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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 2627926 times)
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« Reply #7800 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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« Reply #7801 on: February 14, 2020, 09:13:36 PM »

I NEED to hear that Brume + John Grieve album.

There are only 49 copies pressed. >>Drone Records<< shows that it is still available. I purchased mine from >>Metamkine<<, but their website says they are changing names or something(?). Last I saw, they had at least one more.

As for that era Contagious Orgasm, I might recommend "From the Irresponsible Country Sounds" (PACrec / Troniks, 2004). It is only a little over 20 minutes, but it is quite good.
« Last Edit: February 14, 2020, 09:15:27 PM by MyrtleLake » Logged
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« Reply #7802 on: February 18, 2020, 11:21:46 PM »

Shot Dog cs [Idiopathic, 2019]

Great self-titled and to-the-point cassette of shuttering, crumbling static textures from this collaborative project of Kiran Arora and Tyler Keen. I’ve listened to this one a number of times the past month and a half and haven’t tired of it. Hard to tell which sounds are from either person and there isn’t a whole lot of development on either side, so much as we’re treated to a slowly modulating deluge of mixer feedback, grayscaling sound, and occasional wisps of microphone whistle. A few times the mixer threatens to crap out once and for all, and the sound firmly balances upon that sweet spot of internal feedback just before all sound ceases to be. In the last few minutes everything begins breaking apart with more detail and variation peeking through, then it’s over.
« Last Edit: February 19, 2020, 03:47:57 AM by muppet1 » Logged
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« Reply #7803 on: February 19, 2020, 12:03:33 AM »

FRA HEDENSK TID - 回帰への祈りCD, Zero Dimensional Records
Japanese black metal from 2013. Much like the album title, all songs are in Japanese and translate to things such as "Blood Memory", "Response from the Pagans" and the title track "Prayer for Return". Not entirely sure whether this connects to the Norwegian band name (meaning "From (a) Heathen Time"), and is literally about Norse pre-Christian practice, or if there's somehow a Japanese angle to this. The music works well. Somewhat minimalist, and working with attractive harmonies, melodies and 90's demo riffing. The by far most obvious influences, or at least comparisons, would be early Swedish BM -  Those of the Unlight era Marduk as well as Throne of Ahaz' forgotten gem Nifelheim. This won't be pushing out Gorugoth as my favorite Japanese underground black metal band ever, nor will it rival Sigh or Infernal Necromancy in popularity, but it's a solid little gold nugget. BLACK, asian gold nugget!

K2 - Tamayura CD, Gravity Swarm Recordings
Classic K2, I'd say. Violent, buzzing, haphhazard and controlled at the same time - bursting is probably the best adjective. The very simple cover is made out of recycled paper and features an attractive Japanese drawing as well as a colored logotype. Someone once wrote in a review of another K2 album something to the effect that he had yet to hear a bad K2 recording. I'm inclined to agree. Swinging stuff.
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« Reply #7804 on: February 21, 2020, 03:48:12 AM »

Christine 23 Onna - Shiny Crystal Planet CD Alchemy
Christine 23 Onna - Acid Eater CD Alchemy

I adore this project, I remember reading about their first LP in highschool and it being one of the noise things where I immediately had a lustful need to own it, pink vinyl and psychedelic sexual overdose muzak.  Easily one of my favorite "cute couple / OTP" style bands, and the fact rules that it's fucking Masonna and Fusao Toda from one of my easily top 10 favorite feminine dark psychedelic shoegaze pop vibe bands ever, she literally has a PERFECT discography, and they own a cool clothes store together... just yeah, conceptually flawless.  I didn't relisten to the LP lately, but all the CD tracks. For these to click, you probably have to be into 1960s "freakout" scenes, cus the music essentially is breaks with psychedelic electronic freakout and guitar on top, so think soundtrack for exploitation film about youths, drugs and sex and the lsd scene where they get naked in a club, and it's just that kinda sound.  Total lets take drugs mood music.  And sick Ohno graphics as always, his full mimicry style really effective here with the "tribute" to  Manuel Göttsching / Ash Ra Tempel ‎– New Age Of Earth

"Top Of Spot" off Acid Eater really is a standout, great guitar and a solid momentum rhythm - basically all the tracks are good though - her great playing and his frayed approach, so I'm not bothering to get specific, but lots of the rhythms are a little broken or off, like very clearly imperfect sampler loops, so that kind of artificial beat may be offputting at times, but if you just accept that damage it's not a big deal, and I actually like downtempo or older rock drumming, so it's fine, and it's not the abysmal lack of vision exercise in literal tedium that happens when Merzbow loops some boring midrange bullshit drumming.

Tribute To 宮沢正一&ザ・ラビッツ 死んでこの世にやって来た CD Inundow
Their track on this is a burnt out lsd and whiskey Rallizes thing w Maso doing vocals - kinda sounds like the Acid Eater band stuff.  Then it swaps to some 1950s computer bleeps then a lo fi 'hey joe' sounding thing, then more vocal and manipulated guitar stuff kinda dissolving away.  I'm not that into this CD for the rest of the tracks, I don't like much normal "punk" from the 80's (I do like Japanese Hardcore and harder stuff obviously).  Oh, there's a Incapacitants track, noise then some screaming at the end, sounds live.  There's a track by a band called Austur Lönd & The Patrol that's ok, it's the only recording by this band I guess, it's kinda midpaced galloping desert psych with screechy violin played on top, but intelligently it has some distortion so it sounds cool and unified with the band not like %99.9 of violin in non classical which always sounds like some music of some style with dry fucking violin on top, fuck all of those tracks.  But yeah, it's a good kinda night psych thing.  The Himei track is decent girl hardcore.  I like the Katsurei track a lot, but it's mellow beach psych pop rock, so you have to be into that, but yeah Nagisa Ni Te style.

愛欲人民二十一世紀 [Aiyoku Jinmin 21 Seiki] CD Alchemy

The Christine 23 Onna track here is as cool as all the others, maybe a little cooler, it being called "Cool Bitch" and all.  Yeah, breaks and some Thrill Kill Kult kinda samples and freakout.  This CD is great cus it has a separate like desk calendar page for each artist, it's really silly - that perfect Alchemy style humor.  Basically all the noise people are here doing the same as always and then some of those awful punk bands he releases due to friend loyalty.  Only real other standouts to me are Marine Snow the Seiichi Yamamoto track, which is a live recording that basically is just him solo guitar rocking, dreamy psychedelic guitar, think a more cheerful 60s documentary soundtrack vs finger pickin cowboy guitar or folk bullshit or Haino damage.  He just has real range.  Jams out (meaning actually compentently playing in a fluid style, not "jammy" noodling crap - though it's probably semi improvised) and mellow vocals, if you like the calm Omoide Hatoba tracks or any of that Nagisa Ni Te mellow beach psych that's where my appreciation is coming from, really like this track.  I also like the Tatsuya Kitajima track even though it's one of those bands that sounds like an open mic guy at Jojo's local bar (I KNOW he has been in insane and cool bands since the start - he's just not as out there of a character in the grand scale of Alchemy artists), but yeah I like this cus it's just a really earnest vocals and guitar ballad, more nightclub spotlight guy in smoke cloud than Enka, it works even if it's All Along The Watchtower, if you like Kan Mikami or maybe Kengo Iuchi or Kazuki Tomokawa you might like this, but most people will probably not like it honestly.  His track on that Alchemy guitar comp "Guitar Unlimited: Alchemy Guitar Compilation" is pretty good too - though also sounds very plastic and normal but I dig the super placid vibe, basically sounds like that other beach psych stuff (oh he did that Kewpie Box flexi, that ones pretty good), along with the Seiichi Yamamoto tracks theyre good on that comp, but those are spotty comps.  Also the Masonna track EG-3 is cool, obviously a further step in Ejaculation Generater, the part 2 on that ugly Blast First 3".  But yeah, just concise and exactly like every other Masonna track.

God Came Between Us CD 777 Was 666

I essentially love every single 666 comp I have.  And they are perfect the way they are, but my top tracks on this are the Christine 23 Onna, "Ho", super mellow spacious guitar and bongos like beach haze.  Mirage prostitutes and gogo girls.  Totem Pole of Losers, I like that it's just lounge girl vocals and piano lo fi, also a part of the Gregg Turkington puzzle.  The Toshiji Mikawa "Closing Remarks" track rules, Mikawa on sound poetry fluxus harsh power electronics mode.  But yeah, it really fucntions as a whole and perfect weird album.  Everything on this label is good though.
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« Reply #7805 on: February 21, 2020, 09:23:25 PM »

Brain - s/t 1999 - was planned to be a 2LP reissue after the original CDr issue, then canceled and picked up by Alluvial, which was a great matching - could be my imagination, because I never asked, but this seemed like a nod to Zoviet France Loh Land in the way it was indexed and the organic travel and feel, but then some lunar landscaping like Digilogue - recommended - I can't remember, but I believe he was either a radio DJ in Salt Lake City or maybe had an experimental hour? - he's good...very good.

https://br4in.bandcamp.com/

John Watermann - Calcutta Gas Chamber 1993 - still thinking about this one - it's always thrown me, and I've never been either discouraged or super taken with it.

Manon Anne Gillis - both out of the Noisextra podcast and the John Watermann album above, for I associate the two from hearing them both for the first time on the great Howard 31 compilation on Artware - the first four albums - Lxgrin 1984 and Aha 1984 are both great, and I think I'd give the slight edge to Aha being the better of the two; Monetachek 1985 and Bisherigori 1986 both mess with voice too much for my tastes, and they're very disjointed and jarring in style - I think of her as a less academic, more stage and drama character of electro-acoustics; flamboyant.

Matt Shoemaker - Mercurial Horizon 2020 - more high quality metallic ambient you'd expect from him - love when he makes it sound like he's playing an iron radiator.

Shum & Kazegyakusatsu 2018 - Hungarian noise/ambient collaboration with some quasi-power-electronic sounds - interesting and quality stuff that should be higher on my radar, but there's simply too much competition for time.


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« Reply #7806 on: February 22, 2020, 01:07:23 PM »

Have finished listening to Calineczka's epic "Music not for Airports" from Attenuation Circuit, nearly seven hours of pure synthesised minimal drone absence. In fact, sounds like some of the more layered and intense of his releases so far. Now just going through "Pora Deszczów", which has a lighter touch, with the odd different flourish, a bit closer to eleh's sound.

I don't know if I have, or anyone else has, posted about Ścisław Dercz's Important Drone Records here before, but just in case, all the downloads are very cheap (the tapes usually sell out pretty quickly from the looks of things).

https://importantdronerecords.bandcamp.com
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« Reply #7807 on: February 22, 2020, 05:01:24 PM »

Have finished listening to Calineczka's epic "Music not for Airports" from Attenuation Circuit, nearly seven hours of pure synthesised minimal drone absence. In fact, sounds like some of the more layered and intense of his releases so far. Now just going through "Pora Deszczów", which has a lighter touch, with the odd different flourish, a bit closer to eleh's sound.

I don't know if I have, or anyone else has, posted about Ścisław Dercz's Important Drone Records here before, but just in case, all the downloads are very cheap (the tapes usually sell out pretty quickly from the looks of things).

https://importantdronerecords.bandcamp.com
Thanks for this.  I hadn't heard of him, and I'm always interested in this type of drone/minimalism.  There are more talked about names that I haven't heard yet, like Eleh, so maybe I should start with them, but with your recommendation, this can butt in line.  If they're all doing 2-7 hour epics, I almost don't want to know about this Important world of drone.  Time and mood prohibits.
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« Reply #7808 on: February 22, 2020, 07:54:19 PM »

Fusao Toda from one of my easily top 10 favorite feminine dark psychedelic shoegaze pop vibe bands ever, she literally has a PERFECT discography

I assume you're referring to Angel'in Heavy Syrup here. Their last album, IV, is the perfect psychedelic rock album. Heavy at times, yet always ethereal. I like their other albums too, but IV is definitely their masterpiece.

Regarding Christine 23 Onna, I like their Shiny Crystal Planet CD overall, but I find it uneven in quality. This applies to Acid Eater too in my view, which has some of their best tracks (like Top of Spot, perhaps the best song on it), but also lesser ones. I liked their LP the least, but perhaps I should listen to it again.

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« Reply #7809 on: February 22, 2020, 08:15:14 PM »

Has anyone heard that New Blockaders tape vacuum-sealed with the shirt? Tempted to pick up a copy but kinda want to know if it’s worth it first.
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« Reply #7810 on: February 23, 2020, 03:22:07 AM »

Thanks for this.  I hadn't heard of him, and I'm always interested in this type of drone/minimalism.  There are more talked about names that I haven't heard yet, like Eleh, so maybe I should start with them, but with your recommendation, this can butt in line.  If they're all doing 2-7 hour epics, I almost don't want to know about this Important world of drone.  Time and mood prohibits.

Elaine Radigue would be a basic reference for what these artists are doing. She did it first, and better. The epics on Important Drone (a cheeky name since its not associated with Important, who have a lot of eleh releases) are usually around the twenty to thirty minute mark. A few minutes listening and you'll get the idea. It's purposively derivative and challenging only in how much you could be bothered with, and I'm all for it, I listen to it for hours.
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« Reply #7811 on: February 23, 2020, 12:03:41 PM »

See bottom of this post for digest commentary.

Treriksröset – s/t aka MR SM
I got a bible from a total perv, the other day. I opened and read it. It said fuck your earholes. Fuck them again and again and again. To help secure the holes their prescribed fucking, a choice inventory of actionable aids: exhibits (a) Heavy Duty Cock Ring, labeled, for the amply hung stud; (b) bottle, 24ml, amyl nitrate (customs permitting); c) fully featured instructional art booklet culled from Mister SM Himself; d) rolled up collection of posters with which to gentrify the artfully decked dungeon. Without moving his asshole away from the face of his shit eating pig, the MASTER reached out and somehow grabbed hold of the hair of the second pig. All this and more, can be yours. And all of it so lovingly procured packaged presented, a true œuvre d'art for the discerning bootlicker.

That’s all good and well you say, but what of the actual sou- Lick that asshole, shit-face. Lick it clean. Lick every shitty smell out that hole before I fuck the shit out of that tight, little butt of yours.

The sounds, of course, are where the real gentrification sets in. Never before has the Trerik got this GOSHSDARN harsh and nasty. Well, perhaps the Venal tape could duke it out for claim of the Ear Drilling Scorch throne. Perhaps. But this shit is longer, fatter, harder. Browner. And really- as though still smarting the afterburn of a good ‘n hole-taxing interlocution - unable to sit still for a fucking minute. Active. Tensile. Mobile. Moving around the guts on only the rarest occasion, but positively raging with the most severely blistered scorchlery, bleeding raw from piercing peak to piercing peak, mercilessly gunning for the earliest possible expiration of the ever diminishing ability to hear. Like shpeak up shonny uber fricken allesh.

As I type the sudden violent urge to fondle Hetero, that little-short-of-unutterably-brutal Heteronormativ Musik För Att Stärka Medelklassens Självbild first seeing daylight in The Year Of Our Lord 2014. Now look, seriously- and you'll have to pardon my digressing from the prior digression- why in fuck can your faithful spewer not simply concentrate on the tape at hand? Is this such a difficult thing? Do I always have to pull out every-single-fucking-Trerik I’ve got and compare notes like some sniffy name-dropping po- Come on shit-face! Chew that fucking load up. Swallow that turd slowly or I’ll cram this huge ram of mine in that full mouth and pile-drive every bit of that shit straight down your waiting belly.

Right, well since we’re here anyway, I suppose it’s worth noting the declared chronology. “Recorded 2014/2015” would place the recording itself in and around the Hetero frame. So there. So clearly things were to have been getting mighty nasty by this point… to culminate, of course, in the Total Ear Rape to be scored in the name of Kristen Musik. (And here as I type, I shit you but a smidgen, a certain manifesto-emblazoned split with one or another Rita just plopped into my severely overtaxed box. It’s going to be a harshdork and stormy night.)

Okay a pause while I take stock of the myriad claims ventured to this point. 1) This is some of the harshest Trerik to date, and 2) it’s long. Um, yes, well I suppose that’s it. Oh, and 3) it moves around a fair bit. Yessir, this read has certainly been worthy of your ti- Ohhh, SHIT, SHIT! Shit me full, please. Please, SIR!

By accounts, in contrast to the version on disc, the tape is the more representative of Le Shit as it were properly meant. This is immediately apparent in the opening moments. Where the disc seems to drop in and out of harsh before regaining bearings and plunging forward, the tape evidences more structurally sound unfolding. The moments of harsh proper unveil slowly, teasingly, gradually upping the ante, the pacing, the pressure- and finally stabbing, mal-pittyingly, at the ‘holes with evidently insatiable sadistic glee. Two thirds the distance and a ground-up grinding focus on low brow, puritannically inclined, sphinct-scrape. By degrees an increasingly unsettled series of honk-squealies bursts through the grindwalls and with it the non-too-subtle inkling as to impending Ear Rape. Tension fairly glistens in the ensuing battle of the bulges, squaring the speaker cones in resounding circular waves that threaten to shred dead air like a motherfucker. Then a bit of surprise divergence from the more brutal pursuits, vaguely dirge-flecked machine rumble inviting raw-bled squeal-nasties to hack, cough and sputter through to the finely finessed blissout.

The flipside has a few minutes on its predecessor, and more than a bit more of the HARSH. The attack is immediate, sharp as knives, drilling with very specifically targeted ferocity, so brutal in its disposition as to invite comparison to Encephalo Hurtcore. Like, Slutbag, seriously, what the fuck? Well, okay, perhaps not in the specific, more in the sense of live-in-yer-ass, Jerk-inspired, spastication. Keep in mind, Trerik don’t do spastic, at least not with any sense of deliberation- if such an oxymoron may enter the frame. Just to make sure, let’s just consult with Slutbag for a moment…yes, I’m getting the okay. Yes, the oxymoron may enter the- Feed me! Feed me, MASTER. I want to eat out your asshole, SIR! Pleaseeee!

The point anyway, is that this Hurts to the spinct-mangled Core, pure and unvarnished Ear Rape par excellence, precisely as the Mister prescribed. Now, I did mention early on that the shit was active. tensile. mobile. In other words, words such as “respite” may feature at one or another juncture, the well-used gluteals hopping about from one fiery drilling screecher to another. What emerges is more stream-lined in contour, non-stop streams of piddly fitz-sizzle occasionally syphoning more of Le Piss than Le Shit. By about the halfway mark, a more grim and exacting clamping down of the frequency spectrum. But there again, all too soon, repeated ice-shards are ripping massive bleeding chunks out the pulpy flesh-hole. The closing minutes now and straight line through the center of the ear canal, wheedling shriek suffocating under the pressures, nary crack of daylight nor spastic burst to excite anything other than total submission to Ear Rape Almighty. He had found THE BEGINNING OF THE REST OF HIS LIFE


Digest spew
I HAD AN AD (with photo) in MR SM 53. The ad clearly said I was into SCAT. What I got was letters from guys who wanted anything BUT scat. Too dirty! Let’s try again. If you can’t handle it, don’t write. Total, extreme, scat only. I’m 45, Dutch, have special room. No photo means no reply. C’mon shitters!

MEINE ANZEIGE (mit Bild) in MR SM 53 brachte nur Briefe von Typen die NICHT auf SCAT standen, oder nur Träumer. Also nochmals: nur total versaute SCAT-Typen und nur die! Bin Holänder, 45, habe Spezialzimmer. Kein Bild = keine Antwort. Wo sind die richtigen Scheisser? T51-84.
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« Reply #7812 on: February 24, 2020, 04:08:33 PM »

See bottom of this post for digest commentary.

The Rita / Treriksröset ‎– The Rita / Treriksröset
It’s all about the Trerik. Well, that’s the project that does time on both sides, one live (as Rita complemented by Trerik & ZK) and one in the studio (as Trerik). One may reach all kinds of conclusions just perusing the liner notes, manifesto-ish statements of malcontent notwithstanding.

Drop the needle though and Rita is Rita, definite article notwithstanding. The flattest lines as brutally uncompromising as to be desired. Whether that is a thing to be desired is another question entirely. (The answer, for what it’s worth, would be not yes but HELL YES.) Trerik Trerik Trerik…I’d reckon, a presence more often felt than heard. I might suggest the same of ZK, the not-insignificant third component of this 3-way live collabo, but only because her contribution vis Rita would be a bit harder to parse. Fortunately, the good people who presented the event have put a brief snippet online and helpfully indicated where the Trerik portion ends and the ZK begins. What emerges is live collabo that is at times possibly solo Rita and at others alternating 2-ways with Trerik or ZK, with perhaps a bit of all three rounding out close. Best not to speculate.

Now, I wanted to say this were REAL FUGGERIN HARSH, but truth be told the first proper auditioning of Rita’s A-side came off the back of extended sessions with Treriksröset’s recent s/t – TOTAL EAR RAPE of which left me unable to hear properly for longer than than is entirely without perturbment. Frankly, Rita here waxes rather soothing on the ear, harsh flatlines calmly drilling through the ozone, massaging the poor abused inner canals with purely textured shshshiiiiizzzle. That’s the earholes. The severely overtaxed speakers, on the other hand, spent the duration protesting this gross exploitation of their normally munificent disposition, threatening to rip clean out of their cones at the apparently over-generous application of volume knob. All I have to say is, speakers, if you’re reading this: THANK YOU.

The opening flatlines are not lines but the ripped and lickity-spittling sounds of dry shred, broken up with irregular silence. Possibly, if the aforementioned online snippet is anything to go by, ZK gets in on this. Possibly. A few minutes in and the sound palate expands to admit a broader range of hack fizzle ‘n snort before a feedback spike and accompanying note of audience appreciation suggests the possibility of Trerik getting more involved in proceedings. The harsh exudes a whitened polish, the feedback biting and stuttering in needle-shriek bleed-through. The crowd, or at least one fucker spasticating near the mic, clearly approves. This whole section here is innerestin’, never really settling into one groove or another, but allowing the play of harshvoices to splay and converge.

And then- what the fuck? Piano? Slightly distorted, but really. What the fuck do they think this is, industrial music? Jeez. Presumably this is the moment where Mr Carlson is to be seen executing a picture perfect pirouette, prancing about the stage whilst Rita stuffs a ballet slipper up the shnozz. This goes on longer than is entirely necessary, but of course when the flatlines drop back into the mix the moment is perfect. At which point I would surmise we are getting the full brunt of the ZK: broken down, fragmented, finely chiseled drilling straight into granite walls, fidelity burnt raw, charred, seemingly struggling to cut through an increasingly oppressive silence. Tension so sharp you can cut your tendons on it. If I didn’t know better I might be tempted to flop out a descriptor like “academic”. But no, I know, that would be wrong. And then- sudden-like rapid ascension, legitimately harsh ripping blasts erupting to the singularity, done.

If Rita offers the earholes respite from the punishments so dearly deserved, they will get no such sympathies from Treriksröset. The project has been getting increasingly HARSH and NASTY of late, both the recent s/t aka MR SM and Kristen Musik delivering some of the most brutal EAR RAPE to be feared- and yes, say it, to be loved. And here, now, as the first strains of straight-through-the-holes burning severity rage on through, it is clear that in t-minus twenty-two minutes my ears are utterly flocked. Blame Mikawa ‘n pal. With the possible exception of Paraponera Attack from Ostracized Enigmatic Conqueror, Incaps have simply not been delivering the harsh purity that so defined the harsh of yore. Someone’s gotta fucking do it. Enter Treriksröset.

Treriksröset sounds very live-through-the-amps on this one. Amps bleeding and convulsing amid ruptured feedback-laden screech and seethe, room acoustics soundly hemming in the punishments, centering attentions on the essential damages being wrought. After an initial attack to lay the somewhat jittery foundations, a move toward near spastic flirtation, and what sounds like open-aired metal-junk slam-barrage hammering on into the fray.

Much unlike the s/t, there’s relatively little deviation from the core, little interest in micromanaging movement from one divergence to the next. Rather a steady development, getting thicker, richer, heavier- if never particularly harsher as, well, I’m not sure that’s physically possible. Classic development, then- pretermitted ballet slipper to the shnozz notwithstanding. So it rolls: slow-build to almighty roaring intensity, ill-forgiving gaze reflecting back in grim and equal measure, triumphant ascent to glaring glimmering peak of puritannical conviction, outward bleats and wheedles gradually succumbing to the cause. It’s easy to get snookered into cranking the volume just that iota more, warm distortion walls seemingly swallowing up the more piercing incursions. But there- principally at the edges, but so very much present, the marginally disguised dental scree burns, red hot and scorching straight through the fucking skull. A few straight out blasts for good measure just to ensure that the damage is permanent.

With acknowledgements to Rita and the concomitant gentrification of form, the last year and change truly has been all about the Trerik, the unvarnished Ear Rape, and the merciless shitting into ‘hole- all subjective re-presentation of the word “harsh” notwithstanding.

Digest spew
KEEP INDUSTRIAL OUT OF HARSH NOISE. (And no, in case you were wondering, techno is not sound art.)
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« Reply #7813 on: February 24, 2020, 07:05:25 PM »

Violent Pleasures - Demo CDr

I saw this duo perform in Toledo the other night and while their set was good, it was unfortunately hampered by some technical difficulties.  The sounds on this disk make me wish I could've seen them at full capacity!  Very intense and fast-moving harsh noise that hits in all the right spots.  While rooted in the classic Americanoise style, there are a lot of other elements at play, specifically distorted vocals and sharp synth attacks that add to the overall barrage of sounds.

I haven't seen any advertising for this demo and the package is just a CDr with the name written on it but one of the members of this group does the project Rosebud.  He's done a few self-released tapes and one on Fusty Cunt last year.  I'm not sure if he lurks these forums, but hopefully this group will release more and get some recognition as they progress.
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muppet1
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« Reply #7814 on: February 24, 2020, 09:00:26 PM »

Relay For Death ‎– Birth Of An Older, Much More Ugly Christ LP [Hanson, 2010]

This record has aged wonderfully. I’ll never forget popping a Vicodin left over from having wisdom teeth pulled and listening to this sitting on the floor of my room soon after returning for my last year of school. I’ve read Chop Shop’s sound described before as dead-on-arrival or flatlined, and those descriptions are apt for this LP as well, perhaps moreso. Whereas to my mind a lot of Chop Shop has a bit of an audio research or process-based angle though (not a criticism), this record is devoid of that. The un-pausing tape recorder sound that begins the LP dropping the listener into something which resembles the later end of first period MB before lowering further into an apathetic purgatory of ground hum and saturated rushing sound. So much that sounds like squeaking breaks. The way different settings drift in and out like we’re moving forward through a series of awful sense memories. Then the second side with its greater focus on crumble and crunch, like drilling further and further down. That tasteful roving synth - a perfect record which caught me just at the right time almost a decade ago. Powerfully abandoned and inhuman.
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