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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 3179017 times)
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Baglady
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« Reply #7650 on: September 29, 2019, 11:33:23 PM »

Anyone in Europe who's selling the The Bastard Doesn't Dream cassette?

I've still got copies in stock. CA$5 shipping to Europe!
Oh? Not bad at all. Thing is though that there will be a customs fee of at least 7€ attached to it as soon as it reaches Sweden. That goes for all incoming packages from outside the EU.
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cr
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« Reply #7651 on: September 30, 2019, 06:58:12 AM »

Anyone in Europe who's selling the The Bastard Doesn't Dream cassette?

I've still got copies in stock. CA$5 shipping to Europe!
Oh? Not bad at all. Thing is though that there will be a customs fee of at least 7€ attached to it as soon as it reaches Sweden. That goes for all incoming packages from outside the EU.

It should be also available from the Marhaug bandcamp
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FreakAnimalFinland
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« Reply #7652 on: September 30, 2019, 08:01:18 AM »

Been listening on couple days Matt Shoemaker "Spots in the sun" CD and "Erosion of the analogous eye" CD. Brilliant experimental sound. I occasionally called it "drone", which it barely is. Perhaps better to lump it together in experimental sound of Small Cruel Party and such. Field recordings, processed physical sound sources. Often droning, yes, but clear sense of composition. Spots in the sun includes way more volume differences, growing into dramatic levels from quiet to loud, while Erosion.. is more stable in that sense. Also one I like more. So much tasty and subtle textures. Was thinking about having to check out information what other stuff Shoemaker has available, and turned out artist died just couple years ago. Perhaps the geographical distance & scene-distance was enough that those news never reached me. From 2000-2018, there are couple releases I need to get... Should see where to grab them.
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Baglady
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« Reply #7653 on: September 30, 2019, 08:06:36 AM »

Anyone in Europe who's selling the The Bastard Doesn't Dream cassette?

I've still got copies in stock. CA$5 shipping to Europe!
Oh? Not bad at all. Thing is though that there will be a customs fee of at least 7€ attached to it as soon as it reaches Sweden. That goes for all incoming packages from outside the EU.

It should be also available from the Marhaug bandcamp
Ah, thanks!
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Zeno Marx
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« Reply #7654 on: September 30, 2019, 06:37:09 PM »

Been listening on couple days Matt Shoemaker "Spots in the sun" CD and "Erosion of the analogous eye" CD. Brilliant experimental sound. I occasionally called it "drone", which it barely is. Perhaps better to lump it together in experimental sound of Small Cruel Party and such. Field recordings, processed physical sound sources. Often droning, yes, but clear sense of composition. Spots in the sun includes way more volume differences, growing into dramatic levels from quiet to loud, while Erosion.. is more stable in that sense. Also one I like more. So much tasty and subtle textures. Was thinking about having to check out information what other stuff Shoemaker has available, and turned out artist died just couple years ago. Perhaps the geographical distance & scene-distance was enough that those news never reached me. From 2000-2018, there are couple releases I need to get... Should see where to grab them.
Convoluted or not, when I think of Shoemaker, I think of the Elevator Bath picture disc series in particular and the entire label in general.  Many gems.  And branch out from there with abandon.   Artists doing consistently top-level work that doesn't get enough consideration.  If ND was still published, Elevator Bath and their roster would have be a prime article.
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Stipsi
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« Reply #7655 on: October 01, 2019, 11:43:44 AM »

Mania
Armed to the teeth.
Nothing but probably my favourite noise album ever recorded.
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« Reply #7656 on: October 01, 2019, 04:24:19 PM »

Mania
Armed to the teeth.
Nothing but probably my favourite noise album ever recorded.

I have been meaning to check this album out for a while, so this high praise might finally motivate me to do so, as I have really liked what I have heard from Mania thus far.

I spent part of last night listening to "The White Will" by Xenophobic Ejaculation.  I really love this ep.  I like how both sides are based around very powerful and direct sound samples, which form dramatic centerpieces.  Additionally, the masterful live performance on the B side really highlights Pasi Markkula's skill as a musician.
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Grübelschlinge
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« Reply #7657 on: October 01, 2019, 05:57:01 PM »

TORBA - musica convenzionale CD

Since I got it I have listened to it several times, maybe most spins for new release in long time. Don't know much about musique concrète and never cared that much, but this is really moving me, has a lot great details and wrong turns and even some harshness. At the end of the day it is a like a good trip.
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« Reply #7658 on: October 03, 2019, 01:15:53 AM »

https://www.youtube.com/watch?time_continue=57&v=TliX6mMeMFs

Dynamite Cuts is releasing a 2x7" of this. Great movie & music!

"You're dead and out of this world"- new to me, I dig it.

https://www.youtube.com/watch?v=ImAlx0amAIc
« Last Edit: October 03, 2019, 01:22:41 AM by bitewerksMTB » Logged

ashraf
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« Reply #7659 on: October 03, 2019, 02:36:07 AM »

Perhaps the geographical distance & scene-distance was enough that those news never reached me. From 2000-2018, there are couple releases I need to get... Should see where to grab them.
[/quote]

I’m happy to see Matt’s work recognized here. He was active in Seattle 20 years at least and was a great visual artist, too, though it doesn’t seem that any of his works are viewable online. His CD on Trente Oiseaux is excellent and easy to find.
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Bruitiste
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« Reply #7660 on: October 03, 2019, 06:25:08 PM »

Dave Phillips - Burn (Aaltra records)

Haven't listened to anything by this artist in awhile so pulled out this tape I remember liking. It's a quick c20 and gets right to the point, side A provides dramatic and fast-paced cut-up sounds and it's a lot more aggressive than I remembered. It's very good. Side B is subdued and haunting. A tense atmosphere with minimalist piano and field recordings among many other sounds weaving in and out of the foreground. A solid tape worth revisiting.

Anyone have other recommendations for Mr. Phillips? I haven't kept up in the last few years but it looks like he has remained very active.
The Rise LP from 2017 is pretty great.
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« Reply #7661 on: October 04, 2019, 10:00:20 AM »


The Rise LP from 2017 is pretty great.

Not listened in a while but I seem to remember a black metal jam closely resembling Burzum's Jesu Dod with samples of dogs barking throughout, fucking awesome track
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Bloated Slutbag
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« Reply #7662 on: October 04, 2019, 05:09:20 PM »

See bottom of this post for digest commentary

Wince – Shame
The art of bone-dry shredding. Brought spectacularly to life. Bone-dry shredding. Is that an art? It is now. The art is in the nebulous convergence of elements invading earhole: dense mass of grinding metal machine machination, scrapy, acoustic; brute rasp of searing whitewashed fubar’d capacitance, scrappy, electronic. Needless to say, a lot of shit in play. I picture Vivenza-inspired harshperv on leisurely prowl through heavy metal grinding mill, later in the privacy of own dungeon carefully extracting from the mix the any hint of rhythmic bump or bustle, laying it on thick with the straight redzoned harsh texture. The grinding scathe-scrape. The bone-dry shredding.

A precise and perspicacious parsing into component parts may well prove an edifying pursuit- or at least provide fodder for another riveting discussion on a forum dedicated to gear/tech/etc. No shame in that, but really what makes it all so spectacular is how perception is so persuasively fucked with. Okay so here we have a char-burnt breakdown into sputtering electronics, there a spot of elongated feedback bleed, around the corner a deep-dive into overworked turbines grinding themselves into oblivion. As the variegated elements converge, it’s almost too easy to get lost in their brute enticements. I’m reminded of certain species of 20th century classical music, the more spectral or droning strains, where the complex clusters of instrumentation, voice and electronics obscure their origins in the rich harmonic sonorities. Here’s the harshnoise answer, the rich harmonic sonorities of smoked-to-shit machinery twisting themselves through dense strands of pointedly drilling electro-gasmic brutality. The bone-dry shredding.
 
Bone-dry shredding: raspy, scratchy scrapes over char-burnt and blistered scorch-scapes. Bone-dry scorch scrapes. Like taking an orbital sander to a clutch of contact mics and slowly working them shits down to the bone. A tireless and fruitless effort to smooth out an endlessly regenerating host of rough edges. The tireless toil of Sisyphean harshperv intent on pushing the tools of his craft beyond their considerable capacities, whitewashed electronics mimicking metal machining instruments in hissy-fits of fevered, blister-burnt, scorchdeath.

So much at least may be said of the first two ditties, which may combine in duration to consume one side of an lp. At junctures the whitewash drops down a notch, layers get peeled back, perspective blinks in shiny enclosure of steel processing plant, cranking and grinding away. At two minutes the first spot of squealy feedback bleeds through the mechanized scrape-scape, heftier loads of industrial-strength bulge straining into view. Slowly, perceptibly, fat flatulent overbludgeon starts to crowd out the outlying slither-strains, contours acquiring more bulbous, heavily-weighted, consistency. In this perceptible shift a perceptible loss of bearings, grittier chunks trading time with half-obscured gristle-singe, occasional gaps both suggesting and denying hidden depths, broken machines in pitch-imperfect dysfunction, and the emerging perception of not having a fucking clue as to what the fuck's going on; to revel, in relief, in the fractured bliss of perceptible oblivion.

Track 2 does not immediately stray far from the table of elements first concocted, though here the metal machining instruments - or their contact mic'd surrogates - seem to have less in the way of harsharsed analog permutation to contend with. Instead, a dialog-based trading of extended intervals, the more acoustic scrapings occasioned several opportunities to shred in bone-dry contentment before a steady crumbling electro-phonic rumple-burn chokes it out. A deviation too in the more classically structured contour, the closing minutes steadily given over to a significant cranking of the overloaded capacities, roiling at the densely leavened threshold of critical mass. Setting up the main event.

Track 3, or the main event, roars out the gate with an immediate 'hole-ripping fury that does not subside for its full lp-side duration. At root, all the bone-dry shredding you could want. In effect, against its two immediate predecessors, heavier, harsher, meatier, more actively engaged in engaging the surface tensions, and much more deeply vested in the bludgeon-thunder'd grit-textures of HARSH proper. Not to mention significantly more fleshed out stereophonic scope. In a way, this is less interesting, or less challenging and easier to “get”, than Tracks 1 & 2. No need to go deep with the attentions. No invitation to fruitlessly parse a dense convergence of elements. All the harsh work is done for you, as sure to appeal to the classic harshperv as to those of the more crunch-headed persuasion. Per Track 2, the classically structured aggravation of tensions, gradually building to the climactic scorchout. But it doesn’t feel gradual, rather a spirited sense of being swept up in the constantly driving forward momentum, full-throttle shifting from high to high. At the fifteenth minute the final lunge for the jugular, the harsh-grip cutting off all circulation, growing airtight, uncompromising, purple-faced searing undercurrents bringing them crunch-shits home, for the team: the rumble-cratered bludger-scrunch, the ear-bleeding scour of filth-laced scorch-huff, the rasping needle-sharp drilling of painfully determined ‘hole-rape, the pure and unfettered commitment to ripped raw blown chunks blowout. The bone-dry shredding.


Digest spew:
Wince seems to excel at a certain un-alloyed un-compromising commitment to char-burnt scrape texture. Bone-dry shredding, if you will. Conjure up visions of sand, or sanders, grinders. Or grinders slowly ground up. Grit, fat chunks of grit, in your eye, grit in the throat, fits of choking wheezing rasping. Grit up the crack. Fat chunks- or the teensiest particles amplified out of proportion. Here an interesting contrast of grit sanded down in steel processing plant fighting acoustic nose-dives into well-leavened steel-on-steel shriek. Monophonic predilections forcing the attentions to try to parse the variegated attempts to rip it all to shit. Then final massed homage to the Crunch God, stereo scope properly fleshed, the net bludgen-textures as full-flavored and meaty as one could pray. Bone-dry chunks of raw shredded grit. Blown chunks blowing chunks. Like momma makes it now.
« Last Edit: October 04, 2019, 05:17:33 PM by Bloated Slutbag » Logged

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« Reply #7663 on: October 04, 2019, 05:27:37 PM »

Creep of Paris "Geronticus Eremita" CDr (Chocolate Monk, 2019)

Tape loop collage with some sources apparently courtesy of none other than Andy Bolus, and it sounds like it. Begins with the loop which comprises the entirety of "Inactivity" (as mentioned last post) and descends from there into what sounds like stepping inside the dementia of an elderly relative. Not a "fun" listen, but definitely may appeal to Dilloway fans. The second track feels like the blissful release of th final moment when death's euphoria finally takes our patient (the listener; you). Definitely the best CoP so far.
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« Reply #7664 on: October 04, 2019, 09:04:36 PM »

JUNKYARD SHAMAN - Flesh Hole CD
Despite the Freak Animal website describing this album as unlike anything "anyone else is doing in Finland", I must admit I had some prejudices here. Positive prejudices, but even so I figured a Finnish project based largely on junk violation and cassette stuff, released on Freak Animal, would have a certain sound to it. I was very wrong and very surprised. There are certainly some "post mortem" vibes here and there, the occasional clanging and rumbling scrap metal and some very analog hiss, but the overall picture is very different from the majority of items released by F.A. Calling this "unique" may be a step too far, but at least I can't immediately think of any act for direct comparison. The material is mainly low-key, and apart from the tape and junk aspects, there are numerous conventional instruments (though unconventionally used) like brass and cymbals, as well as other assorted noises and ambiances. The by far oddest aspect is the vocals, which consist of spoken word that sounds highly EQed (not least hi-pass filtered), and which despite being performed at conversational level volume is extremely clear. Virtually every syllable is instantly intelligible. The lyrics are dark, but more peculiar and/or unpleasant than over-the-top shocking. "Sinking Ship" is probably the most clever one, and becomes depressing when read as a description of a person's self image (as it is probably intended), but slightly humorous if you interpret it as a noise/experimental artist's self criticism. "Burn, Bundy, Burn" is the worst (lyrically speaking), with it's somewhat overscandinavian condemnation of Americans celebrating executions. I've returned to this one a few times, and while it will not blow your ears out, it will probably interest you. I, at least, end every play-through feeling like there is every reason to go back and poke around in this rather bleak, unassuming mess.

« Last Edit: October 04, 2019, 09:08:01 PM by Yrjö-Koskinen » Logged

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