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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 1889658 times)
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ConcreteMascara
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« Reply #6495 on: July 31, 2017, 08:07:19 PM »

Kontinent - Stasis, No Reverse, Death Technologies (cassettes + CDr) - just listened to Stasis for the first time, which prompted me to re-listen to the first two Kontinent releases. I think the CDr was a perfect format for the first release. CD seemed more appropriate with the cleaner sound. I dig Death Technologies, solid heavy electronics, but compared to Kontinent's performance at UFoI III, it left me wanting. Stasis more than makes up for it. Easily the best release yet to my ears. Echoes of the German/Tesco masters sure, but it also reminds me a bit of STROM.ec, albeit with its own character. Definitely recommended.

Boy Harsher - Yr Body Is Nothing (LP) - darkwave/synthpop/minimal synth, whatever the kids are calling it these days. this is perfectly executed minimal synth pop to my ears. the tracks are well developed and dynamic, despite the minimal palette used. the female vocalist is really good too. seems like it could be a great alternative soundtrack to David Cronenberg's Crash. reminds me a lot of the Shadowlust - Trust in Pain 2xLP from a few years back, but even better.

High-Functioning Flesh - Culture Cut (LP) - still really enjoying this one.

Skinny Puppy - Addiction (12") - finally got this on vinyl for reasonable price via eBay.

on deck - Uncodified - Hyperinflation (cassette)
« Last Edit: August 01, 2017, 06:15:23 PM by ConcreteMascara » Logged

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« Reply #6496 on: August 01, 2017, 01:01:28 AM »

V/A “Perdo Omnis” CS (Vulpes)
        This is apparently the follow-up to the Sonno Ferrum compilation of all-junk metal tracks wherein Bitewerks/Mania couldn't remember which track was his. This one had a similar effect on me, in that I really could only determine for certain which tracks were Alchemy of the 21st Century and SF Group. Otherwise, I couldn't tell at all – KSNK, Umpio, and Diagram: A are the others listed aside from the aforementioned. Sort of disappointed that an SSRI or Sick Seed track didn't make it on there, because anything SS Pekka does basically involves the word “apocalyptic,” and since this is “apocalyptic music,” well, just seems natural. Oh well. Not going to whine about a first-rate and very listenable collection of ambient/abstract pieces from artists I already like a great deal and even admire. At least two of the tracks seem to incorporate insect sounds, which is never a bad thing. If you're reading this, you need to track down a copy if you don't already own one. It tends to go for cheap and is basically an overlooked essential of modern-day compilations.

Hander Som Vardar “Depopulation” CS (Obscurex)
        This one didn't blow my mind the way the “I Never” tape/Cdr did, but was still pretty good. Bleak tape-manipulated field recordings and electronics with an especially dour atmosphere that is summed up pretty well by the track title “Fucking Left Behind.” Somehow that and the cover image of a solitary guy by the ocean gives this a “punk” vibe. Not a bad thing at all in this case. Anyway, the sounds themselves tend to melt into one another, in terms of bleed-through as well as track transitions, hard to notice the shifts from one piece to another. Meanders from point A to point B rather than moving forward consistently. Probably intentional. Some really nice parts seem as if the tape-decayed field recordings were run through one of the synthesizer units he uses. Won't revisit this one except occasionally, but I'll certainly be grabbing more HSV releases very soon.

Burried Machine “Aoral Portion” CS (Lust Vessel)
        Well, fuck me. This is one of those releases that's so good it's frustrating. Stupid-good. Enjoyable, dynamic, and engaging in a way that so much of what comes out just is not. Basically musique concrete that borders on becoming cut-up noise but never approaches typically-Japanese frenzy or harshness. Still, not much here is subdued save for the beginning and ending movements of each side, there's an arch/build-up-slow-down structure to both compositions. Voice fragments, electronics, unidentifiable field recordings, probably-junk metal acoustic sounds, and some really atmospheric Bianchi-type drones all layered and panning about everywhere. With respect to this album, Shin Chida can easily quote Lou Reed in saying “my week beats your year.” Hey, if any of you indie rockers-turned-tape nerds releasing stuff on Vitrine or I Dischi Del Barone are reading this, go listen to this album to see what you could be doing in terms of quality and execution, but are not. This one tape beats my whole fucking discography. And here's a nice interview with Shin Chida by none other than Joke Lanz: https://soundcloud.com/user-577776576/interview-with-shin-chida

...also been playing the recent additions to my now-complete Knaekkede Stemmer discography. Hopefully the one on Janushoved shows up soon. Not much to say about that project that I haven't already. Gets samey at times but nonetheless perfect tape abstractions. Listened to Jaako Vanhala's “Here Be Lions” and Mattias Gustafsson's “Tapeworks Vol. 5” yesterday on headphones while cleaning my house and had a completely different experience than with speakers. The latter especially seems perfect for focused, solitary headphone listening, while the former is one of those things that's so well-done it's almost annoying. Decided to look into more cool person/hipster faggot music and realized The Jesus And Mary Chain ain't half bad, even if they have the stupidest haircuts I've ever seen. Been revisiting a lot of metal that I was quite taken with as a youngster only to realize I'm not too fond of a lot of it today...fuck nostalgia.
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« Reply #6497 on: August 01, 2017, 03:51:11 AM »

M.B. - Sympyhony for a Genocide (Hospital re-release) Different times, different sounds. I like synth electronics, but this one is to dull for me.
Have to agree - though SFAG seems to be the go-to for M.B, other stuff like Neuro Habitat, Mectpyo/Blut and Morder are much stronger IMO.
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« Reply #6498 on: August 01, 2017, 08:37:50 AM »

Burried Machine “Aoral Portion” CS (Lust Vessel)

I'm waiting this tape to arrive here one of these days. Impatient, after your review.
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« Reply #6499 on: August 01, 2017, 06:13:55 PM »

realized The Jesus And Mary Chain ain't half bad, even if they have the stupidest haircuts I've ever seen

haha yeah go peterson!!

found my teenage punk tapes from 30 (! argh!!) years ago... ramones "leave home" + "road to ruin" blastin almost non stop, then some ancient hirax haha. hirax sounded really bad.

then some amazing bjarni gunnarsson electronix. highly recommended "processes & potentials" which to my surprise is now on bandcamp, here:
https://bjarni.bandcamp.com/album/processes-potentials



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« Reply #6500 on: August 02, 2017, 04:42:29 PM »

Had to Google "The Jesus And Mary Chain haircuts". Bird nests FTW!

Playing and enjoying http://forceneurotic.bandcamp.com/album/excerpts-from-a-document-of-personal-errors
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« Reply #6501 on: August 03, 2017, 02:19:44 AM »

Why hasn't anyone mentioned...

Mania “Foul Inside” mCD (Freak Animal, 2017)
         Just a couple of minutes in already seems like Mania at his most impressionistic, even compared to Decrepit and Grim Conditions. Opens with echoed patches of mid-range static, nice and toothy, which soon builds and lets out some relatively spastic vocals which seem more on-top-of-the mix for Mania and sound like they're switching from delay to chorus to reverb effects but smoothly.
         Second piece opens to microtonal noise that seems to spew out bigger, heavier patches of noise while undulating synth bubbles and slogs out from underneath. Really wet, messy textures slopping around the mix with some delay and reverb, a nice twisting oscillation in the background. If I were to have titled this track, it'd be “Total Prolapse,” but that's just me. Has an almost tape-decayed quality that suggests an acoustic source for some of the sound.
         Third piece opens to warped (Tape warped? Power-starved?) wispy electronic sweeps with some acoustic clacking and bumping in the foreground and background – then a heavy electronic buzz starts throbbing and muffles the other elements. So far, this is a restrained but seriously mutated version of the Mania sound/style, and I am tempted to say his best work yet. Junk acoustics rise to the foreground against what sounds like a glass slide tapping as the synth throb modulates subtly. Some more spastic synth work fades in alongside some seriously odd feedback work before the background textures take on a character more like Sick Seed or Gelsomina than anything in my Mania collection. Not at all a bad thing in one of the few times I've even been able to compare Mania to anything else out there. When the vocals finally bleed in in trademark echo style, they're almost howled. Deranged even by these standards. Yep, this is the best stuff Mania's ever done, no question about that. The background interaction of metal, feedback, and synth starts to sort of sag and decay before bursting back into crispy static patches, making me wonder again if any power starve was involved. Things cut off like a door being shut.
         Fourth piece opens to familiar bassy, subtle, quiet metal dragging and clanking with roomy reverb. Subtle electronic whirring behind. Not unlike material from the split with SSRI. Odd feedback drones hum and oscillate in the middle of the mix. Acoustic rattling sounds almost like plastic before the metal tones pick up again. Either a great reverb unit is involved or Bitewerks has one excellent practice space. This is so spacious and enveloping, it's almost like a musique concrete take on Mania style! Another thing that's improved on an already good element is the balance between frequencies as well as heavy and brittle textures in both the electronic and acoustic sounds. Some thin, nasty Whitehouse/SJ-type static sort of sinks in and then fades after not even a minute, and then only reverberated metal scraping just before silence.
         Best material Mania has come out with yet. Restrained, meticulous violence. Not really harsh noise, not purely power electronics, certainly not industrial; it's just Mania. But where do you go from here??
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« Reply #6502 on: August 05, 2017, 12:37:28 PM »

Why hasn't anyone mentioned...

Mania “Foul Inside” mCD (Freak Animal, 2017)
         Just a couple of minutes in already seems like Mania at his most impressionistic, even compared to Decrepit and Grim Conditions. Opens with echoed patches of mid-range static, nice and toothy, which soon builds and lets out some relatively spastic vocals which seem more on-top-of-the mix for Mania and sound like they're switching from delay to chorus to reverb effects but smoothly.
         Second piece opens to microtonal noise that seems to spew out bigger, heavier patches of noise while undulating synth bubbles and slogs out from underneath. Really wet, messy textures slopping around the mix with some delay and reverb, a nice twisting oscillation in the background. If I were to have titled this track, it'd be “Total Prolapse,” but that's just me. Has an almost tape-decayed quality that suggests an acoustic source for some of the sound.
         Third piece opens to warped (Tape warped? Power-starved?) wispy electronic sweeps with some acoustic clacking and bumping in the foreground and background – then a heavy electronic buzz starts throbbing and muffles the other elements. So far, this is a restrained but seriously mutated version of the Mania sound/style, and I am tempted to say his best work yet. Junk acoustics rise to the foreground against what sounds like a glass slide tapping as the synth throb modulates subtly. Some more spastic synth work fades in alongside some seriously odd feedback work before the background textures take on a character more like Sick Seed or Gelsomina than anything in my Mania collection. Not at all a bad thing in one of the few times I've even been able to compare Mania to anything else out there. When the vocals finally bleed in in trademark echo style, they're almost howled. Deranged even by these standards. Yep, this is the best stuff Mania's ever done, no question about that. The background interaction of metal, feedback, and synth starts to sort of sag and decay before bursting back into crispy static patches, making me wonder again if any power starve was involved. Things cut off like a door being shut.
         Fourth piece opens to familiar bassy, subtle, quiet metal dragging and clanking with roomy reverb. Subtle electronic whirring behind. Not unlike material from the split with SSRI. Odd feedback drones hum and oscillate in the middle of the mix. Acoustic rattling sounds almost like plastic before the metal tones pick up again. Either a great reverb unit is involved or Bitewerks has one excellent practice space. This is so spacious and enveloping, it's almost like a musique concrete take on Mania style! Another thing that's improved on an already good element is the balance between frequencies as well as heavy and brittle textures in both the electronic and acoustic sounds. Some thin, nasty Whitehouse/SJ-type static sort of sinks in and then fades after not even a minute, and then only reverberated metal scraping just before silence.
         Best material Mania has come out with yet. Restrained, meticulous violence. Not really harsh noise, not purely power electronics, certainly not industrial; it's just Mania. But where do you go from here??

I listened to this one many times since I received it, but somehow I was lost for words to mention it here. First there was the immense quality and second my not so good English to describe it properly, that kept me from writing about it. So thanks a lot for your review (always great reads btw!), which also captures a lot of my impressions.

But not to forget the other two 3" from Umpio and Sick Seed, they are great as well!
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« Reply #6503 on: August 05, 2017, 04:10:30 PM »

I'm listening to Kazumoto Endo And Emanuele Bonini - Rumore Da Ritorno Audio Metallico, goddamn it's good. (that's my review)
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« Reply #6504 on: August 05, 2017, 06:21:19 PM »

Week at work was shitty and brain damaging.
Trying to become sane again with:
 
Albert Fish is my Hero - Albert Fish Is My Hero  C90, single sided (:VENE:)
Nice! Stripped down perverted PE with very short tracks. Consisting of the "Albert Fish Is My Hero" 3" CDr, "The Hillside Stranglers" CDr and "Mutilation" 3" CDr.

Iron Clad - Strike to kill C15 (F&V)
Short and hateful. Exactly what's needed now. Anything more coming sometime from this project?

Antipakt - Fuck them where they breathe 7" (F&V)
Well, text on sleeve says it all.
"Fist and cock up their fuckholes
Flesh over spirit
Hands make shit
Mouth like a cunt
Fuck them where they breathe
Up their fuckholes
FUCK THEM WHERE THEY BREATHE!"

Same here, anything more coming sometimes?

Next is Grunt - Terror and Degeneration CD,  and probably digging through some F&V releases. New Black Stateis exceptionally good.


Some fine booze will do the rest to prepare me for coming week.
Good night!
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« Reply #6505 on: August 05, 2017, 11:36:06 PM »

WILL OVER MATTER/BIZARRE UPROAR LP (F&V)
WOM: Primitive electronics, I can’t really find deep interest on, maybe another release to recommend?
BU side is a live capture, long introduction with religious muslim samples and strong performance as expected. Crude and inspired noise/PE.

IRON FIST OF THE SUN « Tears Royal » LP (Unrest)
Power Electronics at it’s best. Vocals are just perfect, extreme and unique. I saw several reviews on this forum saying that this effort is the best of IFOTS, maybe it is true. I have more or less all releases and can’t decide as all are great to my ears.
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« Reply #6506 on: August 08, 2017, 12:21:42 AM »

Copley Medal “Impersonal Attraction” CS (Hanson)
        Some guy from New York who apparently runs the Robert & Leopold label, named Ryan Martin. I like stuff from that label and had never made the connection when ordering from them. Anyway, this sort of low-key project is like the 80's Maurizio Bianchi of today – it's not just minimal industrial tape-whatever, it actually sounds almost exactly like Maurizio Bianchi. Well, maybe a little more diversity in terms of tone and texture, but the label description is something like “reverberated, echoed patterns like old '80's M.B.,” and that is certainly accurate. Pretty busy at times but still could be described as “minimal,” with several layers usually moving at once and at least two of them drenched in that clunky, metallic “old school” reverb sound. It's definitely "industrial" in that it has this vague, angular-but-dulled sharp ring/resonance to it with a sort of machine-like structure. The first side has a lot of movement and a seemingly wider array of sounds, and at one point reaches some cascading forward momentum. The entire track is saturated to the point of harshness, but in an ear-scraping, blown-out way unlike any harsh noise or similarly-textured music of today. The second side is a subtly evolving variation on one pattern of bleep-bloop 1-2 (in a good way) layered with an echoed glissando and some really detailed, grainy noise that shifts around slowly and gives way to the background patterns while the dominant ones morph and recede. I could see how many who weren't impressed with M.B. would skip over this (project), but judging by this and some Soundcloud samples, I'll definitely hunt things down as best I can. Recommended to fellow tape nerds! Similar, I guess, to Burried Machine?

Mercury Hall “Civilization Year” CS (Second Sleep)
        Label description says something like “late-night electronics for smokers.” Well, I hate to be crass, but I'm sure they ain't talking about a Cuban cigar. Seems about right for its stated purposes/audience, and not at all in a bad way. Rather than some spraypainted semi-random collage of some stoner's experiment, this is serious tape music for the indulgent, I suppose. Absolutely relaxing stuff, devoid of any pensive or dwelling atmosphere that seems driven by very repetitive (in a good sense – “hypnotic”) loops of single-key piano, indistinguishable “stolen conversations,” and resonant thwacking, clanking tinny metal sound. The loops seem to be both “traditional” cassette loops as well as reel-to-reel loops, judging by the clear quality and stereo panning of some in contrast to the bassier, mono heaviness of others that have a more degraded tone. I recall some interesting electronics detail at some points but I'm writing this review from memory and not while listening like I sometimes do, so I could be wrong. In all, this is pretty damned top-notch and “serious” tape music that seems to have a wide range of appeal. I was a little late in getting this but at the moment, a box set called “Library's Bells” (tape nerds, again, anyone? Nothing wrong with that) is apparently readily available and looks pretty tempting. Will be getting that later in the month.
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« Reply #6507 on: August 12, 2017, 05:25:38 PM »

Anna Gardeck- Bondage Women
Normally I'm not too fond of Industrial with beats, but this one I actually like a lot. Noisy enough and the beats not always in the foreground. I must admit I came across it by chance, while I was looking for something else, but I liked the pictures I found.





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« Reply #6508 on: August 13, 2017, 03:42:05 PM »

IRONFLESH
It’s a new Death doom/ Death metal band from France.
quite heavy and crushing stuffs!

http://www.youtube.com/watch?v=xVFpv7lxOFA
 
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« Reply #6509 on: August 16, 2017, 04:15:08 AM »

Albert Fish is my Hero - Albert Fish Is My Hero  C90, single sided (:VENE:)
Nice! Stripped down perverted PE with very short tracks. Consisting of the "Albert Fish Is My Hero" 3" CDr, "The Hillside Stranglers" CDr and "Mutilation" 3" CDr.

This project might be a bit overlooked due to somewhat odd name but it's top-notch stuff. This compilation is smashing mix of filthy synth heavy PE and macho vocals. I think "Aileen" for example is a bit more atmospheric release but still very solid one with crisp and punishing sound. Looking for "The Highway Killer" biz card CDr as it was never released/reissued on tape. Btw, what ever happened to A. Shaw?
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