PLAYLIST with COMMENTS/REVIEWS

Started by GEWALTMONOPOL, December 15, 2009, 09:30:59 PM

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Dr Alex

Iron Fist Of The Sun - Family Survival Strategy cass

One more jewel from IFOTS! This material is more atmospheric but it's still heavy electronics with very unique approach. Be sure to get this amazing tape before it's too late!

absoluten calfeutrail

Sewer Election And Leda ‎– Maar LP (B.A.A.D.M. 2015)
Having sat with this and the second Neutral LP for some weeks, this is the better of the two for my money. I really love Sofie Herner's voice work, and here combined with more spare compositions of longer duration it generates a shadowy and stark tenor.

Paranoid Time ‎– RATLife S/Sided 12" (Troniks 2008)
Been revisiting this over the last week. I bought a lot of North American noise of the Troniks/Hospital/Chondritic/No Fun strain around 2007-2009, and to be honest it's pretty rare I touch any of it these days. This is still fucking great though - bull-necked traditional veneration of distortion with plenty of berserk motion. There's an unusual modesty present here as well which is very welcome.

John Duncan ‎– Bitter Earth LP (iDEAL Recordings 2016)
Duncan's faintly drawled, almost monotone vocal drives the majority of these absorbing cover selections, including a sweet choice from the best Iggy Pop solo album. A conscious strike against expectation, or more simply an indication of where Duncan's practice sits in 2016? This is a world away from the likes of Riot, but then I guess that was over 30 years ago.

Yrjö-Koskinen

#5777
Back in the box...

Aryan Triumph - Our Future is War (2003, Warlust Productions, Tape)
Having established my multicultural credentials to my own satisfaction by drinking a Pilsner Urquell out of a glass designed by Swedish artist Lasse Åberg, paired with a shot of African Angostura Bitter, I figured I could treat myself to some NSBM. As some may have gathered, my political views are generally somewhat to the right of natural disasters that afflict the poor and colored disproportionately. I never met a form of essentialism I didn't like, at least on an emotional level. Still, honest, straight forward political content in music often tends towards absolute failure, and this goes especially for black metal. When aesthetics bow to boring ass slogans, it usually kills the mood for me. Simply put: I am not very interested in black metal informing me of adverse effects of unskilled immigration  on salaries or the national budget deficit. Also, if the style gets too skinhead/punk/RAC it at least TENDS towards becoming either shit, or (once again) funny. There are exceptions, who pull the whole "over the top" thing off - Der Stürmer comes to mind. Still, NSBM is generally at its best when it wallows in more obscure intellectual fields, immersing itself in a diverse array of incomprehensible occultism, kitschy nature romanticism and runes and symbols lifted from books no-one has ever read from beginning to end. Now, Aryan Triumph don't exactly do any of these things. The cover is just some young WWII era German with a big ass gun looking Aryan, and the song titles are utterly generic ("Forward with Loyalty", "Take no prisoners", etc). If you look at the tape, only the logo indicates that this isn't RAC made by some drunken Slovakian skinhead. The band does surprise on a musical level, though. There was some talk in the black metal thread about too long intros, and these guys take it over the top like Sylvester Stallone! The first of several intros is so convoluted and lengthy I almost lost it. There's heavy experimental synth/junk stuff, a long break for a significant part of the Horst Wessel Lied, and then back to more industrial stuff. I didn't time the whole shebang, but by the time the black metal began I had already begun considering that I might have forgotten what this tape was all about, and thought the band might in fact be an industrial act, which just happened to have a black metal style monicker and logo. Still, from there on it's more about typical black metal, and it is quite alright. Mid 90s Norwegian style BM with slightly worse production. Satyricon's "Shadow Throne" done on a porta studio with a drum machine is the first thing that came to mind, and while the industrial and synth interludes continue throughout, most of the tape is best described in those words. Decent stuff.

Chainsaw - Massacre (1995, Curse Records, Tape)
Japanese grind, and GOOD Japanese grind at that. Chainsaw was a short lived side project from Kozaborou Kojima of the absolutely excellent black metal act Gorugoth, and you can hear that quite easily. This C20 is marked by reverb drenched production, relentless (and equally reverb drenched) drum machine, and roaring vocals, and if you listen to this and any Gorugoth release back to back, their mutual root is obvious. I remember Sigh talking trash about Gorugoth and other grind oriented black metal bands in some old interview, but while I do like a little bit of Sax appeal in my Japanese black metal, I think Gorugoth kicks Sigh's ass any old day of the week. Chainsaw is not as great as Gorugoth - after all, it's grindcore - but it still kills pretty much everyone everywhere. Unconstrained and wild, and utterly programmed and sort of muffled, at the same time. A reminder about the days when technical limitations and choices defined the sound of extreme metal far more than the "individual creative ideas" of the people making it. Unlike most other Kojima stuff, which has been re-released on CD by Zero Dimensional Records, I think Chainsaw has remained hidden on the few tapes that was made. Kojima had a "black noise" project called Golgoth, with which he released a split with this band, but while Golgoth has made it onto a CD, Chainsaw seems destined to remain forgotten. That is a shame.
"Alkoholi ei ratkaise ongelmia, mutta eipä kyllä vittu maitokaan"

Ahvenanmaalla Puhutaan Suomea

Peterson

Phocomelus/Mania C30 (Collapsed Hole)

Side A goes to Phocomelus - strange pairing a name taken from several Philip K. Dick novels with such consistent harshness. Always thought of more melancholy or cinematic sounds in connection with PKD, but the phonetics of a word like Phocomelus have an abstract "Americanoise" feel IMHO. Even though for me the sounds don't immediately bring to mind much imagery, I still really like this side and might look into the project further. I wouldn't immediately think "violent" or "psychedelic," as in Skin Crime or Macronympha, as for me the sounds are more rough, raw, organic, physical, and spontaneous-sounding, without being too devoid of purpose. I do like the textured, brittle, and very much analog sounding wall of consistent but imperfect blast. Perhaps there are acoustic sounds somewhere in the mix, but if so, I can't tell. What I especially like is the linear, unrelenting, "broken" feedback sound which sits atop the mid-to-slightly-low (not HNW heavy) crunch that also has a broken texture. The track resolves dialing back to a simple synthesizer pulse, leading me to wonder if the sounds are perhaps homemade patchable devices. More than older project affiliated with the guy behind this one, Phocomelus brings to mind Treriksroset, Wince, Sewer Election, Weak Sisters. Not at all unique or groundbreaking, but a style of noise I like very much and only occasionally am disappointed by.

Side B goes to Mania. Starts with fluttering low-end blown-out textures that might be the acoustic junk sounds heard for a second or two pushed to the limit. Really "relaxed" (or tense, if this kind of thing registers differently) quiet sounds that build atmosphere really well, that are interrupted by microphone feedback, which introduces some background acoustic rattle which is fucking excellent. Not even sure what to guess the source is, and not sure what associations come to mind, but it lends a rusted texture making things a bit more sinister. When the volume starts to kick in and things start to gain momentum, mid-range almost roaring is heard bellowing out from the background of the mix. The creaking, rattling sounds of metal make way for really tasty, wet synthesizer static which grinds away at low level in '80s PE style, out from underneath which some vaguely '80s but more psychotic vocalizing (again sort of a roar but more of a bellar) echoes forth. The feedback and static textures shift and change, but don't gain much volume, as they keep background holler/bellar vocals in check, leading to a really haunting effect, which is again sort of 80s, with a more psychotic touch. Translation: some of the better PE vocals in, period, although these are hardly my favorite of any Mania release. Others have been more present in the mix in some sections, and outright violent, but the haunting feel of these is definitely not lost on me as the sounds ever-so-slightly intrude in volume. As this occurs, the static again pulls back to reveal more present acoustic junk banging, clanging, and thudding. The bassiest, blown-out impacts are fucking tasty as more rattling junk is exposed, ending with a static tone reminding me of a distant jet-engine "wind" sound. By far, not my favorite material from Mania, though that's not to take any negative connotation. I'm still a fan of the restrained, sinister approach, because the following release is generally dynamic and violent, which is a good approach to keeping listeners looking forward.

Ashmonger

Axnaar/Bizarre Uproar (7", Filth&Violence): Weird 7", Bizarre Uproar is another version of a track from the last album and can be recognized as that. Axnaar on the other hand, sounds only very much like lo-fi noise, which is weird as the Useless Meat track is also on the tape with the same title and that's noisy Black Metal... Doesn't sound too good to be honest...

Puce Mary - The Spiral (LP, Posh Isolation): The Persona album didn't really do it for me, certainly not bad, but just not the best of her releases I had heard up to then. This new one hits me directly though, really good, PE/Industrial, nice vocals, some calmer pieces. It's never really aggressive or dirty, but just good sounds, nice structures...

Audición Irritable/Faecalgia ‎– Split (C30, Poço Discos): Audición Irritable are 1993 recordings from this Peruvian band, it's noisecore, but it's not very good. Drums are burried in the mix and don't have much power and it sounds as if there's no distortion on the guitars, leaving only a rather annoying wirelike kind of guitarsound. Faecalgia on the other hand are an Italian Grindcore band with cool sound, quite deep vocals, drums sound a bit muddy too, but not too bad and the guitars have a filthy sound fitting with Grindcore. This side of the tape is pretty good, but I think I'll skip the other one next time...

Flooded Church of Asmodeus/Necrocannibalistic Vomitorium (C20?, Horns & Hoofs Records): First release I own from both bands, FCOA is cool Black Noise, after hearing the track I was wondering if there were any vocals though... NV is a slow doomy track, with a nice sound. As far as I know NV has different styles on different releases? Might have to check some of their other releases...

Deadpriest

Quote from: Ashmonger on July 21, 2016, 02:26:01 AM
As far as I know NV has different styles on different releases? Might have to check some of their other releases...

NV usually play Pornocore, (which is slow heavily downtuned groovey sort of grindcore, with lots of samples If you weren't aware?)
My book of poetry: http://www.histergrant.com/

AXNAAR

Quote from: Ashmonger on July 21, 2016, 02:26:01 AM
Axnaar/Bizarre Uproar (7", Filth&Violence): Weird 7", Bizarre Uproar is another version of a track from the last album and can be recognized as that. Axnaar on the other hand, sounds only very much like lo-fi noise, which is weird as the Useless Meat track is also on the tape with the same title and that's noisy Black Metal... Doesn't sound too good to be honest...


Same lyrics and source materials as used on UM/SF tape, very different execution. Anyone expecting noisy Black Metal will most likely be disappointed. 

acsenger

Le Bal Des ArdentsLe Mal Des Ardents (LP, Fractal Records)

45 RPM mini LP reissue of an obscure tape (apparently given only to friends) from 1987 (the label says Le Mal Des Ardents is the title but it's not on the release itself). A very good and quite strange release. First of all, there's no information about the group on the internet. Then there's the meaning of their name: according to Wikipedia, "The Bal des Ardents (Ball of the Burning Men) was a masquerade ball held on 28 January 1393 in Paris at which Charles VI of France performed in a dance with five members of the French nobility. Four of the dancers were killed in a fire caused by a torch brought in by a spectator, Charles' brother Louis, Duke of Orléans. King Charles and the remaining dancer, the noble knight Ogier de Nantouillet, survived. The ball was one of a number of events intended to entertain the young king, who the previous summer had suffered an attack of insanity. The event undermined confidence in Charles' capacity to rule; Parisians considered it proof of courtly decadence and threatened to rebel against the more powerful members of the nobility. The public's outrage forced the king and his brother Orléans, whom a contemporary chronicler accused of attempted regicide and sorcery, into offering penance for the event." The cover is bizarre: coloured medieval images, jumping/dancing silhouettes, a photo of a man wearing a hat, plus cryptic notes referencing experimental/industrial band names and albums.
The music on the record is noise with an industrial flavour and a singular approach. Side A's first track is fairly rhythmic, while the last track reminds me slightly of M.B. Side B has sped up and distorted vocals that I'm still not sure I really like, but they fit the music well regardless. Together with the strange cover and name, this record makes for a pretty unique experience. A highly recommended release if you like industrial noise oddities!

Deadpriest

CDs that arrived for me from Cold Spring Records not long ago:

Snuff: Snuff II
Fecalove: Great Northern War
Mixturizer: Siete Patologias
Taint: Indecent Liberties
Shift: Altamont Rising
MAAAA: Sampo Distortion
Encephalophonic: X
Atrax Morgue 's Mörder Machine: Atrax Morgue's Mörder Machine

Plus I got a sweet Skullflower t shirt

RIP Marco Corbelli
My book of poetry: http://www.histergrant.com/

cr

THE NEW SADISM - BREATHER'S PENIS AGE - LP + ONE SIDED LP (menstrualrecordings)

If you like excessive and obsessive use of feedback over 3 LP sides, then you are right here.
I am.


From the label description:

First ever re-issue of this obscure private tape recorded 1984.

More uncompromising sounds by Pietro Mazzocchin.

Screeching old school electronic abuse with an overly obsessive approach.
A very intense album with an unsettling and claustrophobic atmosphere.

For fans of extreme sounds ! 

Lp + one sided LP in pink vinyl and blue vinyl with paste on cover.
Includes a numbered pink insert.
Cover images are original artworks from 1984 by Pietro Mazzocchin.
Edition of 158 copies. 

Scat-O-Logy

Quote from: Peterson on July 25, 2016, 06:29:53 AMUsually, hearing a release which somewhat deflates my expectations often turns me away from a project, although this one breaks the rule and makes me all the more curious for successful attempts.

"Everlasting Life" and "Telford Date" are the best Roases releases IMO. Have yet to hear "Wealth Of Abuse", "Live Suffering & Denial" and his material on that 3-way split. "Fear Of The Lash" was a bit disappointing to me and it was confirmed that the artist tried different approach with that recording.

online prowler

Quite a lot of of proper works coming out of the UK these days. Imprint Wealth Of Abuse being one.

Peterson

Speaking of which, more sounds from Wealth Of Abuse:

Deviant Report "Volume I" single-sided C32

Minibrute PE! In all seriousness, this stuff basically sounds like it was recorded with a Minibrute, maybe a sampler, and maybe a multi-effect delay/echo pedal. Doesn't sound like there is much distortion, but more like tape saturation...excellent. Provides a dirtier, less "standard" approach to roughing up the sound that pedals don't often deliver. If this stuff is the result of a distortion pedal, I can't tell which kind. The actual synthesizer sounds are really nicely varied, with more percussive, beat-like rhythmic sections overlaid with high-end tones, tasty droning, and some really sexy-sounding wet, quiet static textures that seem to be making a "comeback" in power electronics. Another pleasant aspect is that although samples are the primary driving factor of the tracks, they're not simply overlaid narration like so many projects do, including myself. Instead, they are effected with echo and delay, as to replace the vocals in tracks that don't have them. The vocals, however, are more varied, using a whispered voice, a distant shout/scream, and a calmer, "speaking" delivery. They add to the composition of the tracks, and lend a musical element, due to the fact that only one word or two might be distinguishable throughout. Overall, despite the fact that such a project dealing with sexual subject matter is nothing new or innovative, Deviant Report seems to succeed where I was underwhelmed by Roases - more cohesive pieces, more advanced use of synthesizer, more interesting vocals, and overall presence of structure rather than free-form rage. If obligated to draw comparisons, I'd say Nicole 12 and Deathpile are the only projects that immediately come to mind, which is not at all bad. However, I still think this project also has room for improvement - for example, I would really enjoy hearing a longer tape, with more obvious separation between tracks. This, in my opinion, would "open up" possibilities in the sound of the project by alternating instrumental, vocal-driven, and sample-oriented tracks which would be more memorable and distinctive if presented in such a manner. For fans of PE with sexual subject matter, or for those who simply require a more "musical" approach, similar to late-80s/early-90s Whitehouse or early Genocide Organ, I think this would not disappoint. Definitely a project I will follow the progression of.

(As a side-note on presentation and aesthetics, I will say the project is really promising - the artwork and simple layout reminds me of early Mauthausen Orchestra or Aquilifer Sodality tapes, with the cartoon-bondage artwork collages. However, given the fact that the tracks are laid out as shorter sections of side-long pieces, also much like the early MO tapes, I would have released the two volumes together as separate sides of one tape, rather than as two single-sided alternate tapes. I'm assuming this was a measure to ensure an even break or profit, being that there just isn't much logic when considering short tracks repeating on the other side. Personally, I would've liked to see track titles or divided sections in the J-card, that perhaps suggested the source of some of the samples.)

Deviant Report "Volume II" single-sided C32

More simplistic perversions from Wealth Of Abuse: this time around, things kick into gear immediately, rather than building, in reference to the first tape. The initial track begins with a fluttering high-end drone, which introduces some white noise washes and an echo/reverb effect, giving way to an echoed sample. The overall atmosphere is not unlike early Ramleh, in that the sounds are haunting, droning, and cerebral, rather than in-your-face loud/brutal/violent like SJ or Whitehouse. This simple, almost linear approach, is really pleasing to my basic "template" of PE preferences, but is one more reason why the two tapes should've been condensed into one. In the following movement of the first track, either a second sample or a vocal section is introduced once the white noise takes over in terms of presence in the background. The sound of the echo and reverb on the vocals/sample is so saturated and thick that it lends a psychedelic, strange quality, again reminding me of Ramleh - I just haven't heard other Power Electronics which strive consistently toward that kind of atmosphere.
After this section makes way for another sample, a fluttering high-end "stereotypical" PE tone gains in volume over a subtle, keyboard-like drone, fading out to "broken" sounding static textures that interact with laser-like high end, again recalling mid-period Whitehouse-style electronics and effects. That's to say, almost entirely rejecting a "brutal" sound in favor of a more foreboding one, like the albums following Great White Death. So far, these instrumental sections are my favorite aspects of Deviant Report's sound - PE that makes for a relaxing, enjoyable experience (I really don't care if I am "supposed" to enjoy it or not). The background drones which hum and reverberate have a quality to them that is almost jealousy-inducing in terms of effectiveness; the fly-buzz/mosquito-like tonal quality of some of the drones recalls GISM's industrial tracks from the MAN LP and the treble-heavy guitar tone from the Detestation LP.  Altogether good shit that I very much enjoy, though would appreciate much more if presented efficiently - these tracks would work better paired against the tracks from the first tape, without a doubt.

In short, I definitely like Deviant Report, perhaps most of any Wealth Of Abuse/All Dead project I've heard so far. But, like most of the other projects I've heard, my eyes and ears are peeled for new releases which showcase a bit of improvement - in this case, a full-length, more balanced, and organized tape would probably hit the spot, one with more tracks showcasing the actual vocals, and samples which are slightly less drenched in effects, as not to remove some of their disturbing/tasty quality. Knowing exactly what is being discussed in such samples might prove more effective, being that the project is called Deviant Report. Anyway, I'll definitely follow this project closely, as well as Roases and Menacing '84.

online prowler

Ace tapes, thanx for your insights.

cr

VHRIL: Vortex Psysynthesis CD -  (John Murphy and Ulex Xane)

I like this one a lot. At some parts it definitely reminds me of some Streicher sounds. Esp. in the first minutes of Transcosmic Mutations.
Very nice cover as well.

Thanks to Old Captain for releasing it!