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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2055028 times)
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« Reply #7050 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 #7051 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 #7052 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 #7053 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 #7054 on: July 11, 2018, 05:23:14 PM »

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

!!
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« Reply #7055 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.
« Last Edit: July 11, 2018, 05:54:22 PM by absurdexposition » Logged

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« Reply #7056 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 #7057 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 #7058 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 #7059 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 #7060 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 #7061 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 #7062 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 #7063 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 #7064 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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