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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 4347354 times)
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Bloated Slutbag
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« Reply #6975 on: June 22, 2018, 09:44:10 AM »

Treriksrøset ‎– Treriksröset (Hatband)
This one had me, like all good Trerik, digging through the unsightly piles for everything I’ve got from the project. And subsequently subjecting the ‘holes to way more harsh than they ought rightly to deserve. It also occasioned the opportunity to consider, aside from the degree to which my earholes are fucked, just how far Treriksrøset has come. I’m pleased to report- not fucking very.  What the project offers, and has reliably offered since Sexregler, is, well, The Goods: texture study par excellence. This characterization is only late in coming- actually it’s one I thought up just now- and kind of shocks me in its propriety. Texture study. Par excellence. Perhaps the only thing to append to this designation are the descriptors Harsh and Raw. Do I hear a Dense? Dense, going once. Dense… takers.. anyone? Dense. Last chance now... Aww… to hell with you people.

Two live recordings, it seems, from 2013 and 2008. And so diametrically opposed in presentation as to invite peering at the cassette casing in alarm. More on that later.

Side grey, apparently recorded in that grand old city of Sthlm, is the proper Goods Deliverer. On first hit, the goods represent some of the most full-in-body Trerik to be had. If I didn’t know better I’d think someone actually spent time trying to balance out the channels on a good and thorough master job. But that would be heresy, so let’s pretend like we didn’t read that. Uh, moving along now. Full-in-body. Thick and heavy. Real thick, real heavy. This is probably the heaviest I’ve heard since the full kill expounded on the 2006 split with Regim. The thick is probably more a consequence of the considered balancing out of elements previously mentioned. Maybe I’m just over-excited to have this in the ‘holes but I’m almost ready to declare this THE BEST TRERIK EVER.

The tone is drear, grey, like the casing, almost darkened out industrial-grade grit-storm. The basses are gut-level, pulverizing, the texture an explosive cluster-bilged excess occasionally ripping through the tight, strangulating, grip. Three minutes in and the sound is stripped down, ground up, feeding back squealings lending unhinged flavors that serve to principally hinge attention. An unbuckling. A loosening up. Then the deft dropping of load. Meaty blurt stacks surging, rippling, plunging, thundering. Pace picking up, edges of high-end screechage breaking through dialog of thinned out, knife-edged, pierce, and hefty-butted, bilge-crusted, gristle. At several junctures I imagine we’re at the grand rip-roaring, finale. Only to be double-fucked, again and again. Look mate, we’re on the twelfth fucking minute and this better be it before I effing shit myself. The closing sequence is pure, dacks-be-crapping, fire.

Side black, obviously a live recording complete with audience contributions and applause, recorded in Jkpg. “The city was plundered and burned several times until it was fortified during the 16th and 17th centuries”. Much later, noise superstars started descending on the place to lay ruin of a different order. But seriously, what the fuck is this? Where’s the goddamn noise? It’s almost like the responsible party is worried about people’s earholes or something. Or perhaps the town is thought to have suffered enough? Ultra-minimal low-end bass rumbling, hefty enough to shake the venue on its foundations, verrry slowly acquiring grittier edges. Sufficiently quiet that a few fuckers in the audience can be heard announcing their approval (presumably at the demonstrated profound respect for history). (Er, apologies, audience. Just jealous not to have been there. Btw fuck you.) After about the third third-party contribution there is a marked upping of activity- which wouldn’t be difficult- culminating in nice extended feedback whine.

Then the noise, as such. Hard to say whether acoustics or electronics are to be credited here. Certainly, there is texture, of the subdued and crumbling persuasion. At no time does it feel as though the purveyor is keen to pursue anything more than stomach-churning blubberbath. Rather, perhaps, an intent to suck the suckers down to gutter level, presumably to be followed by decisive plunging of the skull straight into the sewer. Fat falling percussive chunks reveberate against an upper ended whining, the full extent of harsh entirely feedback driven. The skull at this point merely dragged along the curbside, burnt-raw grit-filth attempting now to suffocate the room in fudge-tunneled oscillation, slowing to a crawl, to a drudge, to a muffly sloughered fluffer flub. RRRRrrrrrrrip. (Applause.)
« Last Edit: June 22, 2018, 02:35:55 PM by Bloated Slutbag » Logged

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« Reply #6976 on: June 22, 2018, 11:29:33 AM »

Treriksrøset ‎– Treriksröset (Hatband)

Side grey, apparently recorded in that grand old city of Sthlm

Side black, (...) recorded in Jkpg.
According to TC, some copies, mine and yours for example, came with the sides mixed up. The raging side is Jönköping 2008 and the slow burner is Stockholm 2013. Since I was at the show in Jönköping (a show which is largely respeonsible for getting me into noise), I wondered exactly how drunk I was that night since I remembered it being a tad more harsh. Then TC cleared things out.
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« Reply #6977 on: June 22, 2018, 02:58:23 PM »

Treriksrøset ‎– Treriksröset (Hatband)

Side grey, apparently recorded in that grand old city of Sthlm

Side black, (...) recorded in Jkpg.
According to TC, some copies, mine and yours for example, came with the sides mixed up. The raging side is Jönköping 2008 and the slow burner is Stockholm 2013. Since I was at the show in Jönköping (a show which is largely respeonsible for getting me into noise), I wondered exactly how drunk I was that night since I remembered it being a tad more harsh. Then TC cleared things out.

Or perhaps you really were that drunk and someone who should know better is just fucking with you.
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« Reply #6978 on: June 22, 2018, 06:28:14 PM »

Treriksrøset ‎– Treriksröset (Hatband)

Side grey, apparently recorded in that grand old city of Sthlm

Side black, (...) recorded in Jkpg.
According to TC, some copies, mine and yours for example, came with the sides mixed up. The raging side is Jönköping 2008 and the slow burner is Stockholm 2013. Since I was at the show in Jönköping (a show which is largely respeonsible for getting me into noise), I wondered exactly how drunk I was that night since I remembered it being a tad more harsh. Then TC cleared things out.

Or perhaps you really were that drunk and someone who should know better is just fucking with you.



Playing the latest Vapaudenristi tape, this one is acoustic live recording from their 25.5.2018 gig. Some new and unreleased tracks, some classics, all great! Was expecting the crowd to be more "into it", sing along etc. This has been very common in the VR gigs I've been on at least.
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« Reply #6979 on: June 22, 2018, 08:42:29 PM »

Alfarmania - The Waiting Grave: Live in Finland (Freak Animal) : 2 lives from 2015 and 2017. I think i prefer the 2015 one which i found more aggressive, maybe cause the vocals were captured louder. How is that thread in this forum ? Moments of magic , excellence in noise ? Well i have 6-8 whole minutes here. Last track of the Lahti set. What the fuck is that !!

Reiko Azuma - Live at Yaneura II (Trapdoor Tapes) : Reissue of an old tape -1993- . Side A is live. How to describe this ? Abstract, avantgarde, experimental ? We have a lady doing voice. Like vocal exercises, ghostly sounds, repeating some words. To create a ghostly atmosphere. "Music" is in that mood too. And boring, meaningless, like pushing random keys on a keyboard and all of them together. For 40 minutes. Almost slept. But i listened Side B too. This better. More "life" in this. Lady does the same. A loop with tasty distortion is playing. Only for 20 minutes [!] . - Too avantgarde -whatever that means. To me most times means boring- to enjoy, still i was listening it for an hour. Plenty of time to kill ? An attempt to educate my stubborn head ? Something else ?
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« Reply #6980 on: June 22, 2018, 10:37:52 PM »

Have been revisiting "Neuroscan Organization / Blood Illumination" in the car and am reminded just how thoroughly good Cloama is. I sadly don't own anything else by him, so a couple of recommendations would be appreciated.

Both new releases go well with this. Halveksin kuolemaa reissue cd is touhulta same ees as neuroscan org. It was previous tape. New album Embargoed is great. Not much comments of it, yet i guess Cloama was always somehow outside ”hype”, hah...
Yet, band that keeps getting better after 20 years, and also making innovations. Not so common trait in ”genre-music”.

Good to know, thank you.
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« Reply #6981 on: June 23, 2018, 07:16:42 AM »

Over the weekend i've been listening to the new Christian Mirande CS on Ascetic House 'Scaled Deposits'

Christian Mirande “Scaled Deposits” CS (Ascetic House, 2018)
        Although Ascetic House tends to err towards that modern, techno-ish take on all things “industrial” which I give a hard pass, they're in reality such a mixed bag that you can't dismiss them. When doing good stuff, it's pretty varied, and you get stuff like this – both out-of-place and somehow appropriate. For those unfamiliar, Mirande is a modern-day renaissance man. Despite being from a normal, guitar-band-guy background, he's also a pilot in the US Air Force and a gifted sound artist using field recordings (taken in a travelogue fashion, of course), tape machines, and modular synth, which we get here as any and all of his releases.
          This time we get nearly an hour and a half of Mirande's varying but always charateristic minimal flavors; he never resorts to cutesy key-synth droning crap but definitely delves into “ambient” (whatever that actually is) at least once per album. What I mean is, this is at times quite non-musical and emphasizes sound detail over anything else, but is always pretty listenable if not relaxing. Everything here is stoic and reservedly serene – again, “ambient” and quite tropical but without that Michael Mann soundtrack vibe. There seems to be a more noticeable use of tape as an instrument than on the Vitrine release (which I'll buy if anyone wants to part with) but it's never even remotely “tape noise” – this as well as the one on Jason Lescalleet's label could be mistaken at times for Lescalleet himself. I don't really know if I've heard any actual examples of "lowercase," but based on descriptions people have given me, this might qualify. Deceptively, this seems like background sound but rewards attentive listening despite it's insane length. Maybe not for the moodiest of folks but should appeal to a wide audience. Edit: also, as great as Mirande's stuff is, and as much as I'm getting into his style, this sort of just makes me want to get the Salford Electronics "Communique" CD from Tesco - day patrol and night ops, I guess.
« Last Edit: June 23, 2018, 07:24:20 AM by Force Neurotic » Logged
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« Reply #6982 on: June 23, 2018, 09:04:36 PM »

CLOAMA - Revisionist Knowledge
Dug this one out for no particular reason, other than perhaps me reading a lot of Cloama talk lately, and it remains a great piece of strange, beautiful, horrible Finnish sound. Not exactly violent, despite being way too harsh and heavy to be described as simply ambient, this is a reminder that noise/P-E/death industrial can be done in many different ways. The brilliant melancholy mood of "Degraded Thought Steganography Part I" is accentuated by my sadness when confronted with the state of the packaging - these old Freak Animal cardboard thingies were and are very cool, but even if my copy of Revisionist Knowledge isn't exactly severely damaged, it can in no way be described as "mint" anymore. The deformation and slight dilapidation goes rather well together with the music though, so I guess it's all right.
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« Reply #6983 on: June 24, 2018, 09:31:41 PM »

Prompted by a thread in classified looking for Kakerlak tapes I’ve been having a revisit of some stuff I had.  Kakerlak was an artist I used to buy as soon as something dropped and though I gave up way before the consistent flow of tapes and cdrs stopped, I've been meaning to take a fresh listen and see how it stands up a decade or so on.  Man, it was great when the USD was almost x2 to x1GBP…anyway.

Heat of the Hole - Having said all of the above, I always found this one the weakest in my little collection.  The catchy title makes it a Kakerlak tape I always think of when his name comes up but every time I listen to it I remember not being blown away even then.  It’s not to say it’s bad, just not quite as up to scratch with all the other great material getting put out at the time.  Maybe it’s just my dub but there is a very out of phase whooshing sound throughout which really ruins what would probably be quite a satisfying wall of whiteish noise running throughout.  Maybe someone else who owns this tape would corroborate whether or not this is a thing.  The saving grace here is an intermittent, crude and very closely recorded whistling amp feedback tone which punctures this muddy ambience and creates a really unsettling, rough, pervy feeling throughout.  Side B starts of great with some looped metal banging but ultimately descends into a pretty indistinct wash of noise. Fine.

Kakerlak/Privy Seals (split)
- Here we go then.  I used to rinse this one a lot.  Privy Seals was always pretty outdone by Kak here but listening now his side stands up a lot better than I remember. Fairly dynamic textures full of saturated crunches and developing mid range walls.  Drags a bit here and there but definitely deserves attention.  Feels like a live session, no edits. I’m probably wrong.  But Kakerlak, oh gosh.  Just straight up tape fucked, scrap metal violence but gratefully without all the normal bullshit that comes/came along with this kind of noise where the listener is meant to give a shit about the FACT THAT IT’S SCRAP METAL (see: guitarists, modular synth artists).  Nope, this is just a rough, dirty and ceaselessly flowing session of destroyed sounds, constantly punctuated with another horrible, whistling feedback sound which modulates slightly in accordance with the low end sounds and is just the best feature of this whole piece.  It is present and difficult throughout the whole track and works great.  A quarter of the way in or so one gets the sense that the artist genuinely loses their shit a bit in this recording as we wear an increased frenzy of sound culminate in a human shriek which comes back in here and there.  Suddenly, things slow down a bit with a buzz and drop out of certain frequencies, making for a much thinner but no less menacing sound. I suspect something got broken during recording at this point, but no matter as the buzzing, dead cable sounds quite nice and things soon begin to build up again, lapsing into some genuinely disgusting high end work outs of the scrap metal and more consistent screaming and throat noises.  Nothing heavy metal or emo or too american here though, thank fuck, just a load of stuck animal sound as and when it becomes necessary.  Think more in the vein of Prurient when the vocals cut momentarily through the speakers only to fall back into the morass of throbbing and all the while, still that high whistle NEVER LETTING UP.  As the piece progresses we delve further into total mic/speaker damage and vocal wretching with the odd bit of tonal looped feedback and/or pre recorded loop being manipulated by way of tweaking the fucking thing about with your bare hands. FFWD/Pause button mania or tape echo intervention?  There is so much going on in this recording but ultimately its master strength lies in how these details and moments conglomerate under an umbrella of monodynamic, harsh noise miserableness.  I realise now that this, to me, was always the crux of Kakerlak’s real pull and what always had me coming back: detail, progression and momentum but always in the vein of totally rough noise. Never sterile.  Whether you want to appreciate this track as a blow by blow highlight reel or as an overall piece of psychedelic head fuckery it completely works both ways.  I always felt that this was one of the best Kak cuts I ever got to hear.

Slick & Brown - Quite a different recording quality to the previous which is to say very, very lofi.  Those of us binge listening will have to adjust our ears for a few moments but the process is rewarding as the dynamics  - essentially made of the same stuff as on the above split - get run through a much more tape saturated sound palette which especially makes those Kakky moments of ever poking through amp feedback sound great.  More ‘vocals’ on this one too which, despite being much more buried and impossible to make out, seem way more direct and snarling.  Thankfully it works out well, giving the impression of boiling neurotic outpour purposefully hidden thank a load of bloated machismo.  Side B is a touch more restrained but only in so much as the violence and noise seems that little bit more focussed and free of vocals or overt mania.  More attention to tone, changes and development here at it works very well.  Starts to kind of flail all over the place toward the end with some kind of TV/Movie/Radio??? conversation sample/sound source becoming audible.  Structureless, meandering stop and start feedback and noise blasts over the top of the spoken word (which might as well be coming out of a broken baby monitor in the corner of the room) and if it were that kind of project and that kind of release you’d definitely regard this as the ‘fat’ that should be trimmed.  Here, however, it definitely works and serves as a nice ending, uselessly petering out over a few minutes after such a long session of high intensity noise.

JSL & Kakerlak - Piles of Porn Mags
- This was always my favourite back ‘in the day’ and still is now.  Collaborative tape with Joe Lombardo, instantly features a much more high fidelity, piercing and spiky sound.  While other Kak things are all about rough harsh noise generated from  metals, pedals and (probably) tape etc, we instantly get the presence of synths and wobbling internal feedback loops here which works great with the ever present Kakerlakian mic feedback and metal scree.  Due to the collaborative nature of this recording one imagines that the more ‘live session’ feel of Kakerlak’s other material is purposefully eschewed here, feeling more edited and layered and BRIGHT and dynamic as we hear far more micro processes and smaller changes effecting the flow and direction of the sound.  But just like the other tapes I've gone through today this is still full on, harsh head mania: no meticulous or overt sense of composition, just thoroughly rinsing, satisfying harsh noise.  I can’t help but feel the approach of this tape gives it something of a Japanese feel: somewhere in the midst of way more sedate and less frenetically cut up Killer Bug or Pain Jerk, maybe even a touch of Merzbow.  Perhaps this is very deliberate given the total 90’s worship of the asian porn collage on (pink) photocopied paper? Who cares, this tape - as I imagined it would be - still remains one of the best fucking things with Kakerlak’s name on it that I have in my modest little collection.


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« Reply #6984 on: June 25, 2018, 03:48:24 PM »

Tomb Mold - Manor Of Infinite Forms - didn't care for their earlier stuff. this however is a nice surprised, solid Finnish influenced death metal. production is pretty clean for this style, wish it was a bit more muddy. but the riffs are there, they aren't reinventing the wheel but they are doing a decent job with the style. 
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« Reply #6985 on: June 25, 2018, 06:04:57 PM »

Tomb Mold - Manor Of Infinite Forms - didn't care for their earlier stuff. this however is a nice surprised, solid Finnish influenced death metal. production is pretty clean for this style, wish it was a bit more muddy. but the riffs are there, they aren't reinventing the wheel but they are doing a decent job with the style. 

I enjoyed it a bunch and am very glad the sound isn't muddier! I'm so bored with the crazy amount of riffless Incantation rip-offs, I'm struggling to find death metal that sounds like the 90s did, and Tomb Mold did it very well, up to the amazing cover art in my humble opinion...

As far as I'm concerned, I listened to Gorephilia' second album, "Severed Monolith" today. I loved their first album and this one is most certainly awesome as well. I like that I can hear good Morbid Angel influences here and there, the drummer is awesome and the overall playing dead tight, the songs are catchy, what else could I ask for?
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« Reply #6986 on: June 25, 2018, 06:24:02 PM »

Stoa “Recycled” CS (RRR, 2018)
        Artists' description reads “industrial field recordings and primitive electronics,” and this really is nothing more, nothing less. And of course that's a good thing, fucker. Samples from other releases I'd previously listened to were mostly thin and minimal but tasty crude electronics. On the A-side, I'd say the field recordings mostly take over, leaving things to sound like an incredibly lo-fi, much, much sloppier version of Mania (lots of background rumble and treated metal impacts). And of course that's a good thing, fucker. B-side seems to focus more on electronic pieces which pretty much have the M.B./M.O. crumbling, sweeping echo bleakness down to a “T.” Anyone who digs the Recycled Series should get this to begin with, but the crowd into that sort of non-Harsh Noise noise sound (uh, I guess that just actually means simple industrial, like some M.B., Graustisch, Will Over Matter, Zone Nord) will definitely dig this. I dunno if Stoa's recordings are quite as good as his reviews, but that's a hard one to top. Will be grabbing more tapes in time, nonetheless. Enjoyable shit for sure, especially as a break from all the “nice” stuff I've been getting into. Not sure if Vitrine still exists, but could easily see this coming out on a label like that – seems there's a lot of awareness of “the old-school” here, but it's no less enjoyable and worthwhile stuff.

Zone Nord “Recycled” CS (RRR, ??)
        Confession: with the exceptions of the Salbutanol CD and rare techno 12” (!?!) I have never heard, the main reason I like Zone Nord is because I tend to forget who I'm listening to while listening to his stuff, and usually assume it's M.B. or old, old Consumer Electronics before I remember. The kind of thing that's splitting hairs whether you call it industrial or noise. That said, this is not amazingly different from the above except for the higher presence and volume. Is that a bad thing? To you, maybe. I don't really know what I'm hearing, but to me it begins with what sounds like processed train recordings, except that something's just...off about them. Probably some fucked up drum machine recorded to tape and then messed with. Next up there's a tape manipulation piece that is just outright killer and lasts for the remainder of the A-side, great contrast between high and low end texture there.
        B-side begins with halting, cut-up rhythmic/sweeping synth stuff that easily has the M.B. effect I mentioned earlier. Despite this being such a low-key release, and liking everything I've heard so far by the project, this might be some of his best stuff – sounds like a lost chapter in the Come Org/Broken Flag/Aquilifer Sodality saga. Next there's an echo introduction like, again, the above-mentioned, but more specifically, Will Over Matter's “Visio Ja Toteutus,” that, as well as the piece following it, sounds like the dried husk of a Krautrock rhythm track. Later we get some obscure, reversed pulsing sounds and more static before the echo eventually returns. If you're a fan, I wouldn't miss this as it's $4 compared to the insane prices and rarity of other stuff.

Zone Nord “Roeferon A” CD (RRR, ??)
        This is sort of “experimental” for Zone Nord standards, despite staying true to his usual repetitive lo-fi minimalism. One could still make the inevitable M.B. comparison, but it's definitely not as apparent here. The formula is basically the same, but somehow the results are a bit different – dunno if it's the mastering or what, but I'd assume there's some digital equipment somewhere in the process that makes the tape saturation grit all the more crispy. Anyway, these pieces mostly follow the pattern of various sluggish rhythmic industrial noise experiments that most Zone Nord releases seem to consist of.
        I recently read a review I think of some Bizarre Uproar release where Concrete Mascara was a little embarrassed about how much his earlier work was influenced by it; well, this is how I feel about Zone Nord and this album – it helped me conceive of my first loops, and was my path between M.B./M.O. and today's tape-nerd stuff, thus I think some of my work sounds pretty derivative of it. It was this album that convinced me it's acceptable for tracks to meander/get stuck in the mud, which was a misapprehension I really regret. So, I guess this is the kind of release that is as much a masochistic listening experience as anything. Weird how perceptions almost always color what could otherwise be a unique experience. As much as I still love the project as a whole, this album is like looking back on mistakes in life – necessarily irritating. Still some great use of crunchy bass and mid-range textures that predates the “softer” HNW approach that was popular at one point, probably the main drawing point for me during tonight's listen. Track 6 could be much shorter but sort of reminds me of early Whitehouse Live Action recordings, not a bad thing at all. Track 7 sounds almost exactly like a track from Putrefier's “Trace Element Syntax” (also from Pure) as far as I remember – sort of a Mlehst-type combination of high-end tones and weird overloaded reverb effects, I swear some saxophone bleeds through the mix at one point (this is the best point on the track, to give you an idea of what I mean). Charmingly disturbing, but the high is over quick. M.O.-Atrax Morgue-style warbling and fuzz/crunch on track 8, should be something I dig but feels tacked on. I'll always hang on to this one, though.

Kjostad “Environment Electronics” CS (Found Remains, 2018)
        Another where the title pretty much says it all – “Environment Electronics” is what you get. Could be Ricardo Mazza's mastering, but this is probably the best-sounding of any of the tapes so far, and might be my favorite. Lots of heaviness and crunch but a totally naturalistic and isolated vibe thanks to the bird songs, rain, and so on above and underneath the static (much of which I suspect is just wind from the field recordings). Could be either that there are some of the best uses of tape dropouts and bad jack connections I've heard on any release so far this year, or that my headphone jack in my walkman is going bad (which is likely). I want to compare this to Daniel Menche, but that feels sort of lazy. Conjures images of towering redwoods in particular.


Random notes:

1. RRRon should make t-shirts for the Recycled Series with the “recycled” scribble handwriting in enlarged front graphic, black with white text and white with black text. Include baby and toddler sizes for the noise parents out there. Or possibly buy existing band t-shirts from Goodwill, cover the logo partially with duct tape, and then write “recycled” in marker like the tapes.

2. When are we gonna see an H.Ö.H. Recycled Series tape?

3. RRR's “Pure” Reissue series with Xeroxed/collaged artwork is the best visual aesthetic of any series or any label, hands down.
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« Reply #6987 on: June 25, 2018, 09:06:17 PM »

A Machine Called Orgasm - Daddylove

It's funny what you miss the first time round.  I suppose I was relatively new to buying noise tapes when this came out (not really that long ago) and going back through all my 'old' stuff recently has been a fun exercise in hearing all that eye opening material with more mature ears.  I remember this consisting of very low rumbles underpinning high feedback.  This is still true, however what I probably didn't quite appreciate as much upon those early listens is how restrained it all really is.  Sure, you get some loud, static and very rough, crude noise but the low end is very hiccupy, feeling crisp and closely recorded, never quite reaching the searing blast it may or may not be striving for and often falling back into crumbling, collapsed sounding crackles.  The wailing high end sounds more like a creaky gate and is never imposing in volume, at least not compared to that constant fuzzy crackle.  Maybe if I turned this up really loud I'd feel different about it but at reasonable domestic volume I really like the dynamics going on.  A review of this same tape elsewhere in the thread says its nothing special and that's definitely true, however - be it some kind of nostalgia or simply the more objective, neutral ears I've come at it with today - I'm enjoying this tape quite a bit.  Front cover has an old man sucking someone's dick.
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« Reply #6988 on: June 26, 2018, 07:10:08 AM »

Amplified Humans Fest 2xDVD
Firstly I can't believe this was nearly two years ago, I couldn't make the fest due to travel issues so this DVD set is the next best thing. The obvious main issue is you don't get the physicality of noise when watching a DVD vs being there so I can only comment on it as a viewer but overall the standard of sets was high, only lost interest a few times. What I did notice was generally how static most performers were which is partly why the likes of The Rita and Killer Bug stand out. Had a question for those who were there - the Ramirez set seemed constrained sound wise, is that a fair reflection?
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« Reply #6989 on: June 26, 2018, 04:03:03 PM »

Amplified Humans Fest 2xDVD
Firstly I can't believe this was nearly two years ago, I couldn't make the fest due to travel issues so this DVD set is the next best thing. The obvious main issue is you don't get the physicality of noise when watching a DVD vs being there so I can only comment on it as a viewer but overall the standard of sets was high, only lost interest a few times. What I did notice was generally how static most performers were which is partly why the likes of The Rita and Killer Bug stand out. Had a question for those who were there - the Ramirez set seemed constrained sound wise, is that a fair reflection?

My impression was that Richard's set was one of the most powerful I've seen him perform, very loud, quality harsh noise.
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"It took all my strength not to slam dunk them into oblivion" - Matt Boettke
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