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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 1960965 times)
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« Reply #7080 on: August 25, 2018, 05:44:22 PM »

MANIA / DETERGE ‎– Lay Waste / Future of Pulse
Any new work from Keith brings me back to opening my first packages from MSNP, Relapse and SAR back in the mid 90s and being so intimidated and fearful while listening to the various TAINT cassettes.  This LP shows Keith's inimitable sense of restraint, timing, focus and ear for sound as it moves around between crushing explosions, effects pulsing and pockets of silence.
Jim's material is a great dichotomy as it shows a younger vitality as the material negotiates a more contemporary PE forward approach that's abrasive and layered.  I knew the first time i saw this LP announced it would probably be the LP of the year and I'm not disappointed.  Now I just have to hear the new CALIGULA031 7" to complete my list.
WINCE - The Older Generation LP (Tordon Ljud)
From Traum, via a couple of tapes, to this, Wince has gone backwards sort of. And who doesn't like backwards? Side A could be a forgotten one-man-chapter of the Killing Sessions, but not without leaving his own marks in the mess. The Devil is in the details, as they say. Just straight forward pummeling mayhem delivered with damn hard punch and drive. The flipside lacks none of the pummeling, the damn hard punch and the drive, but has more of a focus on dry crusty gut ripping textures. More early Dead Body Love than 2006 scandi harsh, if you will. An absolute crusher of an album. Wince in completely unhinged and careless wreckage mode. Just harsh noise boiled down to its essential elements, yet with heaps of skill and personality. Beautiful cover art too. I have shed tears to harsh noise in live situations, but this must be the first time it happened in front of the stereo at home. I love this album, and so will you.

I never feel like I do great releases justice in my own commentary, but I'll back these reviews on these LPs. Both are excellent, and exceeded my already high expectations of them. The Wince LP especially is a perfect harsh noise record. Both sides are structured in a way that once a side ends, you are compelled to turn it over, and then another full listen. A MUST for harsh heads.
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« Reply #7081 on: August 26, 2018, 10:32:20 PM »

Agonal Lust - Body Of Death
been jamming this a lot this week. violent PE, reminds me of a darker Deathpile (if that's possible). if the new tape is anything like this release it might be my favorite of the year

New tape is fantastic, for all your filthy rumbling needs
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« Reply #7082 on: August 28, 2018, 11:39:39 AM »

Climax Denial / Discordance / Human Larvae / Moribund / Sewer Goddess / Sharpwaist 6tape set

Great material from Discordance and Human Larvae. Climax Denial showing his early stages, Sewer Goddess seemed to be well on the path to her/their current sound by now. A shame Moribund fell silent.

https://www.youtube.com/watch?v=ce_rI60BEaM

Deathpanel - Age Of Insignificance
Heavy electronics / industrial done right. Scratches the itch quite well.

Institut - The Struggle Never Ended
An old favourite and inspirational album. Also his best.

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« Reply #7083 on: August 30, 2018, 04:05:31 PM »

MERZBOW "Pornoise 1kg" 6xCD set
Menstrual
First I was hesitating a bit, do I need this, since I got the 5x tape set. Then noticed that there is extra disc for this. And started to listen. And 6 hours later, I'm convinced that CD's, taken from master tapes, with compact packaging... This is absolutely needed in my collection. It's 1982-1984 recordings, but noisy. Sometimes loop based, often free form. Not yet utterly brutal 90's distortion pedal screech, but damn noisy anyways. No free/improv stuff. Just really, really good industrial-noise in a way I like it. Only few tracks are perhaps too long. Side of tape, with stable loop repeating for exaggerated amount of time - but eventually bursting into flowing and exploding noise assaults, and it seems like it was just long foreplay before the good pornoise money shot hits you in the face.
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« Reply #7084 on: September 01, 2018, 09:40:56 AM »

KATATONIA - Dance of December Souls (CD)
This is an album about which I am utterly uncritical, since it was first released and digested by myself when I was at that age when permanent fixtures are assigned to the mental Classics Gallery never to go away. Apart from the amazingly awesome pink cover, which I loved then and love now, there are a lot of interesting things going on here. For a listener checking this out these days I am not sure that the unique feeling of the thing comes across, given the amount of slow, doom-ish sad metal that has been produced in the past twenty-something years, but that is really that listeners problem. Extremely characteristic drum work, great, sorrowful string melodies, decent levels of synthesizer work, and hysteria infused vocals screaming psychedelic lyrics about literal worlds of depression. An additional bonus is a certain inconsistency between the tracks, which has been masterfully glossed over by the producer to make the album coherent (I seem to remember reading something about Dan Swanö taking a very active role in shaping the Jhva Elohim Meth demo, and perhaps there was something similar going on here). No matter what you think about the two hundred goth influenced albums Katatonia released later, this (along with the demo mentioned above, and also the For Funerals to Come... EP) is essential. Funeral Metal, dude.

V/A - Gelbkreuz: Silent and deadly
Well, then! A harsh noise/HNW compilation that manages to get just about everything moving in a direction I like. Two CDs (that's CDs, not CDrs) of constant, relentless noise goodness. Limiting the track length to a maximum of five minutes per track may have been largely motivated by the limitations of the format, but it also has significant and mainly positive aesthetic consequences. Some of the featured HNW stalwarts, like Vomir, would only very rarely consider making a track this short, and all static-wall stuff is re-contextualized in a way by appearing in short bursts alongside other noise assaults. Some of the more bandcampy acts feel like they've been taken from the useless anarchy of digital, potentially infinite, temporality and, and unwillingly shunted into a proper musical uniform for the greater good, if you will. The fact that much of the material is static also means that you don't really get the feeling of "excerpts" either; the noise is there and you have time to grasp it. You lose the meditative sense of disembodiment stemming from hearing the same distorted rumblings for forty-five minutes, but you gain a fun (yeah, FUN) experience. The pure noise/HNW stuff is broken up by more dynamic offerings too, like Cutcutcutcut's "Observer (Drop the Bass)", which borders on instrumental power electronics. To be overly clear: style wise there is a mix between the comparatively speaking recent form of ultra-focused, minimalist generic HNW alluded to above, and more traditional (though usually still very wall-y) harsh noise. The other mix worth mentioning is the one between established artists - Macronympha, Bastard Noise, the aforementioned Vomir, etc - and more recently established and obscure acts - among whom I will only mention Stoa, not to insult anyone's self esteem or reveal ignorance of some internationally famous artiste. All in all, it makes for a great listen that at least simulates the sense of a scene overview that you'd get a few decades ago from compilation tapes. Obviously, there are so many noise people making so much so easily available music (?) these days that this sense is largely an illusion, but it still works very much in Gelbkreuz' favour. How you can print a 2CD in just 100 copies and still get any kind of profit, I'm not sure, but that's German efficiency for ya.
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« Reply #7085 on: September 01, 2018, 11:53:46 AM »

How you can print a 2CD in just 100 copies and still get any kind of profit, I'm not sure, but that's German efficiency for ya.

Nowadays real pressed cd in edition of 100 is very much doable. Of course making 200-300 costs just about the same. Making 100 might be merely realistic expectation What could be SOLD. If label doesnt trade, moving 300 compilation could be hard. At the same time, I doubt anyone is making noise comp for ”profit”. I would assume at best you recoup money spent on manufacturing and rest is just personal satisfaction - instead of money, hah...

Description of comp makes me want to check it out.
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« Reply #7086 on: September 02, 2018, 01:31:57 PM »

Nowadays real pressed cd in edition of 100 is very much doable. Of course making 200-300 costs just about the same. Making 100 might be merely realistic expectation What could be SOLD. If label doesnt trade, moving 300 compilation could be hard. At the same time, I doubt anyone is making noise comp for ”profit”. I would assume at best you recoup money spent on manufacturing and rest is just personal satisfaction - instead of money, hah...

Description of comp makes me want to check it out.

People not making noise comps for profit? Are you telling me that you, Peter and other label owners are NOT being driven by hired drivers around downtown Berlin/Lahti while chilling in the back seat with several beautiful, money hungry women? Does that mean that my plans for financial independence through noise tapes are not realistic? To be serious, I could probably have phrased that better. I always had the sense that the 500 (these days 300) limit most pressing plants used to have for "upgrading" from CDr to glass master pressing was some kind of iron law of economics, but it makes sense that you can just pay almost the same amount, get 100 and still make your money back.

Do check it out, if you do I'd like to see at least a few lines about it. I think you and everyone else will find that there is a decent number of awesome, stand-alone noise tracks here. However, it would be interesting to know if anyone else agrees that the format elevates and gives shape and form to some of the "modern" HNW tracks that honestly wouldn't have impressed that much if they appeared online as 60+ minute downloads. I love this thing, but that was a kind of surprising aspect.
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« Reply #7087 on: September 02, 2018, 05:11:43 PM »

Basically disc price is almost all about the set-up fee. Some places where I have pressed, price difference of 100-300 discs is merely 5-20 euro. When adding packaging, that's where price get bigger depending on how much you press. Current good quality digital printing there is barely set-up fee, and jewelboxes or such are always the same price. This and the shipping, is what makes difference in total manufacturing price in small and big order.  Still relatively small difference in money. It is just enlightened guess what would be ideal amount that helps to avoid cluttering your apartment or house with shitloads of inventory.

I don't have any releases that I'd somehow regret pressing way too many. I know some labels who simply ended up throwing CD's into garbage, since it was easiest solution to get rid of too many copies, hah...

Fact is that when you announce release to be ltd 100, people know it won't be available forever, like a lot of 10-20 year old CD pressings that were done 1000. This may encourage to buy item now, rather than wait for distant future.
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« Reply #7088 on: September 03, 2018, 06:04:20 PM »

I know some labels who simply ended up throwing CD's into garbage, since it was easiest solution to get rid of too many copies, hah...

A justifiable solution to the majority of music cds that exist and will be made in future.
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« Reply #7089 on: September 06, 2018, 10:43:02 PM »

A. Bolus, “Tropical Poolside Drainage.” C45
Vitrine. 2015

This release is a whole package. The cover is from Andy Bolus’s “Liquiflesh” series of visual works. The smeared, ambiguously entwined bodies serve the musical character well. Inside is a vintage photograph of a brunette housewife clothed in only panties holding a shotgun. "The best & the dirtiest from this black nut," borders the image. Track titles set the mood but don’t take themselves too seriously. "Recordings of an adult nature," introduces the list. I laugh when reading them. Listening, though, my grin is reduced to a questionable smirk. The melodies are warbling and uncertain, even if a bird might chirp their simple tune.

There are plenty of manipulations involving speed change and reverse play. The tape machine is a primary instrument. Source recordings merely lend a voice. Cut-tape loops create rhythms which are asymmetrical. They lumber with disdain, repeating but not exactly so. Unmolested field recordings track alongside in unison. The two form a dynamic, combined rhythm which isn’t cluttered or too complex. A deep sense of menace is present in the tone. The sound palette is just... off in that identifiable Evil Moisture way. This is ‘industrial’ in that sounds, themselves, are singing. There are a variety:

A Xerox machine. Tape hiss volume changing. A woman’s blood curdling scream. Wind. Contact pops. A reel-to-reel machine eating magnetic tape. Scratching. A pitch change. There are, of course, the handmade musical devices of Mr. Bolus’s unique imagination playing their tones...

These sources and more create a sick, twisted horror tune without irony or whimsy. This is serious and brooding with a rhythm to match. Each side is an extended exposition, patiently exposing its full array. “Tropical Poolside Drainage” shows Andy's personality clearly. The sound character is an outlier, though, to his other cassettes. There is no nerdy noodling around or exploratory, self-propelled sound set-ups. This recording is more thoughtfully composed, while its experimental distinction suffers none. It is a highlight among the vagary of Bolus’s latter-day output.

https://www.discogs.com/A-Bolus-Tropical-Poolside-Drainage/release/6697355
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« Reply #7090 on: September 14, 2018, 04:32:24 PM »

WINCE "The Older Generation" LP
Tordon Ljud
Many have praised this. Some have concluded that it's notch backwards from Traum, but being good for that reason. I will not say this would be bad at all, simply somehow more normal harsh noise blast than Traum what seemed far more original way of doing it. It's guaranteed work to satisfy noiseheads, yet when hearing some of the best moments of album, roughly middle of B-side, it makes me think the solid static walls presented on album are perhaps slightly below the abilities of Wince. When more dynamic moments hit in and somehow more rough edge is exposed, then the normal HWN type of material seems indeed notch backwards from the best of Wince. In best it is both noisy as fuck, but interesting textures that goes beyond static. Still, several rotations behind and recommended nevertheless!

ACTION / DISCIPLINE "Implementation of Pain Device" tape
Bacterial Field
Good brutal harsh noise. Compared to Wince, it's perhaps little less attention to finest detail, but in other hand old school harshness that could fit into MSNP or Deadline catalogue easily. Nowadays, of course Bacteria Field is one of the labels to keep attention when in need of good noise attacks.

CONCRETE MASCARA "Decay Sequence" tape
Unrest
Possibly best CM here? Should be! I like the sound. I like the sheer violent outbursts. Not so much electronic music feel here. It has both, modern power electronics / industrial, yet also the filthy edge. Saturated vocal bursts are among best things of tape.

GESTAPO'S LAST ORGY tape
Finnish/usa guys providing good lo-fi assault of noise electronics and movie samples and general gutter racket. Good stuff!

RAPED BY MONGOLOIDS "I" tape
Another obscure Finnish project. Dark juvenile humor meets the demented offensive topics. Lo-fi gutter noise and pitch shifted vocals that rarely appear in noise. Think of Whitehouse's Great White Death - when first hearing those vocals, how it sounded so odd. Raped By Mongoloids is far from sonic superiority of Whitehouse, but it is different and odd from standard "good noise". Quality that makes it good within longer playlist!

FINAL SOLUTION "Half/Dead" tape
Bunker
Fucking brilliant re-issue. I wouldn't mind someone doing CD reissues of FS stuff. This tape is well done. Sounds good, lay-out is good. Just would hope band like this would be available for larger audience. Includes so intense tracks that really nobody is doing at this point. Old School Whitehouse worship is obvious, but FS makes is more blunt and direct. At best the thin and disturbing electronics combined with obscene screaming voice that has dynamics and variation in everything: Pitch, pace, intensity, etc..  How to make brutal power electronics, clearly there are still lessons to learn in 2018! Final Solution releases are one good monument to observe.

FECAL FETAL "Lopun ajat" tape
Against Audio
Finnish noisecore band doing it the old traditional way. How they became on of the best noisecore things in recent years is: fast drums, fierce vocals, utterly noisy guitar. What is more just harsh brutal noise than "guitar". It's fairly long tape, but still keeps intense with traditional and minimal approach!

WORTH "Neantherdal Camera" tape
Lead Lozenges
Just brilliant harsh noise. Worth discography remains flawless at this point and its one of the current harsh noise bands to really not miss...

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« Reply #7091 on: September 18, 2018, 03:03:26 AM »

Atrox Pestis. "12th Cell"
Fusty Cunt 2018

This 60 min. tape is patiently slow and, dare I say, very pleasing. Atrox Pestis is melodic, droning, sometimes listlessly percussive dark-ambient. Unidentifiable sounds of industry reverberate from far-off sources in a hollowed out concrete expanse. I do not hear melancholy or dispirited music, though, on “12th Cell.” The overtone is neutral and calm to my ears.

My first number of listens were on headphones. The music is beautiful with an interplay of minimalist melodies. It was frustrating and irritating that the subtlety had to be strained to hear. The soft music was overwhelmed by tape hiss, having been recorded at what seemed to be an inadequately low signal level. I pined for a clear, digital option such as the contemporaneous “Hewn by the Hands of the Damned” on Chryptus Records. “12th cell” has low muddled bass, I reasoned; perhaps that forced the error? Further add a conspicuous misspelling of the band name (Petis) and the too clearly recognizable East Gable of St. Andrews Cathedral (Scotland) on the cover collage art, and I was woefully dissatisfied.

Then I played the album through a 2.1 stereo system. There is a warble to the pitch and over saturation to the notes which blend into the existent analogue hiss. An endemic, ancient character is created befitting something monolithic, full of dust and abandoned for ages. Was this even the same tape? Grant Richardson intermittently cuts his own lathe releases (Hex Lathes), and from an exchange with him about that, I believe he takes care with fidelity and attention to media. During songs, over the stereo, the hiss retreats into the ambience of the room. It adds a dirty, stochastic element to playback: subtle, uncontentious. The only deficiency is between songs where the hiss is forefront and unmistakable.

This release confounds me. I do very much appreciate the music; however, the method of playback is crucial to that enjoyment. The artwork is attractive, yet the central visual reference is to a Gothic cathedral abandoned in the mid 16th Century. Included with the cassette is a rusted metal part dating to the 20th Century and a continent away. The label’s promotion explains, “Each package contains artifacts from around lost Pittsburgh [PA] relics, a sister city [of Minneapolis, MN] in decay.” Does anything hold these various references together other than cliché? The music speaks to space, location, ambience and environment. None of the visual or physical elements add to that vision for me. I suspect these things bother me only because the music itself is so exceptional.

https://www.discogs.com/Atrox-Pestis-12th-Cell/release/12490699
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« Reply #7092 on: September 18, 2018, 04:15:12 AM »

Luke Holland. "Carrion" C30
Bacteria Field 2018

This is groaning, stuttering death-noise. Spitting distortion and simple, extended, rhythmic notes hold detail in their varied static manipulations. It’s very nice in the way that a fire’s crackle never repeats itself but retains a certain consistency. It can hold attention without any real change in character. That’s the attraction here.

Everything about this release is macabre: the track titles, the artwork, the fried sound palate. The cover is an evocative body of dead flesh—sexless, featureless, anonymous. Other than bruised and wasting, there is nothing more to report. The rest of the image is color and texture and patterns with material connotations. Succinct. A perfect analogy for the music.

https://www.discogs.com/Luke-Holland-Carrion/release/12242147
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« Reply #7093 on: September 19, 2018, 03:19:01 PM »

NIKLAS A.H. MARRITT "Revbensbur" tape
Tordon Ljud
This could be best tape on the label? First I was surprised to have man with acoutic guitar, singing bleak neo-folki'sh stuff. Not bad at all, just expected some noise here. But that will follow. Curious choise to mix together such music and noisy industrial tracks. It makes tape have feeling of something unexpected may happen. Dominance is with experimental noisy sound, but his approach is quite unlike most artists do it.

SCAR CROWE "s/t" tape
Self Abuse
Short tape of eerie field recordings. No more, no less.

MO*TE "Dusky Drunkard" tape
16/rec
Harsh noise tape from the old obscure Japanese artist. 20 minute tape still carries the old spirit of MO*TE. It is somewhat manual, never too edited, includes full blast harshness, but also elements what none of the known Japanese names would do. Meaning, artists own identity present here. 2014 recordings already. Sound is a bit crispier than many of his old works, but in core, it's not too far from material that was done 20 years ago. Since then band has just done some CDR splits and such. Not much offers from labels, I've been told. I'd suggest some of currently active labels to notice there could be potentially interesting stuff to release from him if just asking about it.

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