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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 1889663 times)
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« Reply #7050 on: July 09, 2018, 06:53:22 PM »

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

Cooter “Besmirched For Bedwetting” CS (WM, 2018)
        Simple electronic noise that has pretty good sound balance and in-your-face dynamics thanks to the loud dub, despite it's pretty limited pallette. Focus on high-end with little to zero bass, probably from one or two devices, “broken” stuttering textures. This has that youthful, intimate, embarassing and sexual feel (something I suspect that some holds more of the appeal than the sound itself with releases like this) which sounds appropriate for/intentional to the theme. There were recent post regarding some obscure “filth noise” US labels and although I wasn't really into a lot of those, I think this wouldn't be far off. This guy's duo PE project is so, so much better, but I doubt he's trying to reinvent the wheel here. I like this style of noise but it could use a lot more edits and layering, sort of like the recent Rotera B.A.G. tape on Total Black (which is ace, by the way; anyone reading check that one out). I like this, very “Leathersex,” but I wouldn't listen often.

Mania/Deterge “Garrulous Opinion” CS (Fusty Cunt, 2018)
        We have Mania using Deterge's stuff as source material on side A. Frankly it just sounds like some of the simpler Mania tracks from a few years back in the opening movements – dark, grisly atmosphere and saturated, wet sound. I wouldn't have known about the source sounds unless you told me. Has some nice use of a pulsing/throbbing synth texture that recurs throughout, and a slow structure like the Bizarre Uproar sound of the past few years. Not crazy about the too-muffled junk acoustics early on in this piece, but to compare them to the Hal Hutchinson collaboration wouldn't be fair! Signature Mania feedback + vocals kick in after a point. Later acoustic parts are nice but this track seems to get stuck in the mud from compression/blow-outs that aren't my thing these days, could benefit from a better mix and me having better speakers.
        B-side is Deterge using Mania's sources. I don't really mind saying the first few seconds had me a bit more interested than the A-side. I've heard some less-than-generous comments about Deterge's vocal style, and I know what they're talking about now, but it's not bad for this electronics style (almost “death industrial”) and reminds me a lot of Intrinsic Action and the more recent stuff from Eddie from Final Solution – very “punk.” There's a more subdued, disturbing quality to this side and the acoustics used are just clatter, which is an approach I have a love-hate relationship with. Next is basically the oppposite, with nice huge banging bassy metal and some muffled, quiet delayed vocals. Background flange/chorus-effected high-end again brings to mind FS, never a bad thing. Definitely evokes the paranoia and sublimated attrition of living in America today. Now I think I get an idea of what's going on with Deterge. What I like is that the crunchy and clanking acoustics here were (obviously) recorded (very well) by someone else, which says a lot about this guy's overall sense of control. Reminds me of the Trucido stuff that MK9 did but with shoutier vocals. Would appreciate any recommendations for solid, representative albums by Deterge.
        Overall pretty good but could've benefited from better sound quality and a lyric sheet like the LP has, being that the subject here is important and yet you can't understand one word of the vocals. While they do achieve the “unique” atmosphere relating to the subject matter, the tape's sound doesn't reflect that in any immediate or obvious sense. This more than anything has me curious about checking out more Deterge and looking forward to the split LP.

Wonderland Club “Pageant” CS (IOPS, 2018)
        The layers of thought and source material that went into this rivals major sections of really any mid-period Sotos, and the opening sound collage is really something more PE projects should do. It's one thing to listen to N12's deliberately brooding, slimy sound, but this stuff has a viciousness that just makes the subject matter all the more vile, mostly because of the vocal style. Reminds me very much of the more composed “case history” material by Taint. This band has some of the most thought-through and well written/edited lyrics in contemporary PE, alongside maybe even Caligula031 or Koufar; considering the number of angles each project is getting at in representing its respective set of subjects is fairly impressive. Not my favorite material from the project so far, but not a step backward by any means. Not sure electronics are supposed to be the highlight point here, anyway – I almost think of this as spoken-word which happens to be delivered in a PE style/context. We do get really tasty”brittle” EDP Wasp-y textures and just enough reverb, anyway. B-side has slightly different lyrical approach and stronger sound, both in instrumentation and mix/master, for some reason (I would guess they were recorded/finished at different times). Excellent presence and enunciation of vocals – any/all US youngsters trying to do their own PE, listen to this and then decide if you really need to.

Duncan Harrison “Preamble to Nihil” (self-released, 2017?)
        Although the stuff I'd previously heard from this guy is now probably about a decade old, this stuff seems to have a representative uneasiness to it along with a nice attention to detail I remember from before (“Young Arms,” maybe?). As far as the voice work, I find this kind of thing pretty amazing; Blackhumour would be proud. As for as the other sounds present, we get mostly subtly-manipulated field recordings in collage with a few loops. Pretty noisy, precise cut-up acoustics and effects later on. Since we're getting into territory where we can use terms like “sound poetry” etc here, I'll just say this is like a less-crude version of some of the stuff I've heard from No Intention and Good Area (“What's that?” “What's what?” “You can't hear that?” “Hear what?” “That noise!!”). Doesn't seem to take itself too seriously and I wouldn't really recommend this to the nasty crowd anyway unless you're like me and you literally like a little bit of everything – which this tape has, including a field recording of traditional Irish music and some questionable free “jazz.” Definitely one of my favorites for this year; not for it's particular strength or uniqueness but for it's personal nature and the meticulous work that went into it.

Duncan Harrison & Karen Constance “Live At Coachwerks” CS (Sound Holes, ??)
        Obviously, a live collaboration between two artists, one I'm just beginning to get into, the latter I'm unfamiliar with. Will check her stuff out, though, as I like what I'm hearing here; pleasantly exotic musique concrete with a lot of live acoustics which brings to mind Derek Baron, Massimo Toniutti, and so on. A suprisingly diverse collection of acoustic and textural sounds, with some nice “industrial” touches and loud impact noises that I think serve as the “harsher” parts. Hard to say what's being generated live and what's being manipulated via tape. Disappointingly, it's single-sided.

Derek Baron “Harpist” CS (Pentiments, 2017)
        Bought this based off the description, as I'd seen work by the artist advertised but never really paid attention. Here, we get something a bit like the above, very pleasant but also moving and sensuous musique concrete, in which the metal debris seems to have an odd, almost melodic tonality to it. Again, brings to mind the lesser-known Toniutti brother, but that's sort of a simplistic comparison. There seem to be nice inclusions of field recordings, noiser textures, some reel-to-reel manipulations (I assume, anyway), and some interesting tones that I'm not sure whether they are brass, woodwind, feedback, or something else. The two side-long pieces manage to stay fairly interesting throughout but keep the mood a bit lighter than I'd prefer. This was apparently recorded in a variety of urban locations and that seems to jive with the whole vibe that Pentiments has going, sort of a stylish and sleek approach to whatever this kind of thing is. This guy also apparently has a recording of him playing Erik Satie tunes while his roommates bother him, available as an LP from Penultimate. Not sure about the format, but I'd like to hear that.

Leonard Cohen “I'm Your Man” (Columbia, 1988)
        Strange that I like this album so much while despising everything that came before it (especially his awful voice and “Hallelujah”). I guess it's really not all that strange considering he was 53, his voice was getting gravelly, and things were going downhill. I have a love-hate relationship with the cheesy '80s synth sound here, but it seems to work. Brings to mind the second Suicide album, with a little Tom Waits and Lou Reed thrown in. The album that followed it isn't bad either, but leans dangerously toward Randy Newman and Stevie Ray Vaughn at times.
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« Reply #7051 on: July 10, 2018, 08:58:42 AM »

Duncan Harrison “Preamble to Nihil” (self-released, 2017?)
        Although the stuff I'd previously heard from this guy is now probably about a decade old, this stuff seems to have a representative uneasiness to it along with a nice attention to detail I remember from before (“Young Arms,” maybe?). As far as the voice work, I find this kind of thing pretty amazing; Blackhumour would be proud. As for as the other sounds present, we get mostly subtly-manipulated field recordings in collage with a few loops. Pretty noisy, precise cut-up acoustics and effects later on. Since we're getting into territory where we can use terms like “sound poetry” etc here, I'll just say this is like a less-crude version of some of the stuff I've heard from No Intention and Good Area (“What's that?” “What's what?” “You can't hear that?” “Hear what?” “That noise!!”). Doesn't seem to take itself too seriously and I wouldn't really recommend this to the nasty crowd anyway unless you're like me and you literally like a little bit of everything – which this tape has, including a field recording of traditional Irish music and some questionable free “jazz.” Definitely one of my favorites for this year; not for it's particular strength or uniqueness but for it's personal nature and the meticulous work that went into it.

I fucking love this tape. I'm doing an album for Duncan on Index Clean - should be out within the next couple of months or so.
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« Reply #7052 on: July 10, 2018, 12:23:20 PM »

MNEM - Hegonon LP (Sentimental Productions)
Like waking up on an unmanned and antiquated, rusty old space craft heading nowhere in the middle of nowhere, in outer space, constantly getting stuck in space time loops. Or on abandoned equally antique submarine suddenly coming to life by itself in the Mariana trench. Reminiscent in atmosphere of the Irgun Zwai Leumi LP Klirrfaktor with all that ghostly decaying electronics thing going on, but above all, very Mnem. There's been a nice resurgence of industrial of this eerie nature as of late, at least in my head, with Jim Haynes - Electrical Injuries, Arkhe - Deep In Sleep and Alfarmania & Proiekt Hat - Flugornas Herrar sending me to similar places but taking their own respective routes. A great great album.
« Last Edit: July 10, 2018, 12:55:35 PM by Baglady » Logged
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« Reply #7053 on: July 10, 2018, 08:38:59 PM »

Duncan Harrison “Preamble to Nihil” (self-released, 2017?)
I fucking love this tape. I'm doing an album for Duncan on Index Clean - should be out within the next couple of months or so.

Glad to hear it! While I'm at it, ACLN has permanently been on rotation in the CD player/playlist/mp3 player since I got the CD, absolutely amazing stuff that fills a certain void. Really looking forward to the RW&S tape on Thalamos.
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« Reply #7054 on: July 11, 2018, 04:13:39 AM »

KNURL - Nervescrap CS (self-released, 1995)

Fuck, this is a long tape. It's fine but I struggle to remain interested in something this long (a C90 I'm assuming) especially when faced with such a backlog of new arrivals to perpetually get through. Anyways it's mostly very Japanese sounding, not too booming and not heavy on the low-end (though there is some nice crunch present, most noticeable in the first couple tracks), a bit spastic. Initially reminded me a lot of K.K. Null's "Ultima Hyper Drug" LP from 1986. Lots of disconnected cable sounds which I'm not overly fond of. Second side is slightly more straightforward (emphasis on slightly) and the second to last track (Sulcus) is a bit of a breather with some interesting effected sounds that I can best describe as a sewing needle being slowly poked through a window screen or netting, or maybe the sound of a pointed object on steel sharpener - neither of which I would assume to be the source (maybe the latter is close, but I feel like it's all electronics), but Bloor spending a short amount of time playing in that area was the highlight of the tape for me.

Found (alongside "Infraneuroma") while digging in long-forgotten boxes of tapes at the L'Oblique record shop in Montreal (a former hangout of Bloor's back in the day) a couple years ago. J-card is made out of black sandpaper with text written on with white-out.

I'd but curious to compare the RRR/Pure CD versions to the tape, in terms of sound quality / dynamics but either way this isn't something I'll be revisiting any time soon, mostly due to its length.
« Last Edit: July 11, 2018, 04:16:38 AM by absurdexposition » Logged

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« Reply #7055 on: July 11, 2018, 05:12:41 PM »

KNURL - Nervescrap CS (self-released, 1995)

Fuck, this is a long tape. It's fine but I struggle to remain interested in something this long (a C90 I'm assuming) especially when faced with such a backlog of new arrivals to perpetually get through. Anyways it's mostly very Japanese sounding, not too booming and not heavy on the low-end (though there is some nice crunch present, most noticeable in the first couple tracks), a bit spastic. Initially reminded me a lot of K.K. Null's "Ultima Hyper Drug" LP from 1986. Lots of disconnected cable sounds which I'm not overly fond of. Second side is slightly more straightforward (emphasis on slightly) and the second to last track (Sulcus) is a bit of a breather with some interesting effected sounds that I can best describe as a sewing needle being slowly poked through a window screen or netting, or maybe the sound of a pointed object on steel sharpener - neither of which I would assume to be the source (maybe the latter is close, but I feel like it's all electronics), but Bloor spending a short amount of time playing in that area was the highlight of the tape for me.

Found (alongside "Infraneuroma") while digging in long-forgotten boxes of tapes at the L'Oblique record shop in Montreal (a former hangout of Bloor's back in the day) a couple years ago. J-card is made out of black sandpaper with text written on with white-out.

I'd but curious to compare the RRR/Pure CD versions to the tape, in terms of sound quality / dynamics

I'd say the cd is pretty faithful to the tape in these regards. Very raw sound, on the upper end of the frequency spectrum, consistent with Knurl up to, well, pretty much Infraneuroma. I (think I) get what you mean by "Japanese" sounding but to my ear nothing at all like that. Much more raw, much-fettered, free-form shredded than most I'd expect from the Nihon contingent (and I must say, very far from Ultra Hyper Drug, which is much suffused with the instrumentation on hand- Nervescrap barely so.) Still in this light it might be worth noting that Mikawa had a lot of good things to say about Nervescrap. As do I. Remains one of my favorite from the Pure series. Obviously runs somewhat shorter than a 90-minute tape. But also a good expression of the stated anti-music aims of the project, re- “to take music and strip it entirely of what we know music to be”. The pure brutality of this conviction could even be said to have been somewhat hindered by the c90 format...
edit
(Interesting in any case to ponder how history might treat, say, a box full of Knurl c120s...)

Infraneuroma is probably the one to pick up after that so uh good timing, imo the best from that most brutal era of stripping music of what know it to be. Even further from "Japanese" sounding in its totally stripped down, ripped-raw, scrapped-to-shit, flavorings. No respite, no remorse.
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« Reply #7056 on: July 11, 2018, 05:23:14 PM »

MNEM - Hegonon LP (Sentimental Productions)
above all, very Mnem.

!!
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« Reply #7057 on: July 11, 2018, 05:52:20 PM »

very far from Ultra Hyper Drug

Far, indeed, but is similar IMO. Of course UHD is much more composed, but it being instrument-based isn't so apparent off-hand, either.
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« Reply #7058 on: July 11, 2018, 06:16:50 PM »

very far from Ultra Hyper Drug

Far, indeed, but is similar IMO. Of course UHD is much more composed, but it being instrument-based isn't so apparent off-hand, either.

Conceded! Could even be truthed that Nervescrap is, in certain respects, surprisingly, um, musical. Or at least reflective of apparent potential post-musical (instrumental anti-musical) inclinations of the project. In simpler terms, I'd say- UHD more about the dynamics of the "classical" materials on hand, Nervescrap more about the full-frontal purely electronic amplification. Of course, this is speaking in relative terms. (Where's a good de Waard when we need 'im to explicate that, in fact, it all sounds the same?)
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« Reply #7059 on: July 13, 2018, 05:49:01 AM »

Glad to hear it! While I'm at it, ACLN has permanently been on rotation in the CD player/playlist/mp3 player since I got the CD, absolutely amazing stuff that fills a certain void. Really looking forward to the RW&S tape on Thalamos.

Thanks! There's a second Red Wine and Sugar LP in production at present that might come out before the Thalamos and Ongoing Discipline releases.
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« Reply #7060 on: July 13, 2018, 07:24:54 AM »

MACRONYMPHA "Futurismo" tape
MSNP
Good c-90. Not the best Macro, but still good 1991-1992 recordings. It's no secret Macro used to use sources from other bands recordings. Mangling them into new noise. In this tape, it feels as if some Monde Bruits material was used, heh.. It may be just using similar effects, similar methods, yet, occasionally it feels like there is just other artists noise being brutalized into more crunchy sound?

MASONNA 4x CD box
Urashima
After criticism given for tape box lay-out, I'm glad to report CD version looks way better. Box is smaller, in CD size. Perhaps box like in MO CD set would have been still better than wooden box, but now material fits into 4 CD's, packaged in regular cardboard wallets with much tastier bondage photos than used in tape box. No booklet, but all that same info what was in booklet of tape version, is on back covers of CD's. Sounds good on CD. 1988 recordings still more air in it and lazier bits and pieces in mix, yet 1989 man found the intensity Masonna is known for and reminds why Masonna is one of the most remarkable Japanese noise projects of the era!
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« Reply #7061 on: July 13, 2018, 05:47:25 PM »

Altar of Flies "Rabbit Hole" (reissue) CS (Hasten & Korset, 2018?)
           I'm always late to the game and this project seems to have a dedicated and diverse following, so I'm not gonna ramble on. Since this is my first "proper" AoF tape (others being under the guy's real name) I'll just say the project certainly lives up to all the hype - using "mundane" sounds with not exactly a ton of manipulation to create really moving, intimate and sometimes "disturbing" atmospheres. Something about elevator sounds in experimental music seem to be a staple, haha. I doubt this is his best material so I'll certainly look out for more.

Lionel Marchetti "Chasser (1ere edtude naturelle)" CS (Moremars, 2018)
          Musique concrete in the "typically French" style I would assume many here are already familiar with, but I wasn't. This guy's been doing excellent stuff since the late '80s, apparently, much of which seems to follow in the footsteps of Shaeffer, Henry, and Ferrari. Each recording seems to follow variations on a formula, in this case piano/manipulated voice/field recordings. There's a nice tension in that this is more anxious than dark but overall I find this style very relaxing. Some really unexpected moments in an otherwise related collection of pieces. Definitely interested to hear more of this guy's work.
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« Reply #7062 on: July 13, 2018, 10:22:18 PM »

JOSHUA NORTON CABAL - Victor Over Death CS (Gaping Hole, 2009)
Well-composed with solid pacing. It's nice to hear a Trogotronic treated well and with a different approach than the Bastard Noise style. One of the better JNC tapes.

LIMBS BIN -  Vomitous Excoriations of Phlegmatic Aesthetes CS (Fourth Dimension, 2018)
Required listening for anyone needing proof of this project's capabilities. Incessantly searing and piercing electronics with nods to Bastard Noise and a vocal delivery that could be a mashup of Wood and Balistreri.
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« Reply #7063 on: July 14, 2018, 07:25:26 PM »

Church Shuttle - Mind Of A Savage

Didn't hear this one until it was reissued by No Rent like a week ago. A lot of really abstract and warped sounds on this tape. Piercing feedback and buzzing drones mix beautifully with harmonicas, xylophones, chopped up samples, and other weird nonsensical shit. It's got the spirit of power electronics but it's not your typical hateful, violence and sex themed PE. There's songs about his ceiling fan keeping him cool in the summer and another about how his car is a piece of shit. He rants and raves through vocal effects about chicken and baseball. Sounds like silly topics for this kind of music but it comes across very convincing. Is there more PE that is like this? Less focused on hate and intensity, more deranged and abstract. Would appreciate any recommendations! This tape really is the perfect soundtrack for beating the mid-summer heat, and sums up exactly where my mind is at lately.
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« Reply #7064 on: July 15, 2018, 04:01:58 AM »

Was trying to listen to some MILITIA and CON-DOM but that teamup at least in the reissues realm is ruined by digital glitches.  Idiot labels, shitting out crap without doing quality control.  Annoying.  Archive Collection 1: 1996 - 1997  has crap digital blips all over the place and the Scorched Earth CD on OEC is ruined for the CON-DOM tracks, like sounds like a skipping CDR.  No it's not the noise.  At least LISTEN to it before you release it.  I know these guys are whatever legends, SO WHAT, you press a skipping CD, wake up.
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