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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2227839 times)
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« Reply #7230 on: February 11, 2019, 12:54:40 AM »

V/A “Arson” CS (Team Boro Tapes, 2017)
        I'm sure many reading already have this, but since I'm late to the game and digging what Team Boro does, gonna review it anyway. I'll start by saying I find it very refreshing that the label has found a way to apply a nicely violent and taboo theme without relying on the usual perversity, narcoterrorism, or political dog-whistling (not that I have any real objection to any of that). And what better than arson for a tape that's bound to be primarily harsh noise?
        Side A: First up is Tied Hands, who usually do a sort of all-over-the-place mixture of noise, field recordings and “experimental” if I'm not mistaken. Here, we get a sort of tinny and “small” sounding take on HN that is pleasantly sandy/gritty (track concerns a maniac cop turned spree killer). Next is VMS Elit with a crunchy, brittle HN piece that doesn't skimp on ringing high-end; should appeal to fans similar stuff like Quack Quack/Milos Olympus. Following that is Heinz Hopf, with whom I'm kind of underwhelmed as I must admit I generally like the principals' solo efforts much, much more. As usual, things are so saturated as to compress the sense of space I feel their tracks would generally do better to retain. Nice screeching high end of course, but there is a reason I'm partial to Johannson, Nystrand, and Anderson on their own. Onto a contribution from Schakalens Bror – feeling dumb for not having looked into this project earlier as I'm really enjoying the emphasis on texture over volume here: broken, very detailed, acoustic-emphasis kind of stuff; amazing work – not so much Harsh Noise as just noise. Next up is Factory Farming with yet another piece whose sample I can't make out due to the language barrier – oh well, I'm really liking the semi-rhythmic Slogun-clone PE approach; excellent static texture and perhaps the longest piece so far. After that, Legless blasts in with his fairly usual speaker-filling, high-presence decayed roaring HN, has a certain Richard Ramirez-type feel to it, not a bad thing in this case (and great background alarm throbbing oscillations). Lastly, we get Death Dealer doing, well, more HN but with a layered and dynamic (yet still blown-out, saturated, and compressed) take on HN despite still being no-fi as hell. Nice cuts/shifts and a tasty machine-whirring tone as backbone make this piece one of my favorites. Weird pitch-shifted singing sample bleeding through underneath is effectively eerie.
        Side B: Kicks off with People's Person taking a more spacious, high-mid approach with an amazing “container reverb” before the avalanche of crunch rains down. Disturbing “moaning” tone underneath, excellent layering and timing for this piece. Second entry is Current Worming whose brand of harsh noise + industrial tape muck is on display with a barreling, cavernous track that sounds as if the reverb was emphasized due to over-saturation. Just the right amount of buzzing low-key rhythmic grime to make the track recognizable as who was responsible for it (although you could mistake it for Dead Body Love). I would have bought the tape for this submission alone but of course knew the others would match up. After that, Friendly Face's  (who get the award for best track title, “Zippo”) cascading flamethrower HN is hard to distinguish from Dealer and Hopf from the previous side but delivers some seriously amazing feedback spraying out along with the blasting mid-range molten asphalt which cools to one thin static line in concluding. Implicit Ruin, next, have a super-primitive take on industrial with a hammering rhythm, one-two high-end noise wave as melody, and bursts of wet synth fluttering in occasionally. Vocals are enraged and of course heavily flanged. Oddly, when the vocals start, the metal percussion shifts to sort of random pinging – I can't help but like this sort of wacky take on PE, which crescendos into primitive harsh noise cut-up with great reverberation. The next piece, whom I'll assume is Ü Golem with a quiet, sputtering crackle wall piece with a flattened bass flowing underneath – the most tape-decayed out of a number of projects whose main component seems to be cassette gain and over-saturation. Another one of my favorite pieces for the entire comp, as I really enjoy the somewhat “thinner” HNW style of whichever project this is, Vast Glory, and certain tracks by The Rita. The next track is yet another intense wall of static but with a sort of “cosmic” or esoteric feel due to the almost-melodic tonal synth drone in background along with the foreground WH-style high-end flutter. Most likely Urban Bushmen, something of an idiosyncratic, refreshing approach for a project with such a great name. Finally, we have a piece from Arkhe, which as 90% of the pieces before it, relies on a linear approach and static grime, droning away consistently much like the previous project (and sounding quite different from the Arkhe on other releases I own in doing so). Not the best material for that project and not an amazing closing track for a compilation but what can you do?
        As a closing note, I'll use a term I normally hate and say this comp is really well “curated” as far as track length and order – doesn't feel as if any project got short shrift or too much leeway with unduly long tracks, either. I can think of some projects that would've felt at home here but perhaps would've just been more of the same, so the economical and efficient choice of C66 is great. Neither side feels like the 33 minutes which comprise it, both moving quickly and staying engaging. Where's Bloated Slutbag when you need him?

Mark Vernon “Orphaned Works” CS (Research Laboratories, 2019)
        Another great collection from the current god of tape archaeology. Using similar found-sound materials as his Lend An Ear and Remnant Kings releases, Vernon here again evokes incredible emotion and atmosphere in what amounts to a diverse collection of relatively short pieces. We get of course detailed clanks and clunks amidst the sound of all manner of interior spaces along with fragments of instructional tapes, dictations, and anonymous thrift-store home recordings (somebody turned 16 on Friday, October 13th 1989, if you're the superstitious type) among much more. Overall has an ethereal, haunted character as complimented by the 4AD-like cover art/layout. More composed than collaged, they differ from Lend An Ear while retaining a similar intimate feel. The emphasis on structure at times veers toward his work in the duo Vernon & Burns. One of the better details is the use of hyper-processed voice wizardry, not unlike Valerio Triccoli or “The Floor Above” by Mercury Hall. Vernon's added acoustic work is of course also absolutely gorgeous and spectral. Has a distinct (by chance only, mind you!) HNAS/Heemann/Ultra vibe at times. Criminally-small edition which I understand is nearly sold-out, so visit Mark's YouTube channel to stream it: https://www.youtube.com/channel/UCle7IUOlgIRqFOOLBTDS9gA

Duncan Harrison “Life Is Not a Succession of Major Events” CS (Research Laboratories, 2019)
        A genuinely challenging and off-putting experimental work from an artist I greatly admire. Discovering Duncan's work for myself, I was at first blown away by the incredible detail and variation, everything worked and reworked to perfect execution. Though the latter is still the case, the former not as much, with recent works having a more deliberate sense of unity, even minimalism. This is most so here, with “Life Is Not...” comprising of high-gain, loud blown-out cuts from what sounds like almost accidental or incidental field recordings. Side A has a sort of numbing repetition (often like life itself) using clunky looping edits with some layered voice snippet interjections. Infinitely approaching zero would be the most apt abstract description, I think. On Side B, we have drawings from the same pool of source recordings, with a more varied, cut-up/collaged style, emphasizing an amazing use of syllabic voice edits. Here, the experience is more akin to walking through the lengthy subways of Boston while moving forward over a long distance. I suspect there are also other details aside from the field recordings mentioned but they are merely complimentary sheen to the main component. Totally immersive listening yet throroughly no-entertainment dismal Brit masochism. For fans of: Jeph Jerman, The Haters, Euronet.

Active Denial s/t CS (Cheap Food Records, 2017)
        Quirky Brit PE which, as far as I can tell, avoids the usual sex murder and questionable politics in favor of a more, I don't know, personal, obscure, or esoteric approach. Esoteric in the more general sense of the word than implying connotations of mysticism, as here the requisite spite is of course present as PE mostly should be. In a way, it sort of has the bleak romanticism of lo-fi black metal, just without the instruments. Thin, primitive synth electronics go from droning to static to bi-tonal sub-rhythmic over six tracks on one side, most of which bleed together to a degree. The vocal performance, present only on some tracks, gives an impression of a very young PB doing vocals in a fictitious, alternate-reality demo version of Total Sex or Birthdeath Experience. So minimal as to be not remarkably memorable but good stuff; a few shades better than the underwhelming, minimal, quiet “PE” coming out of the US like Pleasure Island, Alba Cell and so on. Fans of Forza Albino, Menacing '84/Roases, and Intersp3c!es 3rotica (a one-off PE project from Moral Defeat label out of Denmark which should have recorded more material). I hope to see more from this project simply as I'm curious what it'd sound like.
   
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« Reply #7231 on: February 12, 2019, 10:29:54 PM »

FACIALMESS / HERMIT split tape
Recalcitrant Noise
Fuck how great Facialmess is on this tape! Listening some of his later works where cut up & funny bits never get really brutal has made me wonder what were the actually best Facialmess recordings out there. And I can vote for this. Almost flawless performance of fast, brutal, ripping and highly vivid movement. Never gets boring during 30 mins of duration. Hermit is also good here, but his work is so much more toned down industrial type noise that after being electrocuted by Facialmess, it doesn't feel equally exciting. Probably projects would have both benefited from solo C-30 releases?!
Facialmess/Gestorte Nachbarn C-20 and a s/t C-20, both on Bloated Corpse (I believe), from that same time of 1996-1997 are similar.  I don't believe either are listed at Discogs, but I can't remember what the s/t cover looks like to double-check right now.  There are probably more tapes of this style and high quality from that period and also on Bloated Corpse (his label).  Would love to see a box set of that period and his label.
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« Reply #7232 on: February 13, 2019, 05:11:18 PM »

There is also GRUNT / FACIALMESS split LP from roughly same era. Meaning - it must be good, but it must be 20 years when I last listened to it... I think I got to grab this from shelves soon. First check what old tapes I have in collection... I think the early material made impression, but as said, later more amusing ultra cut up less so...

VU "s/t" tape
Brown Hill Mafia
New finnish duo. Filed under industrial-ambient. Ambient description is quite far fetched, I think. Maybe usage of some fairly modern synths may cause this. Yet sound is recorded in echoing chamber, nearly live-session I've been told. It's far more industrial with experimental soundscapes, droning electronics, but too much roughness to be what traditionally is "ambient". Good tape, I was actually surprised how good it was when I was expecting... "ambient".

AARON DILLOWAY "Banned/Bent" tape
Banned
raw tape loops, grinding for half an hour. Good sound, really neat and simple material that works.

SHARON'S LAST PARTY "Bayonetts for lhasa" tape
kickacid
I was expecting more old IRM type of stuff leaning towards heavy electronics type of stuff! Wasn't 7" way more industrial. Don't remember when I listened this, release over decade ago. Slow, scratching and bow-on-objects type of sounds,.. bass guitar? Throat-singing chanting, etc. One long side that slows well. Far more ritual music direction than I remember other stuff to be.

DRUG AGE "Tropismo" tape
Joy De Vivre
Not been following what are the latest news of the Italian harsh noise activities. I have impression that it's not as active as it was while ago? This tape, really brilliant. Sounds like single take, no overdubs kind of noise. Ripping and brutal, yet evades the easiest sub-categories. Just the kind of good noise I like.

ULTRA FUCK "Sex at the Maly Trostenests" tape
Thorax Harsh Cassettes
Really primitive noise. Some loops appear as if they were just done by pushing pause, rewinding fragment and pushing pause again and repeating process of abruptly ending repeating sound fragments. Vocals without any neat effects. It doesn't sound like Streicher, but if one would compare level of technical quality - somewhere in similar direction yet even more fucked up.

EN NIHIL "Assertive Order of Obedience" tape
Labyrinth
About 2/3 of a-side is dull blown up simple HWN. One bassy tone crackling and rumbling for probably 20 minutes, until suddenly changes. Rest of the tape we can hear bleak and raw electronics noise with much more variation. There's none of the dark and "industrial" tone known from some En Nihil stuff, yet it ain't the typical harsh noise. Its good for being quite different from most of recent listening.
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« Reply #7233 on: February 15, 2019, 06:46:53 PM »

Clinic of Torture - Rope Suspension CD - maybe the smoothest listen as far as CoT goes? less rough than the original album, more active than the 2nd album. "Pulse of Blood 2" is a notable highlight with its heartbeat rhythm. If you like other Clinic of Torture releases, you'll like this. Only complaint, I miss those rhythmic tracks that show up frequently on Sounds of Torment, Perversion Bizar and the live recordings.

Encephalophonic -X CD - had this on heavy repeat lately. cut-up harsh noise that manages to be technical and absolutely brutal at the same time. I think a big part of what sets Encephalophonic apart from other harsh noisers is the unique vibe. it's not just seedy or crusty, but just this cold steel / razorblade masochism thing that's reinforced so well by the artwork. if Caligula031 is the soundtrack to female trafficking in the Balkans, then Encephalophonic is the soundtrack for their lives once they're discarded.

Mo*Te - Life in a Peaceful New World CD - of all the top-tier Japanese noise reissues from the past two years, this is the biggest revelation for me. incredibly pure harsh noise that doesn't have a single bland second. yesterday I listened to it four times in a row and was barely satisfied. fuck.
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« Reply #7234 on: February 15, 2019, 10:11:34 PM »

Encephalophonic -X CD - had this on heavy repeat lately. cut-up harsh noise that manages to be technical and absolutely brutal at the same time. I think a big part of what sets Encephalophonic apart from other harsh noisers is the unique vibe. it's not just seedy or crusty, but just this cold steel / razorblade masochism thing that's reinforced so well by the artwork. if Caligula031 is the soundtrack to female trafficking in the Balkans, then Encephalophonic is the soundtrack for their lives once they're discarded.

Thanks for this, never read a better description for the great noise that is Encephalophonic!

Totally different, but I listened a lot to Ulex Xane's Stances Semblance CD. And I have to say I like it more every time. Great record! Definitely a highlight of 2018 for me.
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« Reply #7235 on: February 15, 2019, 11:55:42 PM »

TRERIKSRÖSET - Kristen Musik från Rågsved LP
Been going through this a number of times now, including a couple of sober listens during the day, and feel like I've got it now. One could say something along the lines of "vintage Treriksröset, dude, you know it's absolutely spectacular", or one could go off on a pretentious rant about how this is actually deeper than expected. Imma do both. This is vintage Treriksröset, dude, and you know it's absolutely spectacular. It should also be said that this is actually quite deep, and raises more than one interesting point about the nature of harsh noise and aesthetics in general. If you think you know pretty much what to expect, as I did, the brief intro is totally out of left field as far as the sonic atmosphere goes. For a brief moment I thought I had mistakenly stumbled onto some "post mortem" industrial stuff. This feeling was interrupted in a supremely surprising and equally satisfying way by pure, unmortem harsh noise of a type any fan of Sexregler will recognize instantly. Treriksröset, bitch. Extremely organic despite its sharp harshness, complex despite its virtually mono-layered structure and, most importantly: violent and chaotic without ever becoming obnoxious or annoying. These are things that could be said about all Treriksröset recordings, but apply more than ever when it comes to the two tracks making up the A side of this presentation of Christian music from Rågsved. The B side houses only the title track which, ever so subtly, crosses a barrier or two by somehow summoning angels of a a nature slightly more corporeal than you'd expect from previous encounters with this project. I've not been able to pinpoint it, but a certain physicality can be detected throughout the track; there's something industrial in the literal meaning of the word going on here. It's captivating, no matter what. As a final note on the actual sound, it should be said that when you realize you've spent five minutes listening to the locked grove before realizing that there even is a locked groove on the album, then you know you've found some good fucking harsh noise (as well as someone dedicated to getting his locked grooves just right). The cover and artwork is also mindblowing in its balanced perfection. It is too soon to start making lists over best 2019 releases, but whatever happens, Kristen Musik från Rågsved will make the top 3.
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« Reply #7236 on: February 16, 2019, 03:03:02 PM »

V/A "Lapse From Virtue" tape
Sound of Pig
Back in 1989 Yutaka Tanaka (s*core) compiled this C-60 of japanese noise for Sound Of Pig tape label. Even if many famous names are included, atmosphere is quite unlike the "japanese noise of the 90's".
Solmania, Merzbow and The Hanatarash next to industrial sound of Contagious Orgasm , S*Core, and delicate experimental violin sound of Agencement. And bunch of oddities Liminal, Nihilist Surfin' Group, Noizrt and Thug System to mention. It reminds far more the "experimental tape scene", than what was published just few years later as Japanoise. Not a perfect tape by any means, but good stuff nevertheless!

MACRONYMPHA "1990-91 vol. 2" tape
MSNP
All info that can be found about this is "Recorded 1990-91 Pittsburgh PA. Edition of 30 copies issued by Rodger Stella." Material sound somehow familiar at parts, but it is hard to say what kind of sessions this compiles? Is it unreleased stuff? Is it sound material that was later used on some other tapes? Almost entire C-90 is good stuff. Lots of metal noise loops, that are highly textured. One beat oriented track is quite useless among brilliant material.

KILLY DOG BOX "Against the forgetting" tape
Линия Шума
Russian label did tape version of that was year later re-released as CDR. Again one of the UK bands I have really no clue what and when they have been active and how this tape ended to my shelves. Edition of 59 copies, hand stamped covers, quite good experimental / ambient / industrial soundscapes of some sort. Not something I get overtly excited, but stuff I like to listen to while doing mailorder packages etc.

Another release with plenty of UK artists presence is PROTUBERANCE comp tape. Cementimental, Filthy Turd, Bongoleeros, and suddenly followed by massive track of Concrete Violin... tape just playing as we speak so still 3/4 to be listened before heading towards live gig of Blood of thee christ, Young Hustlers etc this evening!

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« Reply #7237 on: February 16, 2019, 05:31:01 PM »

Natural Orthodoxy - Trust Exercises. Cassette 2018. I discovered this project on here on the UK PE thread and decided to buy a tape after the link was posted. I did a full review on my blog. I liked how he pulled all the very different tracks together. I found the work very bleak in a Northern English way and thought that made it unique. There was a good sense of experimentation too, it didn't seem that conservative as a result. Like other younger UK stuff it seemed very personal and I liked that. I played a load of stuff off his Bandcamp and got into it, I will be on the discogs hunt for more stuff over time.

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« Reply #7238 on: February 18, 2019, 11:32:01 PM »

Reynols - Minecxio Emanations 1993-2018 box set 2019
Pica Disk

Monumental box set just released on Marhaug's imprint celebrating this cult Argentinian group.  Amazing lofi live recordings for the most part, some nice collaged approaches to how the tracks run together.  Improv and jam after improv and jam but I have been listening for hours with no boredom at all.  I'm not sure how but this band really manages to be a cut above lots of other free psych stuff of a similar nature.  Only here will I make mention of Miguel Tomasin's Down Syndrome condition as a possible reason for this?  It exists beyond just the scope of actively trying to be some kind of noisy improv band and simply....is what ever these guys do with very listenable results?

I'm only listening online as my box hasn't arrived yet and I can't wait to see the thing properly.  One of the best bands ever?!
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« Reply #7239 on: February 21, 2019, 11:26:18 PM »

Controlled Death  ‎– Black Lucifer Rising

Sickness  ‎– No One Cries For The Death Of A Disease...

Dark Sonority  ‎– Kaosrekviem

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« Reply #7240 on: February 22, 2019, 04:36:30 PM »

Climax Denial - All of My Loves Are Like Dreams - (Assembly of Hatred, 2010) - I bought this a few years ago and keep coming back to it from time to time.  I was doing some work so I drifted in and out of it. It does that low level thing, distant vocals etc and I think it does that very well. The reason it stood out is I was listening to a release that revelled in low level,vocals in the distance stuff and it didn't work as well and this is an example of that kind of thing being done very well. My Jewel Case for it is wrecked though, need to get a new one.

Climax Denial - Sexuality is a Curse - ( IDES recordings, 2006) - This I also got years ago, it's more explosive than the other release and I really got into it. This I got with the cd as I read about the IDES label and Climax Denial in As Loud as Possible. Do love these two bits I have by the project, but this tape really goes off on one and I like it more.

The Implicate Order Volume 1 and 2 - ( Self released, 2002 -3) This project was Justin Bennett and Paris Sadonis - I got rips of these from a friend as I knew Paris from Shadow Project and Premature Ejaculation. He's done loads of odd Dark Ambient stuff like this, Involution, Foxfairy, Paris, Gravehill, Witch. This is fairly dark with odd bits thrown in, it gets sparkly in parts and a bit PE in parts. I am slightly obsessed with this, it's like a lighter Premature Ejaculation, but good, will find these someday on original. It was self released and sold on the project's old MySpace, how I miss those innocent days of social media. I am a complete Premature Ejaculation obsessive and tend to like projects vaguely linked to it.

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« Reply #7241 on: February 22, 2019, 08:21:20 PM »

IRM "Closure" cd (Malignant Records)- goddamn, I would consider this a modern day classic of industrial music & the label has it for $5. It took me this long to buy the damn thing as it just slipped my mind back when it was causing a minor stir as it whether or not it was 'Power Electronics'. Who the fuck cares? It's intense & dramatic from start to finish. Highly Recommended esp. at the current price.

If anyone in the U.S. has Irm or Bladh-related materials, drop me a line.

S.P.K. "Live at the Crypt" cd (O.E.C.)- new reissue that's pretty damn good. Not a lot to say, really.
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« Reply #7242 on: February 22, 2019, 08:31:30 PM »

IRM "Closure" cd (Malignant Records)- goddamn, I would consider this a modern day classic of industrial music & the label has it for $5. It took me this long to buy the damn thing as it just slipped my mind back when it was causing a minor stir as it whether or not it was 'Power Electronics'. Who the fuck cares? It's intense & dramatic from start to finish. Highly Recommended esp. at the current price.

I need to revisit this. Not sure if I've heard it since it came out. I think my favourite IRM material might still be the stuff from the Nihil 2LP on CMI.
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« Reply #7243 on: February 22, 2019, 08:42:57 PM »

IRM "Closure" cd (Malignant Records)- goddamn, I would consider this a modern day classic of industrial music & the label has it for $5. It took me this long to buy the damn thing as it just slipped my mind back when it was causing a minor stir as it whether or not it was 'Power Electronics'. Who the fuck cares? It's intense & dramatic from start to finish. Highly Recommended esp. at the current price.

I need to revisit this. Not sure if I've heard it since it came out. I think my favourite IRM material might still be the stuff from the Nihil 2LP on CMI.

I pulled Nihil to give Irm another listen & have "Oedipus Dethroned" on the way along with an order for "Order" on Discogs I'm waiting for an invoice. I've always liked Irm but never gave the rel's much attention beyond the first listen. Hell, I didn't make it all the way through the Bladh/Sotos cd... "Closure", though, hit me instantly. Played it twice the day I received it.
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« Reply #7244 on: February 22, 2019, 10:40:52 PM »

I just got Irm's indications of nigredo in the mail today I ordered it out of the blue only because ive liked the concept of nigredo and I wanted to see what the image on the cover was up close!


Ive seen them live and heard a few things but nothing really stuck out, I'm excited listen
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