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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2158339 times)
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NaturalOrthodoxy
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« Reply #6660 on: December 19, 2017, 11:33:04 AM »

Bootslave - Kill Someone You Hate C20 (Fusty Cunt)

Copped this in a trade this week. Simple and effective harsh noise, with shorter tracks each with different "pacing" so to speak, keeping things nice and dynamic.

The strange oscillation/loop underneath the noise in "Son of a Gun" personally reminds me of the The Grey Wolves' number 1 P.E. banger Victory Through Violence (or Absolute Hypocrisy as the track seems to be labelled different depending on the release).

https://www.discogs.com/Bootslave-Kill-Someone-You-Hate/release/10619877
https://bootslave.bandcamp.com/album/kill-someone-you-hate
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« Reply #6661 on: December 22, 2017, 04:47:58 PM »

Deathpile - G.R.
Classic PE album revisited. Low rumbles many may classify as HNWish nowadays as a carpet for a GREAT vocal performance by Mr. Canady. The lyrics are beautifully misogynistic and anti-artsy, really round all in all. That long piece consisting of only samples seemed a bit lazy and overstayed its welcome, but what the hell. Pretty mandatory stuff.

Abscheu - Pretense
Niiiiiice release. Really heavy synths with well-executed and professionally matched metaljunks for that certain flavour. Could be one of my favourite "heavy Industrial" releases of the year and it comes highly recommended to those who appreciate the style.

Trepaneringsritualen - Kainskult
I gave this a really quick test spin some time ago and wasn't really into those superficial glimpses due to whatever reason. However, I have revisited this now (well, actually given it a real play, to be honest) and I was highly entertained. Seems like the focus is even more on percussion than on the previous full-length and there is a bit less "musical" sound (synth, bass etc) included. Works very well in harmony with the vocals! Favourite track is definitely "Serpent Seed".
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« Reply #6662 on: December 28, 2017, 08:52:42 PM »

I have a shitload of Grey Wolves, newly, on my MP3 player so anything that pops out at me.
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« Reply #6663 on: December 28, 2017, 09:20:18 PM »

Now listening to Hate Poem s/t folks.
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« Reply #6664 on: December 29, 2017, 12:45:25 AM »

Didn't buy much music or do a good job of following up on projects I'm interested in throughout 2017, so a “best-of” list would be pretty dumb, but here is an excessive amount of reviews of highlights I've received in trades and so on:

O Ratel Ratel “Vervaag” CS (Several Minor Promises, 2017)
O Ratel Ratel “Tranendal” CS (Audio Visuals Atmosphere, 2017)
O Ratel Ratel “Zomerzonde” CS (Audio Visuals Atmosphere, 2017)

        An apparently virtually-unknown project I received in trade directly with the artist, O Ratel Ratel is pretty damn good stuff that needs more exposure. I won't review each tape one-by-one or track-by-track, because there's too much material and I'm writing from memory, but overall I'd describe it as a mix of industrial, drone and musique concrete experiments. While it's definitely indebted to the current vogue of “tape noise” et al, this is hardly anything that would show up on some tiny Scandinavian label, Vitrine, Hanson, or whatever. A little more fully-formed and evolved, this stuff is more like a modern take on XX Committee, old Maurizio Bianchi, and maybe even stuff like Vivenza or Brume. I think a lot of folks reading are basically missing out, as this is really good, although it's hard to differentiate between some tracks and tapes. In terms of style and atmosphere, there's none of that dour, melancholic vibe even in more subdued parts, just a sort of lush tranquility. In more energetic sections, they tend to be rhythmic and uplifting, rather than aggressive and intense. I would guess that a whole lot of experimentation went into everything before the ideas were formed let alone the record button was pressed, and I have to say I wish this much effort had gone into my earlier projects. Lots of thin, hissy crunch and saturation via tape, semi-melodic synths, strange percussion, odd field recordings, and a huge emphasis on reverb/modulation effects. If you're not necessarily looking for groundbreaking stuff, but want a departure from the usual industrial heaviness, albeit without moving into bedroom lonely-guy melancholy, this will probably appeal very much to you. Crumer over at No Rent should put out a tape by this guy, as that'd give him the exposure he deserves.

H.Ö.H. self-titled CS (self-released, 2017)
H.Ö.H. “Random Bursts” CS (self-released, 2017)

        I realize that the fearless leader of this forum/magazine has already reviewed these, but I thought it worthwhile to include my own because I had a totally different impression. While he described these type of minimal, crude fragments as having a “disturbing” quality, I found them relaxing, meditative, even peaceful! Sure, we are talking about grainy radio static overdriven on tape, cable humming and hissing, tinny metal clanking, and fluttery tape warping, but I basically felt zero aggression, darkness, anger, sadness etc. regarding these tapes – just a dedicated enthusiasm for a very simple but effective range of closely-related sounds, which happen to be a bit weird and slightly abrasive. This stuff is basically the definition of “tape noise.” Not much structure to speak of, just experiments of texture, sound, and mic placement. I feel like this stuff has little appeal to those always needing something heavy and loud, but on the other hand, I think anyone interested in basic, effective sounds with an odd, personal character to them would appreciate if not really enjoy this project. There's just nothing else to compare it to. The Vitrine/IDDB crowd would shit their pants over this stuff if they just gave it a chance.

Urall “Nothing But These Bright Edges” CS (Midnight Manhunt, 2017)
        Bought this basically at random because I'd seen the artist post here occasionally, and wanted to take a chance on something unfamiliar. I'm glad I did, because this is great stuff albeit very much the vogue “bedroom tape concrete” style that is rather current. Nevertheless, this stuff has a melancholic vibe and an austerity that doesn't feel forced or contrived. Simple, crunching and crinking field recordings alongside some looped, decayed melodies (synth, I'm guessing) and processed recordings of birds, insects, etc. This is the type of stuff to go with your morning coffee when you have to get up early and it's cold out, or maybe after coming home exhausted from work – this definitely has an atmosphere and an absorbing quality, but not overwhelmingly so. This isn't ambient as a style of music, but ambient in the sense that varying degrees of attention in listening will probably all produce valid results/reactions. I will note that this stuff is a bit “soft” and radiant, kind of like the above-mentioned O Ratel Ratel. While very much industrial and experimental in nature, I wouldn't assume it has much of a chance with the black-military-hat crowd. Folks into more “accessible” stuff would love this, especially fans of Elisha Morningstar and the Strange Rules roster. Some great warped, saturated piano recordings seem to confirm that suspicion. Overall this feels experimental and not fully-formed, but by no means a pointless exercise. Sketches rather than “songs.” Get this if you like solitude and the outdoors.

Droit Divin “Tous Coupables” CS (self-released, 2017)
        More not-quite-death-industrial from this French band. A huge improvement on the previous tape ( which was a live recording, much heavier), this stuff is unique in that it's not that heavy or aggressive, but still powerful. This style of synth-heavy industrial in “band format” would certainly appeal to some of the US, Canada and Euro acts doing the whole “drum machine industrial” kind of stuff, but this is more abstract and less traditionally beat-driven than comparative acts (Believer/Law, Secam Kino, etc). Basically, this is the kind of industrial I don't care for, but done in a way that I can actually enjoy and appreciate.
   Regarding more details in sound, I feel this has a lot in common with older projects despite not actually sounding like them – Club Moral, Intrinsic Action, Hunting Lodge, super-early Whitehouse etc. Distinct 1-2 rhythms, bass guitar, undistorted synth, subtle melody, and heavily-flanged/delayed vocals. All that aside, there's an individualistic quality to the sound, wherein it's hard to pinpoint the atmosphere. In addition, I don't really speak French, making it all the more obscure. What I especially like, though, are the reverberated noisy background details that sometimes sound like metal junk, sometimes seem like electronic noise bursts in conjunction with the mind-numbingly simple rhythms. Tracks also seem to get more intense further into the tape, which I always like. Some of the sound details aren't as loud or as defined as I'd like, but whatever. Take a chance outside your normal sonic and/or political orientation, and check this project out for a dose of refreshing energy and precision. This will be getting repeat listens for a long time over here.

Violent Shogun “The Monotony of Death” CS (self-released, 2017)
        Apparently, this tape is dedicated to myself and the H.Ö.H. fella. I want to feel grateful and flattered, but I'm not sure if I'm worthy of that! Nevertheless, I'm always interested to see what Mr. Dazet does outside his usual noisecore mess – I should note that this guy is also one half of the above-mentioned Droit Divin.
        And holy fuck, he certainly has my attention. The first “movement” of side A is creeping, wet, reverberated static with incredible detail, not unlike mid-period Whitehouse or some of the shorter Vast Glory tapes. Moving on from there, more reverb comes into play as well as background drones while the static changes shape into eerie chirping tones not unlike Ultra's “Kiddie Litter.” The industrial direction develops further, leaving the noise behind, to some excellent acousting bumping/banging amidst slow, menacing synth swells with a gritty tone. Some killer little details (bassy crust n' crunch) in there suggest the looping technique, but fuck if I know how it's actually done. Piece then moves back to noisier territory with the high-end scratchy textures again, but this time with an atmospheric “sci-fi” synth note in background. Maybe I could be forgiven for making my usual Maurizio Bianchi comparison, but I think that's fair here in that we have an update and/or extension on atmospheric walls of sound that he did in the mid '80s. Next section again reinstates the high-end chirp but moves forward necessarily and includes a more menacing, traditionally-dark synth backdrop, sounding kinda like Grey Wolves in their more ambient-ish moments, before a more rythmic section with some nice drilling high-end squeal against a throbbing loop of mid-range tones, which concludes the A-side.
        B-side seems to continue where A left off, opening to much louder drilling high-end whine against distant, reverberated metal pounding. Anyone into that “factory atmosphere” kind of vibe would do well to get this. I'm not confident that Mr. Dazet would appreciate the comparison, but there are many moments which remind me of Graustich – “deathcamp synthwank” is how a pen-pal described that, and said description also applies here. Brittle, buzzing static tones not unlike Mauthausen Orchestra open the next section, accompanied by more reverberated background rhythm loops, creating an atmosphere not dissimilar to “Conflict” and similar titles. Sort of a Broken Flag/Kleistwahr/early Total thing going on here, I guess. Next, more sexy buzzing high-end tones over a busier rhythm loop with the same reverb setting. In many ways, this is actual music, in the sense that there are composed, deliberate elements which reoccur like say classical or rock music does, introducing enough new elements per track to justify each moment. Not only that, each track is more interesting than the one that preceded it, without devaluing the previous. At this point, what I'm hearing is more like some kind of ambient-ish musique concrete, that has somehow retained a logical evolution from the rest of the pieces. If this guy was influenced by me to do this project, he's without any doubt surpassed what I'm capable of by a significant measure. Jesus. Someone needs to offer him a label release, as soon as possible!

S.T.A.B. Electronics “Finland 2015” CS (Filth & Violence)
        Received this in a trade possibly as early as January of this year and have finally gotten around to listening to both sides in entirety. Right away, I'm disappointed in myself for not having the studio recordings, because the unintelligible nature of the vocals renders me unable to recognize “hit songs” readily, in that I'm assuming the electronics aren't exactly like on the albums. Otherwise, there's still a clear, strong, dynamic sound which the heavily-effected vocals never overpower nor are overpowered by. One thing that's struck me is that this project isn't nearly as aggressive or oppressive in volume as I'd expected, instead opting for a “slow torture” style kinda like more recent Bizarre Uproar – heavy with less grit, lots of throbbing bass loops, etc. Obviously, having actually been there and having seen the backing videos would have connected the elements fully, but that's not to say this isn't engaging power electronics. Nevertheless, Mr. S.T.A.B. has a great, powerful voice that has character and style as well as rage and precision even if I can't make out the modern-day classic lines such as “I will non-align,” the bitterly insightful ranting, and so on.
       The guy who traded me said tape made the comparison to later Whitehouse, which is fair considering the bitter, hyper-critical, fed-up nature of the lyrics, but sound-wise, this is much more in the camp of Genocide Organ, Anenzephalia, and the like – heavy and atmospheric with little to zero reliance on pummeling and blasting. I figure an aversion to the attitude and subject matter is likely the only thing stopping many folks from stepping into the world of S.T.A.B., being that it's fucking hard to dislike things done this well with this much genuine enthusiasm and dedication. Ah well, it's not for sensitive types anyway.
        Oh, and I've heard rumors of an upcoming collaboration with a well-known New York project which would fit in perfectly in terms of attitude, approach, and actual sound. Would love to hear that if and when it's realized. For now, I'll just track down the tape reissues from Unrest when I have extra cash and otherwise hope for the best. Last note – side A features a track intro that's a looped sample from a scene in Hitchcock's “Frenzy.” I guess it was just a matter of time before this was included in some power electronics recording, because Mr. S.T.A.B. fucking beat me to it!
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« Reply #6665 on: December 29, 2017, 11:47:14 PM »


Urall “Nothing But These Bright Edges” CS (Midnight Manhunt, 2017)
        Bought this basically at random because I'd seen the artist post here occasionally, and wanted to take a chance on something unfamiliar. I'm glad I did, because this is great stuff albeit very much the vogue “bedroom tape concrete” style that is rather current. Nevertheless, this stuff has a melancholic vibe and an austerity that doesn't feel forced or contrived. Simple, crunching and crinking field recordings alongside some looped, decayed melodies (synth, I'm guessing) and processed recordings of birds, insects, etc. This is the type of stuff to go with your morning coffee when you have to get up early and it's cold out, or maybe after coming home exhausted from work – this definitely has an atmosphere and an absorbing quality, but not overwhelmingly so. This isn't ambient as a style of music, but ambient in the sense that varying degrees of attention in listening will probably all produce valid results/reactions. I will note that this stuff is a bit “soft” and radiant, kind of like the above-mentioned O Ratel Ratel. While very much industrial and experimental in nature, I wouldn't assume it has much of a chance with the black-military-hat crowd. Folks into more “accessible” stuff would love this, especially fans of Elisha Morningstar and the Strange Rules roster. Some great warped, saturated piano recordings seem to confirm that suspicion. Overall this feels experimental and not fully-formed, but by no means a pointless exercise. Sketches rather than “songs.” Get this if you like solitude and the outdoors.


Hey thanx for picking it up and the nice words!
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« Reply #6666 on: December 30, 2017, 12:05:03 AM »

KOSMODROM - Forbidden Planet (CS)
Alex said this one would be on the harsher side, but it still took me one hell of a long time to get around to listening to it. Well, after a number of drinks and a number of successful online interactions with various important people, I finally got around to listening to this on my Philips Freestyle (the latter is 80's Swedish for "Walkman", by the way). While I own the complete Kosmodrom cassettography, and really kind of love the whole concept as well as the sound, this is really a new level. Keeping things psychedelic, and definitely remaining in some kind of post-HNW space, this is still closer to home for those of us who like our noise harsh and our harsh noise. There are multiple facets - churning distortion, waves of feedback, tendencies towards ambiance rather than ambient... It's really quite spectacular. While this tape, as per usual, is inspired by any number of Sci-Fi films, novels and records, you don't have to be a Sci-Fi nerd to enjoy it. Nor do you have to be a hardcore HNW fan - this is simply fabulous noise that puts you in a good mood. The Level of Vulnerability delivered on this one, as did the good Dr. Alex.
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« Reply #6667 on: December 30, 2017, 02:06:26 AM »


Urall “Nothing But These Bright Edges” CS (Midnight Manhunt, 2017)
        Bought this basically at random because I'd seen the artist post here occasionally, and wanted to take a chance on something unfamiliar. I'm glad I did, because this is great stuff albeit very much the vogue “bedroom tape concrete” style that is rather current. Nevertheless, this stuff has a melancholic vibe and an austerity that doesn't feel forced or contrived. Simple, crunching and crinking field recordings alongside some looped, decayed melodies (synth, I'm guessing) and processed recordings of birds, insects, etc. This is the type of stuff to go with your morning coffee when you have to get up early and it's cold out, or maybe after coming home exhausted from work – this definitely has an atmosphere and an absorbing quality, but not overwhelmingly so. This isn't ambient as a style of music, but ambient in the sense that varying degrees of attention in listening will probably all produce valid results/reactions. I will note that this stuff is a bit “soft” and radiant, kind of like the above-mentioned O Ratel Ratel. While very much industrial and experimental in nature, I wouldn't assume it has much of a chance with the black-military-hat crowd. Folks into more “accessible” stuff would love this, especially fans of Elisha Morningstar and the Strange Rules roster. Some great warped, saturated piano recordings seem to confirm that suspicion. Overall this feels experimental and not fully-formed, but by no means a pointless exercise. Sketches rather than “songs.” Get this if you like solitude and the outdoors.


Hey thanx for picking it up and the nice words!

This made me curious so decided to check your Soundcloud page and I'm glad that I did. These tracks has very obscure sound and it makes the monotonous piano/string arrangements work so well. The murky quality is what keeps it interesting. Checked some other tracks and seems like there is a lot of variation with the sounds you are using. One criticism I have is the fade in/fade out in the mix but that's just a matter of personal taste I guess... That being said, just added these to my ever growing wantlist.

Been listening to more folk influenced stuff with somewhat similar sound: Semilanceata and Wagner Ödegård. His "Nidvintern" lacks all the folk influences and happens to be one of best tape manipulation/synth modulation recordings I've heard recently. That and everything else can be listened here: http://brugmanziah.bandcamp.com/album/nidvintern

He's also behind black metal bands Wulkanaz and Tomhet, both my personal favorites.

A master in creating unique sound.
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« Reply #6668 on: December 30, 2017, 11:27:21 AM »

Damn Josh, thanks a lot for the super thorough and intense reviews, and the very kind words.
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« Reply #6669 on: January 01, 2018, 11:16:40 PM »


Urall “Nothing But These Bright Edges” CS (Midnight Manhunt, 2017)
        Bought this basically at random because I'd seen the artist post here occasionally, and wanted to take a chance on something unfamiliar. I'm glad I did, because this is great stuff albeit very much the vogue “bedroom tape concrete” style that is rather current. Nevertheless, this stuff has a melancholic vibe and an austerity that doesn't feel forced or contrived. Simple, crunching and crinking field recordings alongside some looped, decayed melodies (synth, I'm guessing) and processed recordings of birds, insects, etc. This is the type of stuff to go with your morning coffee when you have to get up early and it's cold out, or maybe after coming home exhausted from work – this definitely has an atmosphere and an absorbing quality, but not overwhelmingly so. This isn't ambient as a style of music, but ambient in the sense that varying degrees of attention in listening will probably all produce valid results/reactions. I will note that this stuff is a bit “soft” and radiant, kind of like the above-mentioned O Ratel Ratel. While very much industrial and experimental in nature, I wouldn't assume it has much of a chance with the black-military-hat crowd. Folks into more “accessible” stuff would love this, especially fans of Elisha Morningstar and the Strange Rules roster. Some great warped, saturated piano recordings seem to confirm that suspicion. Overall this feels experimental and not fully-formed, but by no means a pointless exercise. Sketches rather than “songs.” Get this if you like solitude and the outdoors.


Hey thanx for picking it up and the nice words!

This made me curious so decided to check your Soundcloud page and I'm glad that I did. These tracks has very obscure sound and it makes the monotonous piano/string arrangements work so well. The murky quality is what keeps it interesting. Checked some other tracks and seems like there is a lot of variation with the sounds you are using. One criticism I have is the fade in/fade out in the mix but that's just a matter of personal taste I guess... That being said, just added these to my ever growing wantlist.

Cool i appreciate it, thnx!  And i get what you mean with the fades, it's maybe indeed a way of 'working' i'm a bit stuck in at the moment.
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« Reply #6670 on: January 02, 2018, 11:10:46 PM »

JAPANESE TORTURE COMEDY HOUR - Recycled
Before ordering and receiving a pile of Recycled tapes (these are fucking great, and everyone should be reminded of them at all times everywhere), my experience with JTCH was limited to their track on the Release Your Mind vol 2 compilation. Now, that track is truly fantastic and suitable even for group listening. This tape is more of a mish-mash of all sorts of ideas. It begins terribly with shitty grind/punk influenced noise which makes me want to punch people. After only a few minutes, though, droning feedback and brutal loops take over the proceedings, and I'm where I want to be. Unfortunately, drums and what might be heavily deconstructed guitar reappear time and time again throughout, but occasionally it is at least charming in an early C.S.S.O. or perhaps simply Anal Cunt type of way. When it sticks to noise, JTCH's Recycled tape is excellent, and there are also plenty of experimental parts that work out comparatively well. The attacks of punk/rehearsal space fuck-aroundery remains a slight annoyance throughout. In its defense, the constant shifting about of style and the incoherent utilization of odd ideas (including goofy-ass vocals) serve to make sure that you never get bored. No need to light candles and practice breeding techniques to keep your attention from slipping here. If you're like me, you'll spend approximately half the time being severely annoyed and the other half enjoying yourself. Clearly a better ratio than the life average, so why not give it a go?           
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« Reply #6671 on: January 03, 2018, 02:54:17 PM »

atrax morgue "Cut My Throat" Lp + Cd
urashima
Once in a while, I find myself thinking how many more Atrax Morgue LP's one needs? This, is one of those moments. If it wasn't the fetishistic love for Slaughter productions lethal noise, this would file pretty much 100% under wanky crap. One of the worst AM things in my collections. One can try to convince it being worth being on LP, since there ain't many of this style AM releases done on LP. But in the other hand, perhaps that was better situation?

Necrofilia "Sein Zum Tode" Lp
Urashima
And then you get things like this. Atrax Morgue side project, vitalizing the interest levels for more AM stuff on vinyl! This is dark, ripping, lethal synth & vocals narrating necrophiliac urges or other deadly themes. It's minimal in a way, but quite unlike usual AM stuff. Structure of electronics is different, although same bleak minimalist approach.

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« Reply #6672 on: January 03, 2018, 10:57:30 PM »

DEAD BODY COLLECTION - Recycled
After praising the Recycled series yesterday I felt somewhat weird, given that the particular tape was very much a mixed bag and my comments ambivalent. Today will be better! Being a completionist (so far) when it comes to Dr. Alex' Kosmodrom project, I can immediately admit that I do prefer that to DBC, as well as to much other HNW. This tape does have the only two things which Kosmodrom holds back on: harshness and monotony. Two great walls, one per side. The first one is a bit murky and miserable, the second has a fuzzy edge to it. In no way annoying or unpleasant, despite having plenty of rawness and little to no dynamic changes. The sound fluctuates in a fairly cyclic manner in endless quasi-loops of distorted fuzz. No melody, no rhythm, no music. Meditative in a fashion. Once again, from a conceptual, and often from a pure enjoyment, standpoint I am actually more impressed with Kosmodrom, but DBD will always have that pure, HNW edge that makes it worth listening to time and time again.
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« Reply #6673 on: January 04, 2018, 03:19:28 PM »

A. LICHT / T.SHIRAISHI "Our lips are sealed" CD
RRR/Pure
I picked this up today from shelves just as I didn't remember at all what it was. Merely 20 minute piece of free-jazz noise. Or jazz? Well, basically one can use that reference merely due usage of saxophone. Trying to play through some dance-music oriented Nocturnal Emissions CD's before this, and being forced to eject disc before losing my will to live, this disc felt perhaps even more amazing than it is.
For some reason, it sounds really painful. Shirashi's saxophone is more of Borbetomagus than jazz. It's short and most irritating sounds, almost just equivalent or screeching glass. Nothing musical really. Alan Licht is NYC guitarist known for playing with Lee Ronaldo etc. His role here is to abuse Twin Reverb, Digital Delay, Turbo Rat, Tube Screamer, to create noisy electronics. After CD ended, I checked out from discogs what this really was and turns out I just didn't remember it was originally part of Pure series, but happened to have this RRR jewelbox version in my shelves too. For whatever reason, I don't see this mentioned even in list of Pure CD's I made here:
http://www.special-interests.net/forum/index.php?topic=3097.0
Perhaps famous names (Shiraishi, founder of Fushitsusha) may create situation where one doesn't necessarily want to check it out. Or lets say, to me it often seems that there is big gap between people who will only check noise made by well known artists, and the others will stay as far as possible if there is even remote link to sellingpoints including famous rock groups.

That Pure topic should be certainly resurrected. Entire Pure series feels like needing to be revisited!

NMPERING / JASON LESCALLEET "Love me two times" 2xCD
Intransitive Recordings
Too bad my copy of the item is so heavily scratched, first disc keeps skipping... Not that this would be rare or hard to find to have good copy in mint condition. Lescalleet has always been brilliant. I have less experience with Nmpering. Perhaps length alone makes this too long to really make one big impact, but it's listening pleasure consisting over and over again "what a great sounds" -feelings. There is strength and vision in composition too, but tasty sounds themselves are the real power of this release. Lots of physical objects and carefully adjusted sound textures.
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« Reply #6674 on: January 04, 2018, 09:57:26 PM »

NAPALMED - Recycled
This could go on for a few days, but since I have time for about a tape/night and have a recently received pile of these it makes sense both to listen to them and write a little on them. I first got to know Napalmed as the inferior half of a split with Yggdrasil (I seem to remember I wrote something about that here 1+ years ago). This bad-boy is better - perhaps due to the lack of competition, but more likely because this is really better. There are some musical samples and other things that border on bullshit/joke-noise, but most of the time they are included in a sufficiently classy way so as not to offend my delicate sensibilities. Lots of stuff going on here - "percussion" made up of clocks, clicks and hisses meets sweet-ass distorted rumblings and more commonplace abuse of things iron and hard. The intensity varies immensely, though it seldom lets up completely. Sometimes a showcasing of various genres of noise/industrial, but with some kind of thread holding all or most of it together. Nice use of stereo. Not quite my regular taste, at least not all the time, but still very nice.
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