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« Reply #7785 on: February 01, 2020, 08:53:01 AM »

Spiteful Womb - Mirrorgazing - I've never heard a release by Spiteful Womb that has disappointed and this new one from Gutter Bloat is no exception.  Focusing on themes of anorexia and self-image, these themes are conveyed very well over the course of 23 minutes of dark and hypnotic synths, oppressive and claustrophobic loops and to top it all off, samples of people detailing their struggles with said issues.  Highly recommended for any fan of Death Industrial.

Striations - Trauma Code 2 - This tape is a complete and utter cacophony in the best possible way.  A follow up to Trauma Code (also released on Gutter Bloat), the second outing is an all out assault of junk metal destruction, samples of victims and first responders on the scene of car crashes and plenty of other surprises that I don't want to spoil.  Sixty minutes go by in the blink of an eye, leaving you wanting more.  Props to the exquisite and gory artwork as well.  Both of these tapes are sold out from the label but I believe Scream & Writhe and White Centipede will have copies at some point  Act fast, these are going to be ones to remember this year.

I recently picked up the latest Fusty Cunt batch as well and I'd like to give a shout out to two tapes that surprised me in the best possible way.

Sectioned - Nasogastric Feeding Tube - This is a new project from Rusty and Emelia of Breathing Problem and more.  Like Mirrorgazing, this tape also delves into the topic of anorexia but with a much darker and disturbing angle.  Laced throughout this single sided c60 (which includes a 8 page booklet and a piece of plastic tube) are samples from YouTube and Instagram personalities who seem to revel in the fact that they are hospitalized for their eating disorders, as well as being forced fed through (you guessed it) feeding tubes.  Sonically, the project isn't much different from their works as Concave/Convex but the theme of the tape is laid out bare right from the start.  For me, this led to myself feeling more uncomfortable as the tape went on which is exactly how Power Electronics dealing with said themes should make one feel.

Hatchet Falling Sky - Peregrine Dies - This is a new project from Connecticut that I'd never heard of before.  Contained within this tape is 23 minutes of very aggressive, yet controlled and well-executed Power Electronics.  The vocals are delivered in a very menacing tone, even if the lyrics which are printed on the J card leave a little to be desired.  I thought the lyrics came across as a little juvenile but that might just be me nitpicking.  I'd really like to hear more material from this group.  With the direction they're aiming for, I can see them making a few waves among the American PE scene.

Both Fusty Cunt tapes are also sold out, no clue on distros but there are sound samples on the label's Soundcloud.  Anybody interested should keep their eyes open for copies springing up, both are definitely worth a listen.
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« Reply #7786 on: February 03, 2020, 04:49:54 PM »

SICKNESS "I bleed, you bleed, we bleed" 3"CDR
SHIFT / MUTANT APE split CDR

I sold a lot of CDr releases away. Format I do not prefer. But, some stuff exists only as CDr and is unlikely to ever be reissued ”properly”. Like Shift/mutant ape split. Can’t really sell it as I believe it would never be published in other format.
Sickness 3”cdr splendid harsh noise. Fast, ripping, hard, with innovative turns. I prefer this over later works. I suppose only this version exist. Mouth records who put out bunch of good 3”cds and was supposed to release Brehren first cd but after cancelling it, it landed in someone elses discography...
Shift, two tracks. 2006, same year when Unable To Abide The Silence Of The World cd came out. Reverse Rhythms, bass tones, processed vocals, heavy electronics.
Mutant Ape, he did this Alpha Male Discharge label briefly and issued also mutant ape/grunt split tape/lathe 7”. Name of project was always sort of turn off, but Mutant Ape as music... if there is example of ”underrated” it could be it. Really good noise stuff you never hear anybody mention.

Stalnoy Pakt "russia awaking" CD
Excellent industrial. Listened today three more veprisuicida reissue masters that are severely more noisy and primitive, but Stalnoy Pakt has different kind of dark, noble and historical feel to it. Echoing repeating machine loops, eerie noisy soundscapes. I wonder if any Alexander Lebedev-Frontov related stuff is bad? All I have, is great...


Free speech 9 x 3"CD series
Power electronics of 2004. I doubt many would conclude that to be among best years, and I won’t make such conclusion either, but when picked up my complete set of 9 free speech 3”cds, I get odd feeling that has there been such massive projects since? Not only that this was set of 9 x 3” cds unified under one theme, but besides format it somehow displays the intent to be ”more”. Not to denounce how PE is done now, but it seems despite editions remain the same, it feels that artistically there often seemed to be aim for ”more”. No time to explain further this observation, but perhaps this is something that would require topic of its own... beyond things like Genocide Organ 10" series, Genocide Organ 7" series... so where are the new bands of our times doing something bigger than just single release? Or even labels?

Rasthof Dachau
I like several of their releases, but never considered any of them utmost classics. Routine is the same. Two layers of sound and vocals. Usually heavy synth tone, rhythmic pulse of some sort.. and aggro voice with good vocal sound. Despite all being good, band never became highest class in euro heavy electronics for me. This is very good stuff to listen to and may be among best RD releases?

Slogun
When you hear Slogun, you know in few seconds it is him. Quality that is present in best of power electronics. It is not like someone could just re-do Slogun. Its his unique voice and approach. Here, sharp upfront voice, spoken dialogue drifts on the back with simple distorted noise mass.

Strom.ec
Also very unique sound, at times it could be judged to be high-tech and progressive approach to power electronics/industrial noise, yet you can also hear the sound quality of late 90’s/early 2000’s digital efx pedal technology that makes Strom.ec same time ”futuristic” in sound - but in dated way. Not meant negative. It is somewhere between era of grim analogue stuff and computer noise. They are not analogue almost all all, but how they make the stuff barely is how computer software stuff is being done? Toni’s voice is among the absolute best in power electronics. On this 3” last track is oddly primitive song where vocals dominate about 70% of all sound...

Irikarah
I remember how mysterious couple first pic LPs of this project was. Great titles, good art, cold, thin, fierce mechanical industrial-pe.
Not to honk my own horn, but I think his split with Strom.ec is best works by far. This 3” and other ”later works” do not have as good vocals or as tasty sounds. This is half good, half little cheaply dating rhythms... His later album always had some horrid EBM esque wibes along hard industrial. This 3” good as element of 9 x 3”, not brilliant as stand alone release.

Grey Wolves
First song they recycle classic GW song on the back with speed manipulation and addef sounds. Dirty, rotten tape-noise and decayed electronics. Already 2000’ grey wolves, but firmly roots on their early sound. You can already hear modern age approach, but certainly still on positive note here unlike the final GW things...

Con-Dom / AntiChildLeague
Mike and Gaya together doing perhaps surprisingly tonal p.e. Familyman track alone, in its harmonic, throbbing and tonal approach makes this disc worth to grab! Absolutely eerie and menacing.

3 more to go! Perhaps in the evening...
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« Reply #7787 on: February 03, 2020, 07:47:59 PM »

Survival Unit
One long piece of gloomy yet also raw power electronics. Like most Olssons stuff, it has slow pace, layers moving on menacing atmosphere instead of sheer fast violence. Many may say, including myself, that ”free speech” theme for series is a bit dated concept in 2020. It is just something that is kind of... too common, although some may argue is more relevant that ever. Well, SU track titled ”our lives in their hands” does hit homebase with approach that does feel pretty damn familiar and certainly not ”dated”.

Sektion-B
Label bosses own band. With almost every release of band I have some tiny complaint to make. Nothing unexpected of me.. hah. Either repeated song template, digital sound... but this 3”... Either it is the best works of band or it just happens to hit my ears right time and right mood. Basically all good, well done synth pulsations, aggro voice, 5 tracks in less than 20 mins.

Grunt
I recall trying to get lyrics printed, but no lyrics nor art from bands. Vast majority of this was recorded in same era as grunt/taint split lp and Last grip to sanity. Floor covered with scrap metal, old brutal PA system. 1st track not far from taint split songs, 2nd track live take at reh place, 3rd song was something I used to sort of regret since so big part of it was produced on computer editing. None of sound is computer generated, though. Loops, harsh noise layers, odd feedback vocals. Not as rotten as two other tracks. Ends with metal junk harsh noise with extensive use of digital multi-efx sound. Not bad, but something I tried to avoid in most of releases since.
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« Reply #7788 on: February 05, 2020, 11:59:57 AM »

As part of my ongoing mission to wring the most of my Spotify premium account as I can, I found a few PE gems that are totally new to me, that being a number of releases by Taeter.

The standout release of all of these is the No Rent release Glorious Paraphilia. Album opens with the most antagonistic squealing saxophone (I think?) and multiple tracks of vocals that build from raw shrieking of obscenities (you can tell he's howling at full volume which is always appreciated) to distorted and feedbacking crunches of grunts. Second track is probably the standout, a super simple 'beat' which sounds like either a found object or some kind of drum through a really tight spring reverb with shifting waves of unsettling industrial sounds underneath- creaking, heaving, metallic sounds. Vocals on this one are more controlled, and variation of vocal styles (not just vocal effects) is always welcome.

The whole album displays an amazing variation of sounds, with some songs based around deep, sparse, and pulsing low end synths, and some songs based around genuinely eerie field records/found object sounds.

Always been aware of this project's existence but never dived in til now, very glad I did.
« Last Edit: February 05, 2020, 12:01:58 PM by NaturalOrthodoxy » Logged
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« Reply #7789 on: February 07, 2020, 07:23:31 PM »

Brume + John Grieve (2017)

Nihil Unbound is one of the most unsettling albums I have. Given that John Grieve’s primary listed instrument is a tenor saxophone, such a statement sounds incredulous. Yet this is menacing. Animal, dark violence soaks this black vinyl. Hold it up to the light, and a glimmer of deep red leaks through. Literally. The press release is chilling enough (read below), and the recording rises to the occasion.

The sound is a smart intersection of digital, analogue, acoustic and instrument sources. There is bashing about but almost as if happening haphazardly around you. This melds with other, more immediate sounds and provides a truly uninviting structural ambience. The label description explains “tape recordings of a meat processing facility” are used.

Much of what might be mistaken for synthesizer underlayment is, I believe, processed and manipulated low saxophone notes. Noise saturates. Voices growl intermittently. Whatever slight tweak, processing, or recording acumen used turns them truly demonic. It’s nothing overt. The scarce liner notes on the sleeve list “voice” for both artists; however the intersection of human and animal vocalizations are at times unclear.

Some compositional elements remind me of John Watermann’s musique concrète style. The emotional toll is on par with the first time I heard Calcutta Gas Chamber (N D, 1993). While the two sound nothing alike, they share a motif of abattoirs and accompanying texts which coalesce human and animal slaughter. Christian Renou (Brume), like Watermann, is skilled in masking the origin and artificiality of sound sources. Nihil Unbound leaves me questioning which elements are reportage or not, and the question is terrible. Preconceptions of a Brume recording should be placed aside. If you are able to find remaining copies of this LP, it is sure to surprise you.


"Vegetarians may not like this LP. Brume and Grieve wander around the meat processing facility with their microphones recording the bloody carnage. But in this machine age this is no ordinary abattoir. Humans voluntarily join the animals and both are processed whilst still alive by the cutting and mincing machines not for consumption but because they live in a world without meaning and they no longer care. As they walk around the factory Brume and Grieve pause sometimes to listen and sometimes to arrange the pieces of strewn carcasses into art objects. This is the aestheticization of the sounds of human and animal slaughter by the capitalist megamachine. The machines take the recorded sounds and process them as strings of ones and noughts that are sent along wires under the oceans to be reassembled and played back to other humans so that they may enjoy hearing the sounds of their own demise. Before they offer themselves up for slaughter the humans happily pay to hear the sounds of their own destiny. Side one is the preparation of the flesh within the factory and side two is the eating off the factory floor as the machines and the humans share and discuss their last meal whilst the putrid raw food destroys the diners from within. Essential listening for meat eaters and vegetarians alike." [John Grieve, 2017]
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« Reply #7790 on: February 07, 2020, 09:07:04 PM »

Mutant Ape, he did this Alpha Male Discharge label briefly

Being particular perhaps but it was a joint venture and the name was mine as I'm the one who came up with it. I still release the odd thing under AMD and MA hasn't had anything to do with it in over ten years.
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« Reply #7791 on: February 08, 2020, 12:54:37 AM »

Free speech 9 x 3"CD series
Power electronics of 2004. I doubt many would conclude that to be among best years, and I won’t make such conclusion either, but when picked up my complete set of 9 free speech 3”cds, I get odd feeling that has there been such massive projects since? Not only that this was set of 9 x 3” cds unified under one theme, but besides format it somehow displays the intent to be ”more”. Not to denounce how PE is done now, but it seems despite editions remain the same, it feels that artistically there often seemed to be aim for ”more”. No time to explain further this observation, but perhaps this is something that would require topic of its own... beyond things like Genocide Organ 10" series, Genocide Organ 7" series... so where are the new bands of our times doing something bigger than just single release? Or even labels?

I am very fond of this set, and even had the whole shebang up on my wall many years ago. They are slightly annoying to take out from the glass, which means I have only listened to them on special occasions. Very Deutsch-PE for the most part, but I have a very soft weak spot for the style, so it's nice anyway. I agree about this being a "massive project", especially since most participants aren't cash cows/sure things in the same way as G.O. Feel free to develop the idea.

DEHYDRATED GOAT - Genocide Against the Brain Cells
Latvian grind-death with severe goregrind/porngrind components. This album basically starts out from a death metal base, and then includes a whole lot of all important elements from the various micro-grind genres - juvenile jokes as well as half-assed social commentary, pig squeals as well as growls, D-beats as well as serious riffs/grooves and blast-beats, brutal samples as well as silly samples... But, and here is the point, it really works better here than anywhere else I've heard it. For starters, there are some serious musical skills going on. Certainly no Yngwie Malmsteen instrument masturbation, but it is interesting to hear a precise and tight performance as well as a comparatively clear (though not unbrutal) production on an album such as this. The many stupid musical and lyrical ideas (both of which may or may not reach their apex on "Goodbye, my poo") are actually somewhat funny rather than just pointless and juvenile. If there is such a thing as "baltic humour" this may be it? Unfortunately, this album seems to be the product of the kind of flash-of-genius that rarely expands into a solid discography. Despite being technically still active, Dehydrated Goat has to their name only a demo, this album (from 2010) and some random shit on Youtube. It would please me if they got their thumb out and did at least one more release. Not a huge grind fan, but I would like more of this.
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« Reply #7792 on: February 10, 2020, 10:26:52 PM »

For a while now, been caught in a whirlwind and hunt for rhythm, attempting to not get too close to rhythmic noise, though I went there a bit too with the Ant-hology:  The 5th Anniversary compilation.  From trying to find more rhythms with specific Troum recommendations to things like Rapoon, Hybryds, and T.G.V.T., to Orphx to Deutsch Nepal to Zero Kama.  Maybe why with Neil Peart's death I found Rush satisfying for a few days there, too.  And in-between, I finally finished a long, in short spurts listen of the THU20 - Vroeg Werk collection.  I was really surprised with how great and varied THU20 was.  One of those number-in-name groups that I can often avoid, so I wasn't familiar with much of it at all.  Really good and recommended.  I thought I knew Deutsch Nepal sort of well, but it was a false notion.  I was pretty much only familiar with the big comps, like Heavy Electronics and 2/3, and Comprendido Time Stop.  Thoroughly enjoyed all the albums up to maybe A Silent Siege, which seemed like weak metal and even weaker industrial metal; moments that sound like Ministry crossed with Big Black, but nowhere near as fine as either.  Erosion (1999) was interesting in that it was released on Staalplaat and, at times, had me confused whether I was listening to a Zoviet France album.  How apropos.  The guy is skilled.  Orphx.  Orphx.  They know how to percuss.  Monster rhythms that I couldn't get out my head.  For example, give the track "Teletai" a listen.  Fragmentation wasn't nearly enough of them.

a couple of other things of note...

Conrad Schnitzler - Electrocon 2006 - was really in the mood for this, so it was a great listen - minimalist synth, with squibbling and bubble popping tones like vintage, proto new wave technology of the early 80s - Teutonic out the ass.

Psycho - The Grind Years 2010 - next time I'm in the mood for caveman grind, like early Agathocles and Blood, I need to remember this collection, especially the latter parts of it - a lot of their artwork was great; I especially like the b/w with one color of blood red - bravo to Charlie and Johnny X, which really should be of no surprise.

Contagious Orgasm - The Flow of Sound without Parameter 2001 - Ground Fault Series II - one of the tracks even sounds like something I imagine a slightly more experimental Muslimgauze would create - I'm pretty sure this is the best album from him I've heard - thoroughly interesting and really well composed - RECOMMENDED - where to look for more at this level?

Jason Crumer - Stare at the Devil 2016 - while this didn't become a favorite of his, it continued to display how interesting and skilled he is - some of the samples and tonal rhythms were very catchy and smartly mixed - not quite cut-up or entirely spazztic, at times, it was on the other side of my interests in the quick, disjointed style - nevertheless, I was impressed and will definitely repeat - a true artist, and there aren't a lot of those that come to mind these days.

ps- I NEED to hear that Brume + John Grieve album.
« Last Edit: February 10, 2020, 10:32:27 PM by Zeno Marx » Logged

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« Reply #7793 on: February 10, 2020, 10:45:09 PM »

Folkstorm - Total Nihil (CD, Old Europa Cafe): Got this in a trade with OEC, first Folkstorm release I hear, not disappointed at all. This album is a tribute to Marco Corbelli. Now I don't have that many AM releases and I'm not familiar with his other projects, but I wouldn't have really thought of AM if it wasn't said. Anyway, good Power Electronics, bleak atmosphere. Since getting this, I've got another Folkstorm CD (Hurtmusic) coming in another trade. Looking forward to that.

Cervical Smear - Real-Death Enthusiast (CD, Filth&Violence): In my opinion better than the first CD, very strong PE. Layout is a white digipack with one pic (color or greyscale) on one panel is fitting. Kind of clean, despite the filth being portrayed. Different approach than collages.

Sodomy From Beyond - Reign of Obscenity (CD, Obsessive Fundamental Realism): SFB has some other releases, but this is the first one I'm really giving a good listening (despite having the tape that Nil By Mouth released for quite a while already, it's still in the pile to be listened to). It's only 30 minutes, but good PE, even though I here and there got the feeling a bit that it doesn't entirely listen to as an album, not certain why, because it's not as if the sounds between the tracks are that different...
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« Reply #7794 on: February 12, 2020, 03:58:45 PM »

Folkstorm - Total Nihil (CD, Old Europa Cafe): Got this in a trade with OEC, first Folkstorm release I hear, not disappointed at all. This album is a tribute to Marco Corbelli. Now I don't have that many AM releases and I'm not familiar with his other projects, but I wouldn't have really thought of AM if it wasn't said. Anyway, good Power Electronics, bleak atmosphere. Since getting this, I've got another Folkstorm CD (Hurtmusic) coming in another trade. Looking forward to that.

Interesting. I'd always sort of not bothered with Folkstorm after receiving the "Victory Or Death" CD many moons ago. It wasn't bad, but I thought it was formulaic and ordinary, and concluded there were a whole heap of projects that I'd be better off following. However, I recently bought the "Noisient" 10" and was really impressed by the lumbering industrial cycles on the first side, so now I'm thinking I may have been missing something all these years! Anyway, you recommend this latest one? Anyone else w/ any opinions on good Folkstorm releases?
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« Reply #7795 on: February 12, 2020, 06:44:56 PM »

Bizarre SS - S/T (Filth & Violence)

Picked this up later than most and finally giving it a spin. I'm actually pleasantly surprised with how dynamic and composed it feels. There are definitely movements and it certainly isn't the all out noise blast that the BU & Gelsomina collabs were, which I also love. Not sure if this was due to the editing process or was the idea from the start of the collaboration, but a great direction.

Hopefully there are future releases planned as this project has a lot of potential!
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« Reply #7796 on: February 13, 2020, 03:47:21 PM »

MACRONYMPHA / DEISON split tape
Loud
I got pretty good amount of old stuff from mr. Deison. He did a lot of splits on his Loud -label in 90’s. I like his low-tech noise of these old times and should probably check out more since it has been literally decades since listening these tapes. Macronympha 1997 - also pretty damn good!
Deison has been active till today, but I have not followed activities so much in recent years.

Government Alpha "the maternity music" tape
MSNP
Mid 90’s harsh noise! No complaints! Super primitive hand drawn skeleton sex covers is a big plus, haha...

V/A METALCHEMY CD
Phage
I recall this was planned as tape, long ago. I did first version of Grunt track probably 4 years ago? Could be. When plan was changed to be CD, it felt necessary to update new version of track. Both versions I requested to be "first on comp" as thinking that not making all the way harsh and loud, aggressive metal junk abuse, lower volume and lower harshness would not make track sound as it "should" if it was between couple total smashers... hehe.. Well, now between Bocksholm and Lethe, it is not first - but clearly Sam who compiled this, made good decision as flow of comp is very good. Most of early part is less harsh. My favorite on comp is PUTREFIER. Really great track! Lethe is very nice too. Disc progresses into full on harsh blast of Knurl and K2 and there is plenty between. If you like metal junk noise, then no need to hesitate!

Kjostad "Glacial Lake" CD
New Forces
This is phenomenal. Also plenty of metal junk, but also birds, cats, natural sounds, rotten electronics, ultra saturated and nearly crackling harshness. Sharp, crystal clear - but also broken and physical. Sound elements are displaying really good skill and sense of recognizing what object, and what equipment makes GOOD NOISE.

Baculum "I would rather feel empty...." 2x cd
Phage
1,5 times listened and good stuff. I do get a feeling track 2 of disc 2 uses merzbow on the source sounds or am I just dreaming?! Harsh noise from Phage label's Sam Stoxen.


I am very glad USA noise scene produces more cds!
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« Reply #7797 on: February 13, 2020, 06:00:35 PM »

Kjostad is phenomenal, I think the Frost Cracking Trees tape is even better than that cd.
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« Reply #7798 on: February 13, 2020, 06:43:33 PM »

Kjostad is phenomenal, I think the Frost Cracking Trees tape is even better than that cd.

That's my favourite of his so far as well.
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« Reply #7799 on: February 14, 2020, 12:53:14 PM »

Folkstorm - Total Nihil (CD, Old Europa Cafe): Got this in a trade with OEC, first Folkstorm release I hear, not disappointed at all. This album is a tribute to Marco Corbelli. Now I don't have that many AM releases and I'm not familiar with his other projects, but I wouldn't have really thought of AM if it wasn't said. Anyway, good Power Electronics, bleak atmosphere. Since getting this, I've got another Folkstorm CD (Hurtmusic) coming in another trade. Looking forward to that.
Interesting. I'd always sort of not bothered with Folkstorm after receiving the "Victory Or Death" CD many moons ago. It wasn't bad, but I thought it was formulaic and ordinary, and concluded there were a whole heap of projects that I'd be better off following. However, I recently bought the "Noisient" 10" and was really impressed by the lumbering industrial cycles on the first side, so now I'm thinking I may have been missing something all these years! Anyway, you recommend this latest one? Anyone else w/ any opinions on good Folkstorm releases?
I only have Hurtmusic so far and haven't played it at home yet (only listened on Bandcamp before deciding to trade for it), so I can't really compare Total Nihil to other releases. I can only say I like it...
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