunch of other punk-noise kind of chaos 7”s spinned.
Wreck of rock’n’roll former self 7” is surprisingly little praised 7”. Noisecore chaos with members of Mamarracho helping out Juntaro with excellent results.
Kitanomaru Hyakkei 7” is basically compilation 7”, but some stuff I know from other releases, some feels more exclusive for this. Having this, means one doesn’t have to worry about some of the missing lathe-cuts. Cover is with multiple page 7” booklet with amazing graphics - non social media friendly I may say. See included labels catalogue of the time. What a crazy slogans and sale speeches. Makes you want to hear everything...
Sexual Behavior.... 7” is early works and one side basically punk rock, other side wank and phone xxx and more rock.
"No sound" is neat and simple not-so-distorted, but highly reverbed metal sounds splashing. Split with origami is also less noisy stuff. Early Dream Exit 7” is many short noise & experimental pieces from the arcives. Another Gero release that had various tracks pulled from archives. Split with Pyosalpinx also decent.
All you need is audioshock is counting 1,2,3,4 over pretty much non stop noise. Veel Plezier! Is like fanclub record of Japanese radio actor. Juntaro recorded his radioplay with reel-to-reel tape in 1980 and material releases ”as is” on vinyl. No overdubs, no edits, just another weird Gero conceptual release.

Government Alpha "Affective Imagery" CD
New Government Alpha CD, Affective Imagery that just came out. 2019 recordings, 2020 release. It’s perhaps foolish to say, but I did not expect it to be that good. Listened twice instantly. Had some Kjostad cd before too.

continuing with 7"s..

Grey Wolves "a wealth of misery" 7"
One of the best power electronics / industrial-noise 7”s, and one of the greatest graphics too! GW at the absolute peak of their activities.
Grabbed one box of ”G” 7”s to be consumed. This one has quite a bunch of The Gerogerigegege 7”s, but also many other goodies.
GW will not leave this turntable with one rotation, so lets see when time to proceed.
If there would be possibility to hear how was the master of this 7”. It feels that some of the dirt and distortion is result of the master-cut and 7” format, and due very long sides, if masters exists, this could be even better on CD...

Government Alpha / Evil moisture split. EM wins this battle, but perhaps only due being dirtier in his moves.
Genocide Organ Klan Kountry 7”, simple but nice!
Gruntsplatter ”Pestmaiden” 7” - I got the CD too, but 7” was just enough for dosage today.
Hyware / Armenia split 7” on Peter zinckes label offers the blunt DIY harsh noise works.
Only today I realized that these Himitsu King 7”s are exactly same. different cover, same 7”. Japanese noiserock/noisecore/melt banana type fusion with tons of feedback and screechy sound.
The Haters ”drops ascending” 2x7”. Totally rules. not long ago I complained I have too little of Haters 7”s, and now I found 5 more from wrong box... It is great to make this good discoveries in your own shelves! Total audio candy of loops of things breaking and falling apart. I still do not have enough of The Haters 7”s, so got to look into buying... or if any people want to get rid of and trade or new noise... drop me message! All your useless 7”s may be welcomed to my turntable!


2005 - I recall one friend concluding that it is the era of least wanted harsh noise. I guess it might be just illusion created by facts that there was so much noise that came out in short period of time and that there was a lot of fairly large edition pressings at that time. This combined, there are lots of releases that will never be ”collectibles”, but are actually damn good.
After finishing Incapacitants ”quietus”, I decided to go for something else. The Cherry Point ”Night of the bloody tapes” CD. If at the time, this felt like just more of the mid 2000’s harsh noise wall... Listening this now, it is certainly wall, but not one dimensional, not lazy. It is active all the time, lots and lots of distortion and saturation, but one can heard tons of interesting sound details coming and going beneath the layers of harsh distortion.
This CD, you can grab it cheap. You can listen at bandcamp or youtube. Of course many people already acknowledge it as great harsh noise, yet those who are more lured by hard to find trophies, I do urge to dive into mass of noise of this era. Indeed, it does crush a lot of mid 90’s stuff with sheer fierce straight forward ripping brutality...

Was out of town while listening that.  Away from proper stereo systems, so online, headphones sessions only. Unusual situation of not getting sleep, so blasting Incapacitants on headphones all night long, and came into conclusion that ”Ministry of Foolishness”, that I used to rate very highly, is not on top level of albums anymore. It must be partially because it was among the early CD’s I heard. I used to like the heavy bass-wwwwwoooooshh and irritant high pitch electronics, teamed up with pitch efx... but actually, I would say ”Therminosis”, ”ALAP”, ”DDDD”... all these may actually be superior.
While the ”New Movements..” is probably my current favorite, I suppose album that I have had for long time, but never acknowledged among the greats, is ”73”. It is damn noisy and ripping, and there is some pretty unique tracks there too. Something that absolutely nobody else is doing.

Quietus was also listened and this thin and piercing screech is totally great still today.
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