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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2137987 times)
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« Reply #7035 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 #7036 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 #7037 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 #7038 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 #7039 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 #7040 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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« Reply #7041 on: July 15, 2018, 05:02:14 AM »

To cleanse the annoyance listened to:

CON-DOM - Subjection CD Industrial Recollections
The high quality, attentive and loving reissue quality of IR at work here.  One I never heard, ed 50 of those tapes Mark put out with close ups of his synths on the covers.  Faithful art here, I flipped the booklet so it displays the CON-DOM defiant and erect prisoner logo.  Two long tracks, probably the most full on noise without explicit vocals I've heard from Mike.  Control is my preference, speeding fuzzy dense tape blurs and static, long enough to get lost in.  Mike is riding the FF button on backing tapes through some distortion it feels. The track Domination has the same length and level of quality / dynamics, but I maybe will play it less cus it has... for a CON-DOM fanatic, a very "cute" aspect, which is the familiar looping "control" spoken sample playing REALLY fast, it doesn't necessarily sound like a silly voice or sped up voice, but I can tell what it is.  Eventually it becomes more apparent that sped up voices are buried, but it sounds like more of a mess of bird chatter than what it is generally, no idea why he didn't title these the other way around.
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« Reply #7042 on: July 19, 2018, 04:48:00 PM »

No Dreams “Constant Vitriol” CS (Angst, 2018)
        Bought this more or less going in blind, having seen No Dreams advertised as a mostly-PE project elsewhere, yet this was described as something like “loops and manipulated field recordings.” I'm not in love with this kind of “shoegaze noise” style you used to hear a lot of (Monorail Trespassing, Ekhein and similar US labels seemed to be doing a ton of this about a decade or so back). You have sad-time synth drones and melodies, nice tape saturation, some seemingly-unimportant field recordings; all has this sort of dulled, restrained veneer. Sure, I prefer music that's a little downbeat in attitude, but I don't know how much I can relate to the “OD'd on the beach” vibes I get here (I got bored towards the end of side A but side B reveals a bit more scenery; the tacked-on live piece is actually anything but). This is by no means unengaging, but may slow me down in terms of the next time I check this project out. I would rather listen to Christian Mirande but this is sort of like a bleak, crude version of that which really can only be a postive comparison. Very urban, very modern and downer stuff. I enjoy the “coping with urban environment” angle.

Derek Baron/Alec Livaditis split CS (Silt Editions, 2018)
        It's not so much that I reject a lot of the academic experimental music stuff because it's stuffy, but because it attracts sort of softer, more delicate, more cheery people. I realize that sounds ridiculous, but when following some of these more “acceptable” projects and artists, you usually end up with something that is at some point relatively annoying. In this case, DB takes side A here and it's a fairly bad follow-up to this “Harpist” tape from Pentiments last year. Although I like the field recordings and voice stuff, this is also a pretty good example of what I hate sometimes about musique concrete, sound collage, and so on – track gets off to a horrible start with some really awful-sounding keyboard stuff before we get to the good stuff which is not super imaginative, if we're being honest. Then, of course, the stupid keyboard comes back during an otherwise interesting part – would get more of a “travelogue” feel for the different locations where recordings occurred here if we weren't dealing with the oversaturated easy-listening/muzak tones. Skip this side and get Duncan Harrison's “Preamble to Nihil” instead.
        Things are immediately more engaging on side B – Livaditis treats us to some almost Lambkin-esque tape work with a nice “Swedish tape blah blah blah” sound, with less tape characterization. Very odd choice of both noisy rattling drone and delicate tinkling layers that somehow works incredibly well. Found-sound voice work reinforces the Lambkin comparison, even brings to mind Blackhumour. Lots of button manipulation brings up a No Intention/Good Area vibe. By no means startling or really even that original, but I really like this kind of stuff and it's good enough to overshadow the incredibly weak A-side. Can say without a doubt I'm interested to hear whatever else this guy might be doing. I like this enough to try and itemize the sound but the tape is worth grabbing for this side alone.

Kjostad “Bear Baiting” CS (Aught Void, 2018)
        I think the only ready comparisons for what Stefan Aune's been doing as Kjostad for a while now are perhaps early Hum of the Druid and Daniel Menche. As far as their respective noisier stuff goes, I think the comparison fits – especially here, lots of great lows and mids bursting out of the speakers that never feel forced, I.E. achieved via a pedal chain. When things calm down after a few minutes and more atmosphere clears away the fog of noise, some beautiful field and room recordings can be heard, both sections making this so far the moodiest and most deliberately atmospheric Kjostad release I've heard so far. It seems as though this is one of several tapes which seem to rely on inclement weather that was sought deliberately as opposed to the “chance” feeling I got from others. I would like to imagine that Yukio Mishima would have enjoyed this music – there is a distinctly “bunkered,” spartan feel to it despite the radiant naturalism. Side B seems to have the first major use of eerie high-end tones in the project amid the more recognizable wet foliage, open-air and wildlife sounds. I could listen to this many times in a row. A sound you happened to record which would have occurred anyway is infinitely preferable to one which you generate yourself.
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« Reply #7043 on: July 20, 2018, 01:12:46 AM »

Kjostad “Bear Baiting” CS (Aught Void, 2018)
        I think the only ready comparisons for what Stefan Aune's been doing as Kjostad for a while now are perhaps early Hum of the Druid and Daniel Menche. As far as their respective noisier stuff goes, I think the comparison fits – especially here, lots of great lows and mids bursting out of the speakers that never feel forced, I.E. achieved via a pedal chain. When things calm down after a few minutes and more atmosphere clears away the fog of noise, some beautiful field and room recordings can be heard, both sections making this so far the moodiest and most deliberately atmospheric Kjostad release I've heard so far. It seems as though this is one of several tapes which seem to rely on inclement weather that was sought deliberately as opposed to the “chance” feeling I got from others. I would like to imagine that Yukio Mishima would have enjoyed this music – there is a distinctly “bunkered,” spartan feel to it despite the radiant naturalism. Side B seems to have the first major use of eerie high-end tones in the project amid the more recognizable wet foliage, open-air and wildlife sounds. I could listen to this many times in a row. A sound you happened to record which would have occurred anyway is infinitely preferable to one which you generate yourself.

Great commentary for a great little gem.
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« Reply #7044 on: July 20, 2018, 02:02:57 AM »

Worth - Blinder
Worth – Neanderthal Camera (Lead Lozenges)
Worth ‎– Blood Possessed

Digest commentary viewable at the end of this post


Worth - Blinder
Yes, it’s good. Add one more voice to the rapidly accumulating heap according Mr VanGorder all praises due. Don’t believe the hype: listen to it. (Then flip the hype over and listen to the B side.)

Hype or not, I was frankly surprised at the sheer, earhole-ripping, ferocity. The all-out, balls-out, no-holes-barred, HARSH.  More recent offerings, such as Neanderthal Camera and Blood Possessed, evince some interest in the more subtle perforations of hefty-weighted crunch and smother. Blinder, by contrast, is about as subtle as a… very unsubtle thing. This is not to say there aren’t subtleties. Detail. Texture. There is plenty in the way of fissures, or cracks, as to invite deeper, studied, exploration. It’s just that about forty-two seconds in all that is UTTERLY BLASTED TO KINGDOM SCORCH via hyper-spastic, stylized, rapid-panned blisterment. First impressions. Evidently they count. Run the transcript-

The very first impression, if I may backtrack slightly, is of ugly-voiced neanderthal-cum-industrial drudge, built by degrees. Then- BLAM! Sudden incursion of exceedingly harsh, pointed, spasticity. The attack is neither sustained nor shy of brief twitchings of relent. But it is very convincing. In the spaces served in between subsequent attacks, of which there are plenty, the ‘holes enjoy the opportunity to acclimate. Like basking in hot flashes of reverberant scorch- a harsh bath, so to speak. Not that the sound is noticeably reverb-tinged; that’s more reflective of the heart palpitations incurred in your faithful spastic. The spastic congress of layers in neck-jerked, stop-motion, dip, dunk, ‘n shuffle.  A kerfluffle of disparate de-stabilized, or heart de-stabilizing, digression. All so very nicely bashed together- if occasionally rather rude ‘n crude in their splicings- and in the process to point to another deep and abiding… abrading… hallmark of the project:

Texture. Texture born not of dense grit-flavors, crunchy cheeked overbilge and the like, but of clear willingness to countenance source materials occasionally ventured as anathema to certain of the cognoscenti. (See the New Forces tape for the most revealing deferral to the more heretical sourcings, but there abound many such heresies left right ‘n off-center.) So texture in the layers, plenty of ‘em, among which a suitably wide array of disparate materials are deployed. Texture born also of the spastic dispersal of crudely dynamic variation: fat chunky blurts punch in and out with wild, frazzle-edged, abandon. “Frazzled-edged” my attempt to describe the determined refusal to de-filth the materials in play. Sources far from crystalline, more roughly stripped of essence, edges unceremoniously hacked off, broken away, seeming acoustic shards spread wide and ragged, spiced with momentary shrieking vocal intrusions, ripped distorted bilgings. All to net the sense of something very raw, despite the intensely focused, on point, attention to detail. A kind of perfect, schizo-frenetic, RAW.

The above may apply, in differing measure, to the lp on whole. “All Color” from the Purple Facing is both most and least representative, indulging more bestial oomphings toward experimental, rough-tumbled, grunt-snuffled, gutter bilge… just about as ugly as one could hope. “In Moat Duplication” ups the pace, and the ante, sputtered junk bustlings choked, filthed, scuppered into cantankerous mess of near live-in-you-face-type non-relent. And “Manacled”, Orange Facing, well, that’s pretty much sure rrrrip to the smile off any lingering progressive urging, sufficient in its severely pitched, all-out, redzoned oblivia to blast the badly abused ‘holes into char-burnt fetal coma. Hearing lost, nothing gained. What more to ask.


Worth – Neanderthal Camera (Lead Lozenges)
Easily the most diverse range of perversions I’ve heard from the project. So quite a contrast with, say, the straight-up Blinder previously served under the ever worthy initiative of Mr VanGorder.

Source materials include “Internal Feedback, Bass Guitar, Barbed Wire, Movies”. No reference whatever to the sorts of materials apparent on The Steps (New Forces). It’s the Barbed Wire that first seems to dominate. Buckling metal wires funneled through crumple-mouthed casing, frenetic, straight-ahead, cascading mess of clunked collapse. This sounds acoustic, but could be pure- if rather chunky- electronics fed through airy room amplification. Not terribly exploratory, but at four minutes or so adequate to establish credentials. Then the exploratory. “Horehound Tongue”, a creeping downward brood, skulking about the moldy crevices of high-ceilinged atrium, lots of space to feel things out, to elongate, to lap and linger in the corners and cracks, occasional breaks of daylight accentuating brief intrusions of high-powered screech. A welcome refreshment over almost before it starts. What I then take for Track 03 moves quickly through fat slobbering bass tones to meet more of that cascading clunked collapse. This time it- the clunked collapse- comes in waves, downright percussive slammering-down as bottom-heavy undercurrent slowly bulges upward, stealing air, fighting a hacking wheezing shriek development. Then mock formality of Movies uglifies Bass Guitar, undercurrent dropping out amid a bubbling percolation of dribblies to admit measured clonking of proper, acoustic, metal junk. Perhaps it's in the amplification, or the Internal Feedback, but this sounds a fair bit heavier-handed than to be envisaged in Barbed Wire. The elements start to loop, get distorted out of perspective, the first real hint of harsh beginning to stake a claim, frazzled in static buzz, end.

-Hey man, like, what’s yer fave Worth track?”
-Dunno my dude, like, it’s all pretty worth-y, ur-hur. Maybe “Manacled”.
-From Blinder? Yeah, “Manacled” is, like, some straight up brutal shit. Personally, I’m more an “As Digital Clocks Chose A Cave Graveyard, It's Harder To Play Tricks, Whereas Before It Was Simple To Shake Hands With The Clock To Make A Deal To Illusion” kinda guy.
-Oh, snap! Completely forgot about “As Digital Clocks Chose A Cave Graveyard, It's Harder To Play Tricks, Whereas Before It Was Simple To Shake Hands With The Clock To Make A Deal To Illusion”! Dunno if “As Digital Clocks Chose A Cave Graveyard, It's Harder To Play Tricks, Whereas Before It Was Simple To Shake Hands With The Clock To Make A Deal To Illusion” is, like, favorite or nothin, but “As Digital Clocks Chose A Cave Graveyard, It's Harder To Play Tricks, Whereas Before It Was Simple To Shake Hands With The Clock To Make A Deal To Illusion” is seriously… uh, dude? Dude?


Just telling em as I hear em. Side B is also a bit of a divergence from what I’ve previously encountered. Heavy duty thunder punch, dense, punishing, almost approaching a certain crunchy consistency, more classic in its textural unfolding. Perhaps as demanded in the title but who am I to parse? Corrugated rumble sheets establish a solid base through which harsher inclinations attempt to drive. And with some limited success. At a bit over halfway through the heavier sheets are torn clean asunder, savage rendings clearing the air, opening proceedings to a few decisive cuts and chisels. A broadening of stereo scope, distant waterlogged shearings retch across the field, throwing up fat clods of dirt, filth, bits of withered viscera, brought back to earth in fits of strangulated bird twitter.


Worth ‎– Blood Possessed
I'm not sure this is my favorite from the project responsible for the singular fury of Blinder but it is almost certainly the most accomplished. Accomplished in that it ticks all the boxes demanded of the would be Noise Classic(tm). Full-flavored indulgence of select sourcings- scrap-metal junked, electronic, digitariate, physical, primal, Neanderthal- all carefully arrayed, layered, deployed for maximal earhole penetration. So full marks in the areas of How and What. As for Why, I cede the floor to Master Kong :

Confucius says "shit happens."

Yes, well, thanks for that. In fairness, in  "Confucius Says (Lineage Lessons)" quite a lot of righteous fecal matter does, in fact, occur. VanGorder throws himself, body and soul, into deeply penetrating scrunch-bristlings, plunging the depths of studiously strangulated self-defilement before sudden release onto the upturned face of enraptured, glaze-eyed, psychedelia. Shimmers, delicious shivers, severe tongue-lashed trembling buzz-drone. Explosive multi-pronged ejaculations sluice across salaciously spread junk-array, swallowed up in storms of surging rumble-pumpsy, overworked sphincters struggling to accommodate the sheer mess of blood-spattered fecal occurrence.

"Fecal Intimidator" battens down some of outlying hatches, trading on shreds of het up vocal ejaculate choking the closing minutes of its confucian predecessor. Tense down-trodden atmosphere of grimy go-nowhere plod. Filthed blurts and flatulents fail to crack the interior of cruelly constrictive sludge-tunneled embrace, subdued retchings consigned to oscillate slowly in sewage drizzled containment fields.

"American Blend" is similarly filtered, percolating with some deliberation into much more arid drainage chambers housing hollow-mouthed bass-huffings half obscured in grainy distortion. Up close and personal, constraint is less apparent, more live-in-the-flesh, sharpened stabs poking and prodding with a gusto that may be metal junk-driven but may again be the slightly murked ones and zeroes of mildly blown out, amplified, chunks.

"User's Bodily Temple" differs only insofar as the garbled chunks have at last blown their way clear to fresh-faced vistas of breezy, murk-free, scorch-blaze. But what a way to blow. This feels ecstatic, exuberant, harsher metal-tinged screechings surging in dynamic shriek-laden self-defilement, a small handful of fapscraps, unlayered, unleavened, going straight for jugular. And never not once to get quite out of hand. A yank on the reins, a tightening of the clamps, decisive THWACK to accentuate the purple-cheeked verdict.

"Stained County Raw Bio-Chemistry" seems an appropriate title to announce the reprisal of all them fecal matters first posited. Master Kong, I presume. Gritty investiture in painfully scrunched filth rippage, hunkering deep in low-end bilge-pits. Slight cracks in the facade are soon exploited to admit a potential avalanche of schizo dis-possession. Dah-dahdahdaah. Wait, is that, like, a Dissecting Table sample or self-generated? Would certainly fit the very DT-esque title. Mad science experiment gone horribly wrong. Dah-dahdahdaah. Quickly runs the gamut. Screeching scorchfits. Sizzling psych-erectronics. Quick-spliced hack-fapping. Meaty rumble-bulge. Errantly dropped concrete blocks. Disembodied voice, screaming simians. Straight rawkin beat stuck on the end for good measure… was this all done live? Perfected perv-vision partially glimpsed through bleary eye of tortured animal due for morning incinerator. Horribly wrong.


Worth – Blinder digest commentary
Surprisingly harsh, spastic, attack. Range of deranged, unhinged, elements layered in seeming haphazard fashion to achieve their own textural dis-harmony. Interesting use of dynamics, meaty chunks punching into already densely-saturated fields to as though designed to destabilize the attentions, sending them careening first into one passage then the next, leaving the studious perv scratching the head wondering how he got there. Option two is to sit back at some remove, allow the mass of disparate derangement to solidify into massive, impenetrable, wall. All win.

Worth – Neanderthal Camera (Lead Lozenges) digest commentary
Fine proving ground of divergent capabilities. You get yer semi-acoustic junk splurgings, your sickly industrial-grade murk pools, and your flat-headed crunch vectors. I’m not sure if a story is being told- the titles, here, as elsewhere, are about as enigmatic as you can get- but there is certainly a sense of progression from start to finish. Quite craftily honed sense of harshcraft, flopping it all out, laying it on the line, then ten minutes of face-in-the-dirt, thunder-bludgened, grit.

Worth ‎– Blood Possessed digestible commentary
Fine and full-flavored working through of all the preferred perversions. Diverse, dynamic, dense if not too dense. One moment a veritable shizer-load of material is running through the mill, the next a choice selection of tightly regulated delectables traps attention in tense pockets of furious focus. Good and clean separation of elements if not too clean, occasionally choked through overloaded masses of pure rumble bilge. Excited to hear where the project will go next.
« Last Edit: July 21, 2018, 11:08:16 AM by Bloated Slutbag » Logged

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« Reply #7045 on: July 21, 2018, 03:24:43 AM »

Great commentary for a great little gem.

Quite a compliment coming from my favorite review author here, thanks.

flat-headed crunch vectors

Case in point. But yeah, Worth is something else. Been enjoying Blood Possessed and The Steps and have experienced a reviving interest in harsh fuckin' noise.
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« Reply #7046 on: July 23, 2018, 09:14:10 PM »

Ruins - Front the Final Foes
Not sure how I discovered this album, I think by randomly download a song for it. I liked it so of course, when it was for sale for only 2 euros at Debemur Morti I grabbed it with my order of other BM stuff. Probably some stock they won't sell easily, probably still have it, and I can see why. Yes it has a smudgy black metal sound, yes it has death metal drumming and guitar thickness, but it's mostly the 'up-font' hardcore approach to delivery that I see people turned off by it. And it's great, makes it very catchy. Simple and effective. Production is very modern, loud, full blown and still clear sounding instruments with a very sharp and punchy, frontal delivery. It doesn't sound anywhere what you haven't heard before but if you like Code or Glorior Belli and happen to order at Debemur Morti it's defensively worth checking out.
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« Reply #7047 on: July 27, 2018, 09:29:10 AM »

Necromicon - Through the Gates of Grief
There is a small golden age in the history of Swedish black metal right around the years 93-95 or so. These years are of course quite important for the genre as a whole, but Swedish BM quickly turned into a more regular metal subgenre with most bands focusing way too much on production and technical skill. The most obvious explanation is that a large segment of the Swedish BM scene, at least among the bands that became successful, had a heavy metal background, and was generally very interested in instrumentation and composition. If you like composing and performing music more than you like inventing your very own type of satanic/pagan/fascist/occult homebrew belief you will become a better musician, but a worse black metal artist. Through the Gates of Grief is quite typical of this era in that way. In hindsight, it is easy to hear the technical and melodic preferences of the band members and understand exactly what will happen in a few years time (heavy/thrash metal, black'n roll or whatever - I can't remember precisely what these guys went on to do), but as a stand alone demo it is amazing and awesome.

The feel is similar to Prophanity's Messenger from the Northern Warrior Host, Setherial's A Hail to the Faceless Angels and perhaps even Naglfar's Stellae Trajectio - i.e. technical and melodic and threatening to move over into a more sterile and lifeless territory, but still raw and rough enough to tickle the right kind of BM aficionados in the right way. Originality wasn't the name of the game here, but then there is absolutely no reason why it should have been. Long time followers of the genre will recognize Those of the Unlight era Marduk, a smattering of Norway (early Satyricon, Ulver, etc) and just about any other Scandinavian 90's black metal you can think of. Not any Finnish influences though (except perhaps a little Suomi Finland Perkele Impaled Nazarene, if you use your imagination). I like this type of stuff a whole lot, even if I think a "better" production would be enough to make it far less interesting. Great tape, great band.
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« Reply #7048 on: August 02, 2018, 11:56:40 PM »

Korean Piss Journals - “in what america?” (Uninvited Records, 2018)

A wondrously cacophonous 28 minutes. KPJ scrambles back and forth between news feeds and old hip-hop tracks mangled til they’ve been reduced to barely recognizable sewage, to bursts of unbridled power electronics. Squeals like a dozen tanker trucks grating along the steel railing towards you, unintelligible screams puncture the noise like a voice through the static of a megaphone turned too loud. Then, a voice like a long-dead news anchor clips with an abyssal, pulsating power buzz.

Everything is running out of power. The only human voices were recorded long ago and we are left with the screams of the leftovers and the automatons.
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« Reply #7049 on: August 03, 2018, 09:39:11 AM »

GRAUSTICH "Morality ends" LP
Tordon Ljud
This seems to me better than any stuff I've heard in past. Heavy electronics is the name of the game, and that is basically the only negative side. Many tracks are something you can pretty much expect from "genre music". 8 "rock song" length tracks delivers variation and good strong stuff, yet never really breaks away from what could be expected from "heavy electronics". So what I assume is, that people who like genre, will like this a lot, and those who feel they've hear "enough", can't see Graustich's quality beyond hearing how it resembles other groups. So - if you do like heavy electronics, or not been overtly exposed to material - I'd say definitely grab this!

LAST DOMINION LOST "Abomination of Desolation" LP
Epicurean
I think this project is somehow ignored - compared to level how good it is. I had theory, that maybe it was bad move originally to ride on name dropping of how there is SPK and DiJ members involved etc. While for some people, it may be sole reason to buy it, it feels to me that plenty of new guys won't bother. For whatever reason. Tesco's release of Last Dominion Lost seems to collect dust in discount bins, despite it is good album. Epicurean's smaller pressing in other hand, are both better, and smaller editions and therefore holding their value pretty well.
This is at the same time old school, yet not nostalgia. They have plenty of modern gadgets and neat sound, very rich textures of flowing "hand made" feel to it. At least over here, it seemed like doing small tape release on Trapdoor finally opened some eyes of people who don't normally follow "big industrial names", hah... Recommended!

ORIFICE TRAINING "Bathroom Abuse" LP
PDB
After many years, got the special edition with printed metal plate as cover. There is something unexplainable why many of the 90's USA noise sounds dark and brutal, while a lot of contemporary harsh noise sounds... energetic and warm? Maybe it is lack of seeing any images of dude with t-shirts, shorts and caps, raging over table of gear. The old stuff - somewhat mysterious and looks different too. Not to mention proper LP album on European industrial label. If one likes texas noise of 90's, one is bound to like Orifice Training. It's intense, ripping, multilayered harsh noise before the overtly boosted digital era. While musically flawless, I think it is after all the context what makes it more than it is.

P.S. Anyone willing to trade MERZBOW wooden box on PDP, I can trade for big pile of distro stuff!!

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