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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 3324687 times)
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bitewerksMTB
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« Reply #7665 on: October 06, 2019, 08:14:50 PM »

https://www.youtube.com/watch?v=-yno_VAPmK0

PYTHON "Astrological Warfare" DLP Ajna Offensive- listened to this fuzzed out, atmospheric metal record straight through last night. Great stuff with some amateurish King Diamond vocals that I loved. Going to have to dig out the debut & give it another chance; I remember liking only part of it. This second release is definitely a huge improvement.
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« Reply #7666 on: October 06, 2019, 10:06:18 PM »

I love that Python record. The first lp is mastered so quietly I can't really get into it. The Rumbles Under the Floorboards ep is excellent though.
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« Reply #7667 on: October 08, 2019, 03:41:12 PM »

After being put onto the Kaos Kontrol label back catalogue by a post about MNEM on this thread (I have absolutely caned the For Delta Relics album- awesome night time listening conjuring images of abandoned trains, rusting machinery, and empty warehouses), I downloaded this excellent comp for free from bandcamp:

https://kaoskontrol.bandcamp.com/album/kaos-ex-machina-i

Good range of sounds here, including an awesome Grunt/Cloama track and a mammoth Putrefier jam.
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« Reply #7668 on: October 08, 2019, 05:09:43 PM »

Blood Incantation - Hidden History of the Human Race
I always found BI to be pretty boring on record. seen them live last year and was blown away, went back to the first couple of records and still did nothing for me. they didn't seem to capture how they sound live on record. well that all changes with the new album, I went in listening just to get familiar with the new songs since I'll be seeing them live again in about 2 weeks, by the middle of the first song this album was already moving up to a top album of 2019 for me. upon first couple of listens I heard a much more  prevalent disembowelment influence, then someone said mentioned the Human era Death influence so I listened to Human last night followed by this and it's definitely there. the 2nd song even has a nice Nile style riff in it.
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« Reply #7669 on: October 08, 2019, 08:03:26 PM »

I don't know if it is because I'm about 2/3's through the 14+ hour Ken Burns Country Music documentary or what...because it IS the season...but plenty of mountain folk (mingled with the Dis- flood).

Roscoe Holcomb - San Diego Folk Festival 1972 - (he was barely mentioned in the doc) - not something I could have enjoyed, or began to understand, in my yout', but in the past many years, I can't think of a more visceral music or artist - his voice and presence transports you to a worn, mud-encrusted barn wood porch at sunset in the mountains of Kentucky - it'll take you there and elsewhere - https://youtu.be/GSlQ0OucF6c

VA-Mountain Music Of Kentucky 2CD - just the tracks from Mr. and Mrs. Sams - what voices.

Lester Flatt & Earl Scruggs - Foggy Mountain Jamboree 1957 - if you like fast, this might be your bag.  (highlighted in the doc).

Randy Greif - War of the World 2001 - he's always been an understated great, but this album took me by storm - some of the sonics on this thing will have you itching your ears - one menacing track after another.
« Last Edit: October 08, 2019, 10:40:10 PM by Zeno Marx » Logged

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absurdexposition
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« Reply #7670 on: October 08, 2019, 09:28:29 PM »

the 14+ hour Ken Burns Country Music documentary

We can move into the seen/not seen thread if necessary, but how is this overall?
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« Reply #7671 on: October 08, 2019, 11:20:46 PM »

the 14+ hour Ken Burns Country Music documentary

We can move into the seen/not seen thread if necessary, but how is this overall?
I think it is worth watching in smaller segments than the allotted two hour episodes.  I don't know much about country music, so I felt there was a lot to absorb.  So many artists and situations seemed more interesting than the time they were given, but so is the nature of such a big topic.  I made lists as it went and then gave more attention on youtube.  That's why it is taking me so long to get through it.  There's some unexpected, incredibly interesting happenings, like how folk and rock artists of the 60s and 70s ended up going to Nashville to use the great session musicians and studios.  I admit that I find it weird, and potentially offputting, that other people were writing the songs and other people were basically writing the music.  I knew that country music had a different recipe and process, but I don't think I gave it the appropriate weight.  And the musicians themselves don't get the credit they deserve(d) in a greater public sense.  Maybe if country music is your main diet you know the names, but without these [mostly] guys, it doesn't seem like you would know the bigger names.  The country music machine is odd.
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« Reply #7672 on: October 08, 2019, 11:33:45 PM »

Legless “Residual Damage” CS (Angst, 2019)
Appropriate title for such a tape. Lately I've been thinking of certain stuff as Raw Noise, rather than or in addition to being Harsh Noise. Stuff that emphasizes scum and murk over force and precision. Could be dynamic, could be linear. Anyway, Legless is very much Raw Noise. Cavernous bass, blown-out mids, and flattened high-end from old tapes, likely bounced together and run into the mix, or maybe just another tape deck. Sources date
back from 2014, so that's my assumption. Which also happens to be one of my favorite approaches to noise. All the static textures one could want, with a propulsive, forward momentum and occasional breaks into buzz, oscillation, flutter and unexpected semi-harmonic weirdness. Just like I like it. Legless is one of a handful of American acts that is unafraid to sound damaged and fucked up while still expressing this in a moving way through their sound. Of course I appreciate that other countries' Harsh Noise sorry, Raw Noise tends to be
conceptual, or perverse, or simply well-executed art, I like that America's noise is just kinda fucked up like we are. Legless is a top-tier example.

Worth “Black Medicine” (Wonderland Media, LLC, 2019)
Not to give too much away, but it's sort of odd getting to know people whose work is this good, sometimes. It's both easy and difficult to see exactly where it comes from, in terms of their personality. With this guy, theconnections are readily apparent. I find a lot of insight and nuance
in the way he converses, much like the way each section of a Worth track comes off as somehow both deliberate and highly considered, as well as spontaneous and in response to conditions. A friend described him as “witchy,” and though I'd probably phrase it differently, I
agree. When I came back from the store with the guy who put this tape out, our man was divining something with tarot cards – casually, on the living room floor. Seemed about right. Anyway, this sounds like a Worth tape: psychedelic, sharp, thick yet emphasizing high end, "electrical" in texture, intense and intricate, even when certain pieces feature almost no gear and were recorded to a single track. I think Worth is a lot like an American take on earlier Sutcliffe Jugend; there is a certain rawness and a unique tone and texture from track to track where the manner of recording is sort of its own instrument, so to speak. I really can't explain more than that. I just really, really find a lot of what I look for in music in general in what he does, and in a much more personal way than a lot of other noise of any kind.

Concrete Mascara “Worms of Corrosion” CS (Vanity Recordings, 2018)
Now we're getting into conflict of interest territory, with me reviewing stuff by somebody who is now a bandmate. That's not flaunting, that's me admitting potential inability toward objectivity. I've been following CM since the first tape, and while I've missed out on key releases, it's one of my favorite projects in terms of evolution. Not evolution like occurs in chilren born without an appendix, however. More like as portrayed in the Cronenberg version of The Fly. Being that the guy basically did a hip hop + PE song when we toured together, I don't fucking know what to expect, except 1) will be harsh and 2) will sound dystopian and uncomfortable. The man does a good job of creating through music the atmosphere and ethos projected in a lot of his preferences in books, films, pornography and so on, while refraining from the literalism, or perhaps more contentiously, the full-on “realism” of others. I also hear a good deal of the man's previous experiences and well, habits, as informing the sound and content – I honestly believe that people who haven't read A Scanner Darkly can't fully understand this project and what is being communicated through it. The point being is that it gets harder and harder to describe this guy's music, while it gets more moving and relatable as it progresses. Power Electronics should still qualify as experimental music, instead of being stratified into subgenre template bullshit like punk, metal and so on. CM is a great example of that. Even if you're not a fan of this project, I think you could probably agree that nothing else quite feels or sounds like it. While not my favorite CM tape, "Worms" is still really good, has one of the best songs so far, some of the weirder juxtapositions, and provides the logical steps into the more recent, more experimental, more Brundlefly kinda stuff - which is the best to date.
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« Reply #7673 on: October 09, 2019, 05:48:57 PM »

Carlos Giffoni / The Rita - Two On A Match 2xLP

I'm a long time fan of The Rita, haven't heard much of what Carlos Giffoni has released (the few I have heard I have not liked that much). This release is already a decade old and it has been ages since I listened to it. The first vinyl here has lots of crunchy and varied HNW that at least to me sounds exactly like The Rita solo stuff. The only thing is that the noise is being faded in and out with varied lengths of silence in between. At least to me this sounds super annoying. I almost gave up at this point but luckily I still managed to put on the second vinyl. From here on it is just non-stop thundering HNW punishment until the end. Excellent rumbling DISTORTION.

To me this all sounds like The Rita so I have no idea what was Carlos Giffoni's input in this one. Maybe the fade ins and outs on the first vinyl?
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« Reply #7674 on: October 09, 2019, 06:24:22 PM »

Carlos Giffoni / The Rita - Two On A Match 2xLP

I'm a long time fan of The Rita, haven't heard much of what Carlos Giffoni has released (the few I have heard I have not liked that much). This release is already a decade old and it has been ages since I listened to it. The first vinyl here has lots of crunchy and varied HNW that at least to me sounds exactly like The Rita solo stuff. The only thing is that the noise is being faded in and out with varied lengths of silence in between. At least to me this sounds super annoying. I almost gave up at this point but luckily I still managed to put on the second vinyl. From here on it is just non-stop thundering HNW punishment until the end. Excellent rumbling DISTORTION.

To me this all sounds like The Rita so I have no idea what was Carlos Giffoni's input in this one. Maybe the fade ins and outs on the first vinyl?

I listened to this one a few months ago, after not having heard it for many years as well, and my first thought was that the LPs were supposed to be played simultaneously on two different turntables.
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« Reply #7675 on: October 09, 2019, 06:59:34 PM »

Run for Omniphobia - Executive Order 13603 (Detachment Programs)
downtempo lo-fi industrial hypnosis. Loops and minimally modulated synth work peppered with noise and samples. I love this kind of stuff, like a filthy Gas or Mike Mangino's "They Will Burn us to Ashes" project. There's a presence of humor that runs through, but very restrained. I'd like to track down some of their other tapes.

Interracial Sex - N[redacted] Addicted Jackoholic (Nil by Mouth)
Absolutely massive record and if there's any justice will be measured as a modern classic. Vocals hit those Final Solution levels of derangement, but he displays a really wide range that wasn't evident on earlier recordings. The record maintains thematic and sonic coherence without ever falling into a rut. Everything you'd want out of PE is here, def. sets a new bar for vocal performance but as a total package it's outstanding. I'm Moving Back is probably my favorite track.

Mo*te - Uncut (Industrial Recollections)
Incredible comp of psychedelic noise cuts from an underrated master of the craft. I have never heard the Melting Plastic Head Core material before and it's pretty revelatory. I love how it has this rugged vaguely rhythmic structure underpinning the walls of harsh noise over the top.
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« Reply #7676 on: October 09, 2019, 11:32:07 PM »

Quote
To me this all sounds like The Rita so I have no idea what was Carlos Giffoni's input in this one. Maybe the fade ins and outs on the first vinyl?

All source sounds for me to process were from Carlos.
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« Reply #7677 on: October 10, 2019, 08:20:20 PM »

Presage - FERALHEART cassette (2018) - a gift from Will Worth, coming on his recommendation. absolutely nasty synth based noise that is immediately and continuously satisfying. reminds me a bit of the first Maskhead tape "Forced Perversions" or the more recent Magnetic Tape Mouth Gag on IOPS. The j-card design and track titles help give it its own feeling though. something along the lines of "loud, rushing water heard from the crawlspace under a log cabin". its damp and churning and different from the rough blasting or high freq screeching I normally listen too. very grateful to have received this as a gift as I may not have ever heard it otherwise.

Kiran Arora - Formication CDr (2019) - gigantic swirling noise. the sonic equivalent of a hungry, sky blackening swarm of cicadas being trapped inside a silo and slowly buried in endless gravel, only to have the whole silo burst at the very end. this is fucking fantastic!
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« Reply #7678 on: October 11, 2019, 07:13:27 AM »

See bottom of this post for digest commentary.


Jeph Jerman – Arcane Facture
Big buncha bink bonk, clink clonk. Metals on metals. Stones. Glass. Scraping across rough granite surfaces. Dragged through gnarled wooded patches. Metals, not so much in their whanging, more the delicate affair. Metals delicately interacting with a range of acoustic hosts, dinging them, pinging them, clanging them, banging them. But, like, delicate. Clanging and banging without the decay. Sharp. Percussive. So both delicate and, um, less-than-delicate. Semi-delicate. Let's say, big buncha bink bonk, clink clank. Clank fairly edging out the clonk. Mmm, yes, definitely more clank. (sigh) Let me start again.

With The Bray Harp, Mr Jerman’s previous outing on White Centipede, the 'holes were treated to a veritable smorgasbord of acoustic clinking, clanking, clonking and clunking. Call it deep, slow-mo, plummet through continuously buckling scaffold of wood, metal, rust. Brute-ist, physical. There were a few more chefs involved in the sound production- luminaries like Eric La Casa, Ben Brucato, and some guy named Oskar Brummel. And a clear sense of, well I wouldn’t call it narrative progression, but a clear and quite classical structural exposition, complete with measured ramping and de-ramping of tensions, culminating on one side with a fairly rough-edged piece of brute scrape-texture.

With Arcane Facture, there is a sense of progression, or at least a sense of period and structure, but I wouldn't call it clear. This is more free form, more bare to the elements, erosion, entropy. More plainly within the province of the principle mover, to whom all sound production duties are solely tasked. Delicate, or semi-delicate, and quite beautiful really, a rural gamelan of percussive clamor, setting to task a motley assortment of rough n tumble objects found readily on hand. Hands, too, are a big part of this, particularly in the breakdowns inside the clamor, affording exploded views of very physical rubbing, scrubbing, and scraping. Zoom out for breathtaking panorama, densely forested thickets of acoustic clatter, hailstorms or insect swarms of glass and metal, sticks and stones sucked up in the cacophonous swirling spirals. DENSE layers involved, their careful pilings and unpeelings subtle enough to suggest a practiced set of hands to the task. If this is entropy (in motion) it is in the studied simulation of form free of design. Quite deliberate and determined design so artfully suggestive of anything but.

Okay then. A wee peep at the sneakily sexed up architecture.

Track 1 pitches head-first into a heaving steel vat, possibly a large trash compactor, filled with nuts, bolts and other acoustic metal scraps. Steady, unhurried, semi-delicate. The machine jams, attention zeroes in on uncooperative grinding motor- then sudden explosive burst into gear, sharp metal bolts hurtling all over the place. At this point we can actually hear the engine grumbling away in the background, though the star players are the massed cantankerous junk-piles of binkety-bonked clinkety-clank. The machine fades away, taking with it much of the massed clatter. By the fourth minute we're focused in on a single plank of rumpled wood, practiced hand wearing methodically at the abraded surface. Then, the shattering glass launch of brief and busy affair with chain-linked lengths of corrugated tubing before a slip and plunge into heavier liquid resonances, brief flits of rusted squeal sexing up wrinkled crink and crank. Fourteen minutes and a conveyor belt transports the crinkling assemblage through meaty musts of boiler room thunder. Finally the decisive and unceremonious plonk back into the trash compactor, chattering clattering clutter of bonked-up binkily clink clank.

Track 2 spends its first fifteen minutes sunk deep in chattering clatterland. Bink bonk clink clank uber alles. Scrap-metal symphonies of physical scrubbing scraping and scratching, plus some fairly determined digging in the dirt. Unlike Track 1 there are no deviations of form, free invitation to lose oneself in the dense junk textures. Delicate, or semi-delicate, but, with sufficient application of the volume knob, HARSH. No deep dives, machine murmur or liquid resonance, this is all in the mid-to-upper end of spiky earhole abrasion. At fifteen minutes a distant disembodied voice announces decision to shut things down. Then the much reduced sounds of slow, methodical clean up. By degrees, the remnants of clutter are taken over by tape hiss, muffled snuffle-textures snuffing themselves out in increments until the tape-head itself is simply too worn down to go on.


Digest spew:
If you like the sounds of metal whanging on metal, you may want to look elsewhere. Jerman’s got the metals, lots of em, but is here more concerned with their subtler acoustic dimensions. The binks, the bonks, the clinks, the clanks. But, like, shitloads of em. Wide-panned nail-storms of clinkily-clank slicing into, and often through, calm cratered surfaces. It ain’t just the metals, but an almighty host of raw material. Glass, stones, wood, dirt. Pretty much whatever’s at hand to the task at hand. Hands, too, are undeniably key to the very physical rendering, very rough materials scraping scouring scrubbing and scratching at the abraded edges. Get yer fricken elbow in there laddie! Bink bonk clink clank uber bonking alles.
« Last Edit: October 11, 2019, 08:56:11 AM by Bloated Slutbag » Logged

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« Reply #7679 on: October 11, 2019, 10:07:39 PM »

Jeph Jerman – Arcane Facture
Big buncha bink bonk, clink clonk. Metals on metals. Stones. Glass. Scraping across rough granite surfaces.
Love the new album as well. And yeah, in a backwards way it had me thinking of Hands To, but with the present day Jerman Skills to it. Sounds like a passionate and a little bit too eager archeologist making a mess at an execration site after having one too many drinks. It's beautiful.
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