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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 3316319 times)
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Yrjö-Koskinen
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« Reply #7740 on: December 06, 2019, 01:01:18 AM »

EQUIMANTHORN - Lectionum Antiquarum CD 1999
Some of the black metal-connected side projects I allude to when writing about "dungeon synth" need to be taken with a grain of salt. Not in the way that hipsters, in themselves ten times more embarrassing than any satanic-nazi-pagan-black metal kid of the 90s, would take them with a grain of salt to complement their new glasses, but still. Often, the quality isn't quite there. There are multiple exceptions, and one of the most obvious ones is Equimanthorn's Nindinugga Nimshimshargal Enlillara. Without a shred of irony, I'll say this: it is probably the best ritual ambient album ever made. Bizarre, jubilant and almost completely disconnected from any aspect of manifest reality, it is absolutely overwhelming. I'm still pissed off I didn't have the money to buy the longsleeve from Unisound. This album, a compilation of earlier efforts, is different in style, and while it can never reproduce in me the absolute fascination I felt and feel for the debut album, it is still very interesting. The open, reverb effect generated halls and triumphant, shouted exultations of Nindinugga is here replaced by wooden chambers, choked back mechanic/analog rhythms and mouth-almost-too-close-to-the-mic spoken word. Drones without notes, dissonantly percussive tape noises and (since this is actually a prequel) wonderful fuzziness and natural compression - all these factors make for a nice listen. Perhaps more importantly, I feel an increasing need to revisit (and in a few cases discover/investigate) the albums that came after this one. There is nothing quite like Equimanthorn, and that's that.
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« Reply #7741 on: December 06, 2019, 10:22:31 AM »

Costin Miereanu - Luna Cinese 1975
(see also Tempo Furioso by Martin Davorin Jagodic)

These albums are great indeed, and I think there's definitely a stylistic similarity between them. They have an unusual atmosphere compared to contemporary "serious" electroacoustic music such as INA-GRM stuff, but they clearly have their roots in that world. Too bad the Miereanu album has only been reissued on CD in Japan, so it's expensive, but at least I have the Creel Pone CDR.

Various Mania and Taint releases
After reading about the tragic passing of Keith Brewer, I played my Mania and Taint releases I haven't heard in a while (still have to pull out Taint's Justmeat LP reissue). While I rarely listen to PE/heavy electronics, I really like the heavy industrial noise/PE mix of Mania. He definitely knew how to create a unique atmosphere of being in a rusty factory or scrapyard where you're bombarded with fucking heavy industrial noise, often mixed with a sense of dread (and he knew how to make his releases sound excellent, too). I especially enjoyed the Grim Conditions and Decrepit tapes, and I can't wait to listen to All Aftermath (which is currently waiting for me at a friend in the UK). As for Taint, Indecent Liberties has a special atmosphere that I like a lot. Looking forward to listening to Justmeat as I don't remember what that one's like.

Roland Kayn - Scanning (10CD box, Reiger-records-reeks)
Recently listened to this for the third time and I like it more and more with each listen. Scanning is a massive electronic work from 1982-83. It is what Kayn termed "cybernetic music": he set up a network of electronic equipment (in this case, at the Institute of Sonology at the university of Utrecht), set instructions for the system and then turned it on, letting the system create the music with no intervention by him. Beyond this, he never went into technical details about what exactly he did. The music on Scanning is usually what one could call intense ambient, with vast waves of sound washing over the listener. It's hard (for me at least) to link any specific atmosphere to the music, but it's definitely otherworldly. Some pieces are darker in tone, and yet others are strange electroacoustic works, but the atmosphere remains pretty alien throughout. Scanning is simpler in structure, higher in pitch and less dark than Tektra (a 5-hour piece Kayn made a few years before Scanning, and which is fairly similar to it musically), but those who like Tektra will like Scanning too. Highly recommended listening for anyone into completely abstract and otherworldly electronic music.
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« Reply #7742 on: December 06, 2019, 11:07:11 AM »

CON-DOM "How welcome is death to I, who have nothing more to do but die" CD
Tesco
The final Con-Dom album. Dealing with death unlike any power electronics album have done. At first I wasn’t utterly impressed, due few minor technical details. Passing time has done its trick. Each listening exposes it to be more and I like album so much more than when it came out. Amount of detail on this requires attention and focus. Con-Dom ended with style.

ANENZEPHALIA "Kaltwelt" CD
Tesco
One of those albums I didn't think matched the absolute best level of Anenzephalia when it came out, but it grew little by little and proven to be excellent. Bodies Of Gold has still some of the best rhythmic manipulations for my ears.

DEATH SQUAD "Fuck you" 2xCD
Autarkeia
Two hours of crunchy, very simple and minimalistic stuff. Second disc has more variation, and it makes it better overall. This stuff is basically made to be experienced with extensive amount of written material included in release. Purely musical merits are far less than later days DS was, but it is very unique stuff nevertheless.

HUNTING LODGE "Will" CD
Dark Vinyl
Among the very best Hunting Lodge I know. This CD has some bonus tracks from earlier tapes. It may have some crossover with VOD box, but not that much. There is rhythm and strong industrial feel to it, but noisy, grainy and sort of lo-fi. Will satisfy anyone seeking 80's industrial noise.

PERVERSION AT ALL COST 3xCD
Red Stream
After news of Keith reached me, it seemed best to listen some Taint works that I have not listened for long time. With line-up of TAINT, SMELL & QUIM and CON-DOM... It can't go wrong. Mid 90's, each artist being very strong. Not that they would have made any lazy stuff anyways. Maybe S&Q having plenty of collaborations on their disc, makes it a bit less coherent than Taint and Con-Dom that could be basically albums of their own. Not even sure what is the exact history of this. Why these albums were put out as triple CD box, and not separate albums, as themes are quite varied, and barely seem to connect each other. Whatever the reason, to play this for 3 hours is inspiring and good way to spend evening.

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« Reply #7743 on: December 06, 2019, 01:07:50 PM »

CON-DOM "How welcome is death to I, who have nothing more to do but die" CD

This one never clicked on me. And the damn artwork repels me everytime I think on picking it out again.
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« Reply #7744 on: December 06, 2019, 02:06:17 PM »

CON-DOM "How welcome is death to I, who have nothing more to do but die" CD

This one never clicked on me. And the damn artwork repels me everytime I think on picking it out again.

The second description explains why I love this album so much! Can totally see what not everyone would dig it, as I can only listen on very rare occasions. However this is because the atmosphere is so effective that it knocks me sick. I can only describe the music itself as sounding "nauseous", the samples are genuinely uncomfortable and saddening, and the artwork truly repulsive. Because this is subject matter not one of us will escape in our real lives. In my eyes it succeeds as a power electronics album in a way that nothing else does.
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« Reply #7745 on: December 06, 2019, 03:09:38 PM »

CON-DOM "How welcome is death to I, who have nothing more to do but die" CD

This one never clicked on me. And the damn artwork repels me everytime I think on picking it out again.

The second description explains why I love this album so much! Can totally see what not everyone would dig it, as I can only listen on very rare occasions. However this is because the atmosphere is so effective that it knocks me sick. I can only describe the music itself as sounding "nauseous", the samples are genuinely uncomfortable and saddening, and the artwork truly repulsive. Because this is subject matter not one of us will escape in our real lives. In my eyes it succeeds as a power electronics album in a way that nothing else does.

Well put! It's not an album about death IMO. It's about the stages before death when we're too weak to fend for ourselves. The final decay.

I've visited many shit holes in my job. Bariatrics, elderly, disabled, mentally ill etc. Depressing doesn't even begin to describe it. I've also had the misfortune of performing "life saving" measures on the dying or already dead. Puke, piss and shit everywhere. Next of kin or carers distraught. And the stench! And the calamity! It's fucking miserable and undignified. The realisation that this is how the end will be for most of us is unsettling. A 12 gauge in the mouth is preferable. But when? How? We're prisoners of our own mortality and for most of us it'll end this ugly, alone and impersonal.

I've said it many times but CON-DOM had the genius of capturing this in an otherwise no frills album that doesn't stray from the formula of our genre and he blew everything else out of the water in one fell swoop before bidding us all farewell.

The strength!
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« Reply #7746 on: December 06, 2019, 03:56:16 PM »

CON-DOM "How welcome is death to I, who have nothing more to do but die" CD

This one never clicked on me. And the damn artwork repels me everytime I think on picking it out again.

The second description explains why I love this album so much! Can totally see what not everyone would dig it, as I can only listen on very rare occasions. However this is because the atmosphere is so effective that it knocks me sick. I can only describe the music itself as sounding "nauseous", the samples are genuinely uncomfortable and saddening, and the artwork truly repulsive. Because this is subject matter not one of us will escape in our real lives. In my eyes it succeeds as a power electronics album in a way that nothing else does.

Well put! It's not an album about death IMO. It's about the stages before death when we're too weak to fend for ourselves. The final decay.

I've visited many shit holes in my job. Bariatrics, elderly, disabled, mentally ill etc. Depressing doesn't even begin to describe it. I've also had the misfortune of performing "life saving" measures on the dying or already dead. Puke, piss and shit everywhere. Next of kin or carers distraught. And the stench! And the calamity! It's fucking miserable and undignified. The realisation that this is how the end will be for most of us is unsettling. A 12 gauge in the mouth is preferable. But when? How? We're prisoners of our own mortality and for most of us it'll end this ugly, alone and impersonal.

I've said it many times but CON-DOM had the genius of capturing this in an otherwise no frills album that doesn't stray from the formula of our genre and he blew everything else out of the water in one fell swoop before bidding us all farewell.

The strength!

Fuck yes. What is most spectacular about the release is that is channels the essence of p.e., being this filth or uncomfortable reality of life others would rather not talk about. But the difference here is that most people here if not all have actual experience from this aspect, knowing the stench from the nursing homes, seeing someone you loved developing into someone else, become weak in mind and body.
So many p.e. artists are white males talking about rape, gender issues, racism, murder etc without having any actual experience with the horrors that go along with the topics, other than knowing about such horrors from second hand perspective.  The genuine nature of this Con-dom release is perfected as he is writing this album in real time while watching his mother get worse to the point of euthanasia in order to escape the indignity of it all, going as far as making her an actual peace of the art.  Talk about an artist.
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« Reply #7747 on: December 06, 2019, 04:58:02 PM »

It is clearly intended to be disturbing and for me, personally, he nailed it.
I have tons are violent and disturbing shit in my collection, but this one really messes with me. I believe that every Noise/P.E./Extreme Metal album should be like this, whatever the topic is, honest and crude, both in sound and visuals and I take my hat off to him for it. Even if I looked at that Digi, with full attention, once since I got the CD.
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« Reply #7748 on: December 06, 2019, 09:10:52 PM »

Con-Dom ended with style.

I guess I missed the ending of Con-Dom.. Anyone knows if Mike is working on a new project now? Glad I saw him live a couple of times over the years. His 7" series remains a favorite of mine.
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« Reply #7749 on: December 06, 2019, 11:08:20 PM »

Mike is 100% retired from music.
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« Reply #7750 on: December 07, 2019, 02:07:02 PM »

Well put! It's not an album about death IMO. It's about the stages before death when we're too weak to fend for ourselves. The final decay.

I've visited many shit holes in my job. Bariatrics, elderly, disabled, mentally ill etc. Depressing doesn't even begin to describe it. I've also had the misfortune of performing "life saving" measures on the dying or already dead. Puke, piss and shit everywhere. Next of kin or carers distraught. And the stench! And the calamity! It's fucking miserable and undignified. The realisation that this is how the end will be for most of us is unsettling. A 12 gauge in the mouth is preferable. But when? How? We're prisoners of our own mortality and for most of us it'll end this ugly, alone and impersonal.

This is very well said! I do consider that part already part of death happening - so to say. Despite not yet in final stages. Yet certainly more clear way to put it is, the final decay.



So many p.e. artists are white males talking about rape, gender issues, racism, murder etc without having any actual experience with the horrors that go along with the topics, other than knowing about such horrors from second hand perspective.

Maybe most of PE is not art of victim, but perpetrator. According to common view, that we know as our own pockets?
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« Reply #7751 on: December 07, 2019, 03:32:25 PM »

Well put! It's not an album about death IMO. It's about the stages before death when we're too weak to fend for ourselves. The final decay.

I've visited many shit holes in my job. Bariatrics, elderly, disabled, mentally ill etc. Depressing doesn't even begin to describe it. I've also had the misfortune of performing "life saving" measures on the dying or already dead. Puke, piss and shit everywhere. Next of kin or carers distraught. And the stench! And the calamity! It's fucking miserable and undignified. The realisation that this is how the end will be for most of us is unsettling. A 12 gauge in the mouth is preferable. But when? How? We're prisoners of our own mortality and for most of us it'll end this ugly, alone and impersonal.

This is very well said! I do consider that part already part of death happening - so to say. Despite not yet in final stages. Yet certainly more clear way to put it is, the final decay.



So many p.e. artists are white males talking about rape, gender issues, racism, murder etc without having any actual experience with the horrors that go along with the topics, other than knowing about such horrors from second hand perspective.

Maybe most of PE is not art of victim, but perpetrator. According to common view, that we know as our own pockets?

Definitely! art of the perpetrator no doubt albeit this Con-dom release differs in that perspective. The thing that makes p.e. so disturbing is that its from the viewpoint of the perpetrator with absolutely no remorse, sometimes going as far as mocking actual victims. But what I mean is that the disturbing factor is much worse when you can relate to the victims.
 the audience of p.e. rarely have the experience of the victim as you say, so the they're not exposed to the same shock as they would be if they had. In the case of this Con-dom album, most do actually understand the suffering, and we're seeing more and more comments from fans saying that the album does indeed strike them as especially disturbing.  Mike found a way to make a p.e. aesthetic album about everyday suffering that resonates with everyone. I wouldn't be surprised if this would later on be considered a turning point for a section within the scene which might develop. I am of course talking solely on the basis of speculation but nevertheless, look at songs such as "daddy jerks of" from Sick Seed (written before con-dom released this release I believe but nonetheless an attempt to meet the listeners experience).
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« Reply #7752 on: December 07, 2019, 06:11:16 PM »

Of course listening to lots of Taint and Mania through the weekend. Condolences to all who knew him, friends and family! R.I.P. True Legend! And thanks for all the noise! 
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« Reply #7753 on: December 08, 2019, 05:18:06 PM »

Le Syndicat - 30 Years of Excess (6x tape box, Influencing Machine Records)

Remastered reissues of tapes originally released between 1982-1986. To quote from a post in the Le Syndicat thread, their music is "rough as hell noise". What you get on these six tapes is rough and brutal manipulations of mostly rhythmic or looped material (but the rhythms don't dominate as much as in, say, Esplendor Geometrico). From Vagynaestetatis (tape 4) onwards there are some calmer tracks (relatively speaking), but overall their style over these four years remained basically the same. The sound is excellent (the tape format is fitting for this kind of music) and so is the design of the whole package (the box, the booklet and the J-cards). Certainly worth getting for those into '80s industrial noise mayhem.
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« Reply #7754 on: December 11, 2019, 08:15:10 AM »

See bottom of this post for digest commentary.

Hostage Pageant & The Cherry Point & Kazuma Kubota
Gotta love the kinky shit. Straight-to-the-hilt no-holes-barred rrrriiiipper meets fully flushed heavy metal butt-thunderer meets obscenely contorted tightrope jerker. In that order. To try and divine rhyme or reason is to waste energies better spent reveling in multi-hued harsh bliss. But that never stopped me before. Therefore, after several complete run-throughs, I’m pleased report my findings. If you’ll just bear with me while I consult my extensive notes. Let’s see now. Oh yes, here we are. Ahem: “It works.” Yes, well, there you have it. The fat one balances the two skinny ones.

Hostage Pageant rrrriiiipps into hole with some not-unanticipated no-bullshit scorch. To worriers of more bullshit-inclined persuasion, no fear, plenty of that to come later. For now though, all the excess blubber is stripped clean to dish one lean, mean, sphinct-rupturing machine. Exceedingly high-energy, balls-slapping-the-wall, pummel. Dry pummel. No lube. Violent. Physical. The feel is as though loads of full-on brute are edging to push out, frustrated, hemmed in, by the unforgiving confines of the speaker cones. In between the general brute, an occasion or two for buckled lurch and stammer, setting off renewed bursts of rage-wracked stabbing. At three minutes or so a whitened scorch-blaze blasts clear into open airs, upping the harsh, driving in a straight line for the kill before heavier burbling crumble shuts the shit down.

And now, some bullshit. Hostage Pageant still here, but with the straight goods evidently Falling Out Of Place. Wrinkled crinkling forced through bass-bilged sewage grate and what sounds like an ill-tended doggy yapping in the background. Abbreviated balls-out blasts come at random interval to establish a nice little spastic dialog. Then that damn pooch wanders over to investigate, panting heavily, slobbering all over the mic. Now, I mean. This here’s some sick shit buddy boy. Hope someone got it on camera. Downpitched pooch takes center stage, raggedly huffing and groaning over low-brow gutter-filth. Then the out-and-out balls-out blast and hots damn is it fierce, ascending storms of puritanical seethe obliterating everything in their path, clustered earbleed frequencies drilling hard, fast, good.

Hostage Pageant’s final Enabler posits straight-up harsh purity with brief dabs of ye olde bullshizzle. An initial call-and-response bullhorn digs into sputtering scrunch grits before browned rim-dangles recoil along taught length of steel cable. Sudden snap and the not unanticipated explosion. All the violence and physicality to be desired, but twisting and turning through singularly singed splurgings of semi-erratic hack and spazz. There are even a couple moments wherein the brakes are duly slammed, ultimately to end careening in ill-controlled masses of straight-up scorch bliss.

The Cherry Point drop, smack dab in the middle, with some seriously fat-cheeked weight. Dense, phantasmagoric folds of cumulonimbus reverberation, the great billowing mass swelling to truly monumental, sky-blottening, proportion. In the wake of Hostage Pageant’s hard drilling severity, Just Before Dawn sounds practically ambient, an impression not diminished by generous applications of delay. In seeking shared airs, a first temptation is to reference that other TCP on Cipher, at least as far as the heaving densities humping deep into Rusted Gut. Let’s throw in others from thenabouts, like Smog City and Bloodstalkers, just for fun.

The initial moments of JBD frame an already fully fleshed development, sounding like a windstorm surging through deep-sunk subway tunnel, faint industrial whines and moans rounding out the edges. Heavier rumbling thrusts buffet the walls, shaking under tectonic duress, pressures steadily increasing throughout the longform stretch. At six minutes the taps open and waterfalls of psyche-tinged whitewash pour into wide open spaces, quickly saturating the outlying chambers, stealthily suggestive of legitimately harsh encroachment. From this point onward the slow sultry sink into delicious depths, luxuriant layers enveloping defenseless core in crushing embrace. At thirteen minutes a supremely tweaked upper ended wheedle sears the fringe, just to remind the listener that, yes, yr ‘holes are pretty much fuck’d by the time this is through. Final brown buzzer to fizzle on out, but wait- just as the first rays begin to peep at the horizon a mighty raging blast just to make sure y’all are still paying attention.

The opening of Kazuma Kubota’s Zattou Ni Tokete had me diving under the table for cover. Perfect simulation of an earthquake in a workshop, or boudoir, slowly gaining in orgasmic, or seismic, intensity, tumbles, bangs and slithers cumming from every possible direction. Perfect prelude to the signature cinematic soundworld of carefully composed All-Boxes-Tickled(tm). Things soon settle down, disembodied metal dongs spicing whispered build to the inevitable, and inevitably abbreviated, harsh spastics. Plus, of course, the requisite ambient intervals- coming soon to a planetarium near you. Call it: vintage Kubota (the noise artist, not the tractor maker). The range of materials brought to bear is as impressive as the skill with which it is so adroitly negotiated. Everything just so. All the excess trimmed down to a svelte fourteen minutes and nineteen seconds, perfectly placed in precise proportion with the picture perfect poise and balance of an Olympic gymnast. On the technical alone, worthy of at least an eight, though the Russian judge gives it a two.

At 1:43, dainty mouthed acrobatics meet fully-loaded spectrum of spasmodic jerking rips, though by the third minutes we’re prancing through a muffled antechamber of tinkling keys, the peaceful inflections drawn out longer than seems necessary as subtle acoustic shuffles and grinds- and obligatory spot of bird chirp- presage a second abbreviated inflection of whitewashed harsh-scathe cum electronic stutter-blurt. Making our way through ghostly highway tunnel, a range of clattering clutter runs scattershot into genuinely heavy-handed steel-on-steel dungeon thunk, carefully panned rust-whines gently escorted out the back amid glowing pads of candy-sweet liquescence. From here a soft hush of tranquil starbursts twinkles in the twilit sky, angelic ululations reaching for the spheres- the occasional harsh ripping blasts jarring in their spasmodic intensities and yet somehow serving to emphasize the becalming calls to deep space serenity.

Digest spew
Some like it harsh, some like it heavy, and some like it every which way, in every which hole, from every which angle, with some glistening acquamarine ambience lubing up the more savagely inflected extremities. Hostage Pageant brings the straight up harshgoods, surging pummeling bristling with ill-managed fury, just the way you like ‘em, though he also brings his dog and no comment there except that I probably should have punted for the artist’s edition with accompanying dvd. The Cherry Point are by accounts principle instigator and duly deliver almighty butt-thunder of truly monumental dimension, psychedelic raptures burning blisses of densely layered crush deep into hole in a way that feels real niiice going in, but no comment on what’s in store for the morning. Kazuma Kubota prances and pirouettes across a bewildering array of carefully choreographed precision with all the studied poise of an Olympian tightrope tumbler, acrobatic contortions rather obscenely strained across their signature cinematic spread, clever dick, winking in and out, now you see it now you don’t, attentions left dazed and flustered, ultimately lost deep in space-ace-ace... no comment on where he hid the big dipper.
« Last Edit: December 11, 2019, 08:38:01 AM by Bloated Slutbag » Logged

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