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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2626039 times)
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sunandsteel
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« Reply #7560 on: August 26, 2019, 10:09:14 PM »

Striations - To Know Mercy
The vinyl edition makes this release sound huge. Tracks like "Cadaveric Reticence", feature an all encompassing sound where you can also make out distinct tones. Mike really has a knack for knowing when to let things just breath and when to surge. The themes may be somewhat typical, but there is a genuine detailed obsession that adds a layer of darkness other "true crime" projects/releases lack. "Sexualized / Skeletonized" is the highlight for me. Everything builds up to that track that by the time the vocals hit, it feels like such a release of agonizing tension. I think this is probably my favorite Striations release, I'll have to revisit Vietnamization later this week to compare.

Terror Noxpheratur ‎– Blood Beast
This LP has a real idiosyncratic sound. The vocals are very atypical for a vampyric black metal project - they are deep demonic growls at the very forefront of the mix. Some have complained about the mixing, but I think it is massively beneficial to the record and gives it an otherworldly demented sound. The riffs and drumming compliment the vocals well, evoking a straight forward evil atmosphere. This record sounds more reminiscent of the word "bestial" to me than the endless corny gasmask bands that fall under the bestial black metal tag. It is also what I would listen to if I were to shoot up a school in minecraft.
« Last Edit: August 27, 2019, 06:14:00 AM by sunandsteel » Logged
bitewerksMTB
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« Reply #7561 on: August 26, 2019, 10:25:30 PM »

CHOP SHOP "Primer" 2LP (Crippled Intellect Prod.)

Listened to "Primitive Power/Positive Force". Most of it is pretty good but the loops involving music didn't interest me much. The isolated industrial vibe & heavy low end, crunchy loops is what I dig about his work. "Scraps" will be tonight...

IRM "The Red Album" LP (Cold Meat)

I like this waaaaaaay more now than I did when it came out! Great place to start if you're looking to get anything by Bladh.
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« Reply #7562 on: August 27, 2019, 11:33:58 AM »

You've gotta love the Final Solution "Mass Death" release from Der Bunker. Sure it's Whitehouse pastiching. But it's great fun Whitehouse pastiching! It's not that the sounds themselves aren't serious - primitive grinding synths etc etc etc, not as intense in sound as "All New Power" (which according to Discogs was recorded at around the same time but seems to be much louder and fuller in sound). The vocals, though, take it to a new level of enjoyment. There's no way it can be taken seriously, it's just fun! Of course, the liner notes, being an interview with Edward Giles, show just how effed up he and his comrades were, drugs, suicide and all. All part of the fun? Depends how you want to take it. But these recordings are great fun, not sounding like depressed fuck-ups at all. Power Electronics to cheer you up.
« Last Edit: August 27, 2019, 03:24:29 PM by Andrew McIntosh » Logged

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« Reply #7563 on: August 28, 2019, 02:26:16 PM »

It's still taking me ages to keep up to date with ANTIchildLEAGUE's output. Only just today got "The Son" (part of a trilogy that I believe started with "The Father", a release I've had for a while and will also very much recommend). If the current controversy here is about the original use of synths, look no further than Gaya Donadio's output for proof that it is happening. From the start (at least, what I've heard, the "Big Fat Arse" 7"), there's a truly original approach to both hard edged electronic sounds and composition of tracks. No switch-it-on-shout-over-it motions running through here. Not to mention a very precise use of recording, engineering and mixing which one would expect normally from some kind of "academic" approach to sound, but here is just sharpening the already sharp edges of the sounds. Volume and impact are there. It's not a kind of sound I normally get into (or, to be honest, hear a lot of, Iron Fist Of The Sun being the only immediate comparison I can make) but every rule has its exceptions and for me ACL are among them. It's the viciousness of the pieces that wins across. There is dark and sinister, like the opening piece "Fragments" (one of the standout tracks actually) to the closer piece "Fairy Tale" (which also has its louder moments, but is mostly pretty set back). There are more attacking (yet still sinister) pieces like "Non Credo". Harsher (in context) noise spirals like the instrumental "Stand Still" (another standout). And all with very immediate and impressive use of synth and whatever else she's using, although I'd say mostly synth and computer programming. This is digital sounding to its core - pure, precise, sharp, very much "there" in its sound, the kind of sound that will come across whether your speakers are shit or decent - and yet maintains the severity and disdain for convention all the most original Industrial has. I'm rating it that highly.
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« Reply #7564 on: August 28, 2019, 09:59:23 PM »

It's still taking me ages to keep up to date with ANTIchildLEAGUE's output. Only just today got "The Son" (part of a trilogy that I believe started with "The Father", a release I've had for a while and will also very much recommend). If the current controversy here is about the original use of synths, look no further than Gaya Donadio's output for proof that it is happening. From the start (at least, what I've heard, the "Big Fat Arse" 7"), there's a truly original approach to both hard edged electronic sounds and composition of tracks. No switch-it-on-shout-over-it motions running through here. Not to mention a very precise use of recording, engineering and mixing which one would expect normally from some kind of "academic" approach to sound, but here is just sharpening the already sharp edges of the sounds. Volume and impact are there. It's not a kind of sound I normally get into (or, to be honest, hear a lot of, Iron Fist Of The Sun being the only immediate comparison I can make) but every rule has its exceptions and for me ACL are among them. It's the viciousness of the pieces that wins across. There is dark and sinister, like the opening piece "Fragments" (one of the standout tracks actually) to the closer piece "Fairy Tale" (which also has its louder moments, but is mostly pretty set back). There are more attacking (yet still sinister) pieces like "Non Credo". Harsher (in context) noise spirals like the instrumental "Stand Still" (another standout). And all with very immediate and impressive use of synth and whatever else she's using, although I'd say mostly synth and computer programming. This is digital sounding to its core - pure, precise, sharp, very much "there" in its sound, the kind of sound that will come across whether your speakers are shit or decent - and yet maintains the severity and disdain for convention all the most original Industrial has. I'm rating it that highly.

I like 'The Son', your points are spot on, I will go back to it in the week, the Father was my Fave of the three, I think because it is the first album I got after the singles. I like a lot of the recent splits and colaborations she has done and tape releases as ACL. I liked the Split with The Rita, the work was far more agressive and more abstract. I think her vocals become warped and inhuman at their best, pushed to extremes to do this. The Infect Your Gut tape on Bacteria Field was really raw and nasty. The single with Schrage Musik was my intro to the project and the Synth sounds and oddness of that particular release really hooked me in.

I have been listening to the Split she did with Sandblasting which is more noise and beats and it really pushed the boat out as the project goes, it is very different.

Way Back In My Heathen Harvest Glory Days I did an Interview - https://heathenharvest.org/2013/09/07/true-crime-and-utopia-an-interview-with-gaya-donadio/  

You mentioned Final Solution, I was gonna get that off Black Psychosis this month, but I overspent on stuff this month, bah!!!
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« Reply #7565 on: August 29, 2019, 06:17:12 AM »

If someone has a copy of the ACL's Holy Spirit tape laying around I'd be happy to buy that off you. Great sounding project judging from The Rita split and one album on spotify.
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« Reply #7566 on: August 31, 2019, 02:49:43 AM »

Mo•Te - Uncut 4xCD - Industrial Recollections/Audio Dissection - of all the music/noise/etc I've heard in the last 12 months, Mo•Te has been the biggest revelation. starting with the first two reissues IR/AD put out last year through to this box set, I haven't been so consistently floored by any one artist in ages. these 4 CDs are pure gold. it's the easiest box set I've ever listened to, totally doable in a single session, but equally as good to just spend time with one disc. the 4th is probably my favorite (the collab album with Crack Fierce) but it's all damn good. At this point it seems almost all of the old Mo•Te stuff has been reissued by IR and AD. I hope they can do whatever is left because it's seemingly impossible to get..

Junkyard Shaman - Flesh Hole CD - Freak Animal - at two listens I'm still just getting a feel for this album but it's a bit different than I expected. I felt some air of familiarity and then I realized it reminds me quite a bit of Skin Area and Martin Bladh's solo work at times. Especially the monotone, spoke word delivery and the use of classical instruments. but it's not nearly as cold as Skin Area, more of a damp, wet kind of thing. the sound fits the album title very well. probably not an album I'll be listening to super frequently, but I'm glad I took a chance on something new and different.

V/A - Music Should Hurt CD - Self Abuse - gotta thank Noisextra for putting me on to this. less adventurous than "Soundtrack For The End Of The World" as it's mostly a harsh noise compilation. BUT with strong contributions from just about everyone, there's no real fault to find. highlights for me are K2, both Bacillus tracks, OVMN and especially Hyper Ventilation and the fucked up Killer Bug track.
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« Reply #7567 on: August 31, 2019, 05:40:32 AM »

Form Hunter ‎– Dripping Curve (Prime Ruin)

Excellent! Gotta get their other releases & sure hope a proper full-length is in the works. Some of the best rough noise I've heard since the Treriksröset LP on Harbinger.

Just got this tape and gave it a listen. Agree 100%, this is an absolute scorcher!


Their release on WCN, "Overripe", was exceptional as well.

Kjostad ‎– "Birchbark"
Side A reminds me of Developer on benzodiazepine's, it's the adult contemporary cut-up. Side B is where this cassette finds its perfect pitch, a still life collage of walk in freezer-esque humming interrupted by tape manipulation reminiscent of some of the analog splicers from Sweden and Italy.

No Dreams ‎– "Constant Vitriol"
Who put nerdy casio Dungeon Synth in my crude and ignorant Harsh Noise?!

Cold Cave - "Promised Land"
I imagine guys who listen to this squeak and hoot when they have sex and spend too much time looking in the mirror before going out at night.
« Last Edit: August 31, 2019, 06:20:16 AM by RyanWreck » Logged
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« Reply #7568 on: August 31, 2019, 08:57:23 PM »

Various - California 10x lp Box, 2006, (Troniks, Ground Fault, RRR.) - I bought this back when it came out and I have been revisiting it and really keep going back to the Control side, the Skaters side and the Xome side.  A bit pissed the John Weisse side scrapes on my record player, I have an odd shaped Pioneer Deck that doesnt handle miss shapes. I felt like a dick as I played this before he played here and did not recognise it. The Control side has a massive sound and was epic.

S.T.A.B. Electronics - The Non Alliant. (Unrest CD) This to me is a lot darker in content than the F&V release, I don't know why, it is more bleak and a lot nastier to me. It is my first time hearing these releases as I missed out on the tapes, good albums. But I think Day of the Male is where the project just goes elsewhere into it's own territory and went next level, but this is still great.

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« Reply #7569 on: August 31, 2019, 10:26:25 PM »

ifyou’rehere - I’ll have to stay here (self released)

Peaked out short synth loops, hidden under a grating distorted noise. Nice balance is ambient synth tone and distortion keeps this little release interesting throughout, like a moldy thriller vhs tape



Orgy of Carrion - Everlasting Blood of Night (Perverse Homage)

Not sure how y’all feel about raw black metal but I love this stuff. Dirty and muddled vocals and guitar riffs and simple drum machine loops that float in and out of the crushing fuzziness. Vocals are really the highlight here.
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« Reply #7570 on: September 03, 2019, 02:47:33 AM »

K2 - The Rust (2-LP, Hospital Productions) - An essential cut up/junk noise masterpiece. Not much to say that hasn't been said already. My copy is handmade with rusted wire and nasty matte black paint. Hospital as always comes through with some of the best sounding vinyl I've ever heard. Hope they keep these reissues coming.

Contagious Orgasm - A Lot Of Time To Repeat The Climax (CS, Bacteria Field) - Trumpets, sub-aquatic drones, electronic blowjobs & Talking Heads samples(?) coalesce into a dark, disturbing industrial soundscape. Top-tier late-period Cont. Org.

Macronympha & Richard Ramirez (CS, Bizarre Audio Arts) - This is a dense one. A-side has buried percussion and classic Macro phasertronics throughout. The B-side stumbles around for a few minutes before going full jet engine wall-of-blare for nearly a half hour. Love the cover art.

K2 & The Haters - Noise Tournament Vol. 1 (7", Banned Production) - The Haters track (using K2 material), "The Smell Of Shovels", is a fairly typical 90's Haters track. Cavernous buzzing and lots of metal scraping. The K2 track (using Haters material), "Will For Junk Foods", has some cool tape manipulation and vocals(?!). Absolutely loving the Noise Tournament series so far.

Ahlzagailzehguh - Misinterpreted Injury (2x7", Razors & Medicine) - Fuck this is good. Ahlza's one of my favourite modern noise artists for sure. Tracks 2 & 4 are the definite standouts. Really love the packaging on this one as well. One red disc and one yellow (blood & urine?).

Smell & Quim - Jim Seed Collector (7", Praxis Dr. Bearmann) - A classic 7" on an essential label. The title track is quite rhythmic with lots of hilarious old porno samples. The B-side, "Raspberry Jam and Sugar Puffs", is an all-time favourite of mine. After another short sample, this track explodes into a static-laden frenzy. It ends with some piss-poor trumpet(?) playing, followed by another fantastic porn sample. "Come on, give her your love juice, she can't wait any longer".

Smell & Quim - Diameter Of Elvis' Colon (CD, Pure) - Not a favourite of mine, but it certainly has it's moments. There's a mouth fart sample that repeatedly shows up, and some nasty feedback work throughout. "I Stink Therefore I Am" and "The Phallic Pakistani Lesbian Amputee" are personal favourites.

Dead Body Love - Maximum Dose (CD, Pure) - An Italian noise classic. Lots of throbbing low end. Very rhythmic throughout, even at its noisiest. I'd recommend this to anyone trying to get into noise.

Masonna - Noisextra (CDr, Pure) - A masterpiece. The first track is a collage of material from his 2nd-5th albums, and utilizes sounds that I've never heard from Yamazaki before. Excellent track. But "Acid Sky". Holy shit. Possibly one of the greatest slabs of noise ever recorded. Unlike Masonna's usual ultra-short yelp n' attack, this 28 minute monster is all shifting feedback and amp buzz with zero vocals. Fucking essential.
« Last Edit: September 03, 2019, 05:18:16 AM by Spectral Burn » Logged
sunandsteel
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« Reply #7571 on: September 03, 2019, 07:29:18 AM »

Vothana - Không Bao Giờ Nộp/Never To Submit
The fact that this project released a 2xLP that was (relatively) widely available is a feat in and of itself in some ways. I suppose expectations were already high before the record even arrived. This is over an hour of majestic, yet cruel black metal. It never loses your attention as the riffs constantly evolve like a fierce drama. Sound quality wise, it is not as lo-fi as previous output, but it certainly is lacking in intensity. Perfect black metal that I don't see being topped this year.

Alberich - Quantized Angel
This has been on heavy rotation for the past few months. The drum machine is the prominent feature in most tracks taking precedent over synths, yet it doesn't feel monotonous at all. For how beat-centric the album is, he is able to implement a lot of variation. It fully embraces the techno influence that was featured on earlier releases, yet it still feels like an Industrial album. The production is clean, but adds a subtle aggression with the bass drum and synth hitting hard when they need to. Vocals have an indifferent tone to them that reflects the lyrical content - images of a personal yet insignificant death. I was already hooked upon the first listen when it arrived, but my appreciation only increased after seeing him perform most of the album earlier this year. Lastly, I really like the minimalist layout of the cover. An excellent release all around.
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« Reply #7572 on: September 03, 2019, 10:30:52 PM »

The Gerogerigegege - Uguisudani Station
This is not a noise record by any traditional metric. It is self described as a "soundtrack for Uguisudani" and is a lush series of instrumentals touching on enka/jazz/funk/psych/dance. The short loop nature of most of the tracks lends itself to getting stuck in your head. Track 2 is a highlight; funk bass and guitar with horns and a catchy brief electric piano melody. Track 6 is a standout mixing a intro channeling The Cure into something that sounds like a Hawkwind/Motorhead hybrid spacecrust ripper. Confounding in the best way possible. With these last two Gero releases I feel like they're partially being released as tools for other artists; I'd love to see this record shredded to pieces.

Linekraft - Subhuman Principle
Brutally bleak power electronics without dipping into cheesy over-aggressive territory. Rust colored images of trench warfare and mass graves via droning, sputtering electronics, junk abuse, vocals and audio samples. Reminds me a bit of the latest Con-Dom in it's unrelenting negativity. Rhythmic use of percussion is done tastefully, as on "Stand Alone", but melody is far and few between. At some points I was hoping the junk would be higher in the mix, but otherwise right up my alley in terms of themes and mood. There's construction going on outside my house right now and it seamlessly blended into the record as it ended.

I just listened to the new Grim for the first time and enjoyed it quite a bit. I believe the whole record was done in collaboration with linekraft, whose touch is definitely present on it.

Trollheim - Im Heidenwald Elfgaards & Ensomhet
Trollheim is a project of Andreas Bettinger, the man behind Grausamkeit, Corneus, BSOD, etc. This record is ultra-primitive idiot dungeon synth. Hard to say if you should spend your time with it; if you're a fan of his incompetent approach to song writing, you'll probably dig this. Funny moments, bizarre moments, atmospheric moments...enjoyable end to end. Is it worth 25 US to listen to a junkie fuck around with spooky sounds by candelight? up to you.



re: that Vothana, agreed! Incredible record. The dude knows how to write a dramatic riff.
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Bloated Slutbag
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« Reply #7573 on: September 04, 2019, 05:59:32 AM »

See bottom of this post for digest commentary. And let me here apologize for going a bit overboard on the verbal diarrhea. It’s a condition. I’m getting help.

Mo*Te – Uncut boxset
With Mo*Te, you always knew what to expect. Until you didn’t. This is reflected neatly over two halves of handsomely packaged retrospective. First the (expected) million noisegasms per minute: chalk-a-block straight-edged psyche-grits wrapped tight in seething whitewashed sheeting. Then the (less certain) plop into murky festering splooge-pools: gloomy tides washing up hemorrhaging gloop-smeared floaters, concussed misshapen harsh heads only occasionally poking out the drizzled lines of bleary buzzkill, melted plastic features glowering through one yellowed-purple eye, nailed haphazard to tar-blackened cassette casing.
    Once again, kudos to faithful discogs org contributor NOIZESTORM and her bang-on style tags: Noise, Drone, Industrial, Experimental (which once again, on reflection, cover pretty much everything I’ll ever need to listen to). Per the assertions tendered in the first paragraph, above, you’ll find most of the Noise crammed into Discs 1 & 2, with Discs 3 & 4 picking up the Drone, Industrial, Experimental (if punctured occasionally by Noise-inflected spasms of melted plastic harsh heads poking through the murk).
    It's worth reflecting that all this messing about with expectation, and style, took place over, at most, four years, the bulk of it confined to the years 1996 – 1998. After which our good man Mo*Te almost completely disappeared from the recording medium...for the better part of a decade.
    So here and now, two decades later, what does the good man have to say for himself? For starters, check with your friendly neighborhood Skeleton Dust. Meanwhile, below, a little run through of Mo*Te, The Early Years, un-redacted, un-cut, unrestrained by expectation, flopping it out for the masses, four fat honking discs, well in excess of the recommended dose, good for a good half-life, tripping hard, in a peaceful new world.

Harsh-ish half:

Disc 1. Uncut-01. Good and harsh start from the self-titled Mo*Te, 1996. Only 10g, but this here’s potent stuff. Clatter of acoustic metals gasping at whiter washed inclination. Uneven dialog of pelvic-directed oomph, more straight-edged shear. Outlying warbling oscillation drops into fray, then what sound like fragmented rips of badly abused vocal. By which point, nine minutes or so, we are well in for the harsh-ride, barest hint of psychedelia flashing at the perimeter. This is almost certainly recorded in one take, as perhaps is all the most memorable Mo*Te, working its magic the good old fashioned way, dragging attention toward the movement of the moment, and, smothering all sensibility in the warm embrace of pure fire. “Skunk Dub” drops straight into the thick of it, the stench of it, grittier distortions panning very slowly in hypnotic convergence of psyche-tipped undulation. Heavy in measure, softly sweet in texture, over-ear conch shells, lingering un-harsh in the wake of prior dosage, reminiscent of, um, Timisoara at her most introspective, the finest elements twisting turning, licking lapping, under over and through one then the other, complexities slowly emerging from the DENSE of it, the deep of it, grinding hard through gritty saturated grooves.

Uncut-02. Jittery frazzled brainstroms of electronic sizzle, sudden bite of incisive drilling a clear invitation to uh LET LIGHTNING STRIKE MY DICK. Call it cracked- severely cracked- ambient drone, static-charged particles prickling coldly along the drawn-out lengths of electrified schlong-abrasion. Track the second then, and nothing even vaguely ambient, brittle and broken crumble-textures obscuring garbled message seemingly itching to burst through. At rare interval the teasing suggestion that we’re gonna get it, massively distorted vocal blurts slamming, blurting, against dense slathering scathe walls… ultimately swallowed up in tense curdled balls of shaking, purple-faced, rage. So to the “Painful Thing” closing out the set, a seeming mix of the raging electro-storms of the first track and the message-smothering textures of the second. Here, in the third, voices no less submerged but better positioned to communicate their ill-assuaged agonies, dynamic pitch of singed elements in constant heaving struggle, the battle won (or lost) in final batch of burbling clustered crunch.

Disc 2. Uncut-03, from a split with Stimbox, and upfront attempt, perhaps, to complement split-mate’s signature saturated psychedelia. Wide-bodied waves of smoothly surging drift, strong tidal backwash sucking up occasional bouts of harshed up electrified shrieking, mindsear sucked into silkily sleek undertones caressing heated exchange of frothy overtones to output a HARMONICA-ness flooding, so satisfyingly, the whet, panting, palate. Just the sort of thing to be expected of in the wake of Life In A Peaceful New World, and possibly why the two tracks to follow are so perfectly positioned to fuck with expectation. Call it “Momentary”, call it weirdly piercing shit, or call it first attempt at experiment with space: harsh biting stabs pepper openmouthed echoing chambers, ice-knives shattering on squalid flooring, muffled mournful strings, whining violins, violas, reaching deep into darkened recesses, repeated ear-bleed incursion netting wretched and brutal atmos par excellence. Then, a little extended metaphor, a “Drowning”: two-minutes worth of ripped and raw burntout blurt, flopping and smacking against steady, severe, high-end whine. Drawn out, high-end whine. Whiiiiine. Um. Final five-second wig-out shriek-fest, end. Now, return, again, to upper edges of ear-bleed pshychedelia, slathering about the “Wet Floor”, white-washed extremes in almost perfect counterpoint to disordered flap n flop, distorted bass burble. This, is the cracked and shredded HARMONICA-ness, the Real Harsh, to which the true anti-CCCCer might, deep in her lysergic heart, aspire. Broken, seething rocket shrines. All consuming. Swallowing, swallowed, whole. The hole, the howl. Painful, perfect, GULP. Yes.

Uncut-04. Okay, here’s the rub, the burn. Softly burnt, tape-head molested, psyche-slather, slowly seeking escape from sniffly sphinct-snuffle, so suggestive of something harsh but only really the vaguest of hint of so much subdued and mufflered rise, and fall. And then. Ten minutes in, the proverbial tape recovers. Significant harshening up, too little too late, but no- this is great. White-sheeted scathe, revenge of the nerd noise, bring it on, the raging, perfect, storm. That was the “5mg”, now to “Replenish”: high-end wheedling meets fuller meatier abrasions and skin blisters. When it drops, it is convincing, full-on, full-force, all the flesh, and blood, you could need, slowly cycling into the requisite whitewashed waves, oscillations, undulations, filling out the sound palette, sliding effortlessly into cycling chrome-tipped waves, peaked with glistening throb.

Not-so-harsh-ish half:

Disc 3. Uncut-05, Rest Stop Entrapment, and the afore-indicated inauguration of more experimental urging, collapsible crunch chunks, shredded scorch-gristle, drugged out oscillation. Source materials provided by the inimitable Humectant Interruption. It's not exactly harsh, or not consistently so, but it's got most of the elements required in a good and a proper harshening. Screeching scathe storms. Squealing skitter twist. Surging scratch n sniff of the white-washed shriek-walls. These elements, and others like them, piss about in intervals broken by the abovementioned druggy oscillations, sometimes to overlap in dirge-inflected un-harsh. Regardless, this is fifteen minutes of brilliance, insecure in each of its many diversions and detours, but utterly convincing display of erratic discombobulation, flailing in abbreviated fits of warped derailment, before, ever so slowly, completely pulling itself apart, grinding down into gritty kernels of low-grade belch-chafe.

Uncut-06, and a decisive dive off the deep end, into the unexpected, the unknown, the grim and the gloom-laden. Waterlogged metallic clank overflowing through dank drainage filters. Low-end coursing waves undulating through deep sunk quiver, quaver, smother, repetitive clunk and ker-plunk filling out a brooding acoustic hollow. Deep sea documentary of the creepy kind, downer trip through rusted spelunk and shudder, concussed melted harsh heads bumping ineffectually against unyielding hull, drawn out funneled brood shifting in fits and blurts against latent bilge-encrusted bludgen-fields. In the closing minutes a dull percussive thumping against severely blistered tape-head rupture, looped repetitious rubber hosed percussive, warped and warbly oxygen-depleted blurrrrr. Fer fucksake wake-up man. But nil. "Deepsleep Flash Be Too Late", woozy methane chambers, enclosing the altered perspective in numbed lethargy, deep rolling lumber like something fresh out an Atrax Morgue deadbag. As the din escalates through grey and hazy dirge, the deepest bass sets off higher ended needling, muted scrapes drifting across dead-panned fizzle… or what could be the muffled finale of choked out gasp.

Disc 4. Uncut-07. Melted Plastic Head Core! Not actually Mo*Te here but longform collab, with Crack Fierce. Sufficiently different from the principle as to earn a new project title, perhaps even to designate a whole new genre. This much is not immediately apparent. "Your Little Heart" finds CF working through MT source materials to net harsh punishments just about on par with CF proper. Just about. An initial pizzle through extended synthetic dronebuzz trades time with squealy-mouthed knob twizzlers. Then at eleven minutes the anticipated harsh. A somewhat Mo*Te-sque sort of muted harsh, never quite to work itself up into full metal lather, whitewashed psych-inflection ranging all the hell over the place, unhurried, deliberate, content to bask in warm analog texture.

"Your Little Eyes", aka Mo*Te molesting Crack Fierce, takes things clean off the map- and easily takes the melted plastic prize. Warbled loop of tense ambient burn anchors slow-panned rhythmical huff n gasp. At the edges, keening calls of distressed acoustic squawk claw at frayed nerves, creeping cold comforts feeding uneasy mood with promise of ills to come. And then the drag, sudden and strong, muffled violent undertow flushing murky floor with steady heave of dirge-saturated grey-wash, plastic heads smothered, smooshed flat, twenty thousand leagues beneath the roiled and roaring waste waters. Nineteenth minute and abrupt surge into electrified wheedle-bleat, fleeting scorchlights of whitewalled harshening faintly scalding the periphery. Now, drop the bongos, tribal rhythms signaling final bee-line for exit tunnel. Closing minutes and the sneak attack, the surprise harshhead reversion: piercing needle-shriek severity, rage of fake plastic memories melting in an amnesia of deformed stupor-bliss, reversed bass slops neatly folding up the many and molestible loose ends, abused ‘holes slowly bleeding out their thanks. That much, at least, was always to be expected.


Digest spew:
Four discs showcasing two flavors of Mo*Te, one noise the other not. The noise is consistent with Mo*Te classics a la Life In A Peaceful New World. Smooth whitewashed psych flavors, softly searing tape saturations, not overtly harsh but surging, overflowing, robust with muscular dynamism. The not is consistent with the spirit of experimental fucklery, sliding smoothly across a range of deadpanned deepsea detours, deviations, only occasionally to allow the concussed and melted plastic harsh heads to poke their stupored features through the murky, undulating, depths.
« Last Edit: September 04, 2019, 11:54:52 AM by Bloated Slutbag » Logged

Someone weaker than you should beat you and brag
And take you for a drag
NaturalOrthodoxy
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« Reply #7574 on: September 04, 2019, 09:59:52 AM »



Trollheim - Im Heidenwald Elfgaards & Ensomhet
Trollheim is a project of Andreas Bettinger, the man behind Grausamkeit, Corneus, BSOD, etc. This record is ultra-primitive idiot dungeon synth. Hard to say if you should spend your time with it; if you're a fan of his incompetent approach to song writing, you'll probably dig this. Funny moments, bizarre moments, atmospheric moments...enjoyable end to end. Is it worth 25 US to listen to a junkie fuck around with spooky sounds by candelight? up to you.


"ultra-primitive idiot dungeon synth" - sounds like exactly what i look for in dungeon synth. I dig the 'professional' sound of Old Tower but really I just want a spooky version of the Rugrats theme tune
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