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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 4333618 times)
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« Reply #8325 on: October 08, 2021, 04:13:17 AM »

Sarin Snow - Twilight Ægis
Dolchstoß - Mourning Cloak

Fascinating how Twilight Ægis and the Dolchstoß promo tapes go back to the traditional format of the demo, with long passages of videosamples filling up the tapes. It's almost it's own genre, just with that added dimension of videosamples blowing out the length of the releases in proportion to the actual tracks. This will surely make them more collectible items one day. When people are trying to pick apart the content, the promo format provides a whole different structure. Sound wise, "Mourning Cloak" comes in brooding and heavy, with a structure focused on building tension; I thought this was reminiscent of Anenzephalia... I've given the Sarin Snow promo multiple listens, keenly anticipating the upcoming LP. And while the project's sound/s seem to have evolved since the initial releases...particularly the vocal delivery, this is something that evades comparisons. The project remains elusive despite successive releases and a growing back catalogue.
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« Reply #8326 on: October 15, 2021, 12:40:05 PM »

L'ECLIPSE NUE "A defective man / Torn spectral lens" CD+3"CD
Aussaat
I have some other stuff of project, and liked what I heard, but never really paid attention. This thing was listened in right time. Live material on 3"CD, album on CD, both packaged into metal-box made for CD. Experimental noise, sometimes wonderfully raw and fierce - like some moments on live 3" - but mostly kind of innovative and "anything can happen" type of experimental industrial noise. Sound itself feels like it would be digitally recorded, but plenty of physical elements. That is my only complaint, that the "color" of noise, especially in live, feels a bit like ZOOM H2 type recording. Clarity, sharpness, etc all there, but little juice missing, hah..

SMELL & QUIM "Bulls Penis Soup" CD
Total Black
I have commented this before, in S&Q topic. Then it was lathe and bandcamp stream format. CD is needed and great to see Total Black doing it. Absolute highlight is one of the most demented and dirtiest noise song of recent times: WE WILL FUCK YOU IN THE ARSE. Absolute classic already now!

CIRCLE OF SHIT "Romance through the body" CD
Aussaat
Oh man! COS just took major leap forward! Disc starts almost like the he'd attempt to move into NWW kind of direction of odd cut ups and tapes, but material will take harsh noise levels into maximum too. Like with L'ECLIPSE NUE, I would recommend final touch be improved by recording on analogue tape. COS cd is almost like little too good to settle for "mixer clipping into digital recorder" -type of sound? If just plugging your gear into tape deck, it would probably be the final nail to settle firmly name among names you should check despite perhaps being turned away by band name, hah...

AHLZAGAILZEHGUH "Music for handicapped ears" CD
Phage tapes
What? Handicapped ears? Ahlza... is pretty much in the cut-up noise perfection. Not too little, not too much, not slow, not too fast. No stutter glitch. No static HWN. Just... all the way in perfect balance of noise satisfaction. 74 mins non stop brilliance.
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« Reply #8327 on: October 18, 2021, 08:11:38 AM »

S.ISABELLA "Plerola" CD
Xerxes 1998
Government Alpha side-project CD! Late 90’s international collaborating. Sound collage with lots of contributors. I have had this CD since it came out. Was reminded of it when reading Life Without Sex #1 from 2001. Described as musique concrete/cut-up/collaborations. There are harsh noise contributions here too. Good CD!

I have often been advocate of listening noise. I am highly suspicious of artists who just make, and never listen and appreciate other peoples noise to level of fanaticism.
It seems absolute must to stay aware of level of what is actually good, to not just listen your own farts and perhaps your friends. After hearing the best, to make & release even better. Or at least attempt to do so!
I had idea while ago, that instead of just listening other people’s work, should I actually try to go through entire Freak Animal catalogue. So… 130 or so CD’s? Plus other formats. At the same time, I know that I will like it. For obvious reasons. But going though couple hundred releases? Huh… Idea was that besides having perspective of what is happening right now, it would be good to be aware what you have done. In what way putting out new CD is compared to thing that was done… say 20 years ago?
Well, V/A Degenerating Finland CD (fa-cd-007), that was compiled 1998-1999 or so, and published 2000. It feels like sort of who-is-who of Finn noise of the time. Curiously also everybody is still around. That may tell something about level of commitment of all these guys.
Strom.ec, Bizarre Uproar, Cloama, Mnem, Moozzhead, all still around! Grunt doing just fine. Pain Nail not only just released 2021 CD, but also next album is completed as well. Order. may have not released much new stuff, but he is around and recording things  a bit. All-Out guy plays in Savage Gospel with mr. Haare. Detonator was member of Sadio and Cloama. Woundead, is back under his original name U.N.D. And put out nice 100 copies LP recently. I.Corax was first real CD appearance of Aural Hypnox related groups! Nicole 12 died in 2011, but the brute behind the project of course still here creating nuisance in Finn noise scene, eh eh..
To me it feels as if this comp would be as good now as it was 20+ years ago. Even worthy of repress!

First FA CD, was sort of failure due technical error. Theoretically good, but technically failed due era was a bit different, hah.. CCCC material was reissued by No Fun prod. CCCC box. I sent Carlos DAT tape that was fucked up on FA’s first cd.

2nd CD was AUBE / THE HATERS split CD. Sounding neat still nowadays! It was about 1996 or 1997 when I contacted both guys, Aube and The Haters. I had idea for packaging, and liked what both had done with broken glass sounds (what’s not to like?!?). Both guys, masters of their craft, send me DAT tape. Akifumi designed cover and sent me ”lazer prints”, and paper masters were given to offset printer. Folding and glueing was done by myself, looking pretty good still on todays standards!
Back in 90’s doing CD’s wasn’t that easy and cheap. Especially for guy who wasn’t yet even 20!
Aube is here his masterful build-up, from quiet to loud, loops, efx, etc.
Haters is the full on wall of clatter of breaking glass. Actually very high fidelity, clear and massive. It is NOISE, but not the distortion pedal noise, not tape saturation noise… but just massive sharp and splintered glass-breaking noisy! Not sure how mr. GX recorded this, but clearly under influence of joys of wrecking things!

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« Reply #8328 on: October 18, 2021, 09:55:00 AM »



I have often been advocate of listening noise. I am highly suspicious of artists who just make, and never listen and appreciate other peoples noise to level of fanaticism.



AMEN. I don't listen much noise today as I don't listen to much music in general due to my hearing problems and also due to the fact that I'm stressed with work and noise distracts me when I focus. Something different from the past while non-vocal driven noise was helping me to go faster. BUT when I listen to a noise record now it's like reading a book or watching a movie. I stop and listen, read and focus on that with no distractions. Often listening other projects give me ideas for my own stuff, eaither  to try to avoid repeating what is done or simply the kind of textures that I think could work perfectly in what I do but in a different context.
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« Reply #8329 on: October 26, 2021, 08:39:33 AM »

Psychward "Abuse & Terror" C20
Narcolepsia
This latest release demonstrates that anything less than an underground testing chamber is woefully insufficient to hear new noise tapes in; at least for an initial test detonation. As a country, we have the space, we have the capital – but is there a will?    …Something worthwhile to ruminate as Psychward drags his listeners across 20 minutes on this latest effort. This time given a professional-grade release; the highlight of the object is the logo printed on the tape shell. It is well worth adding to the collection, due to the efforts of the Narcolepsia label’s nicely done physical products.
For this written report one can merely attempt to quantize all that’s happening in order to represent the dynamic push of this tape. In a nutshell: P-ward offers a new tape of what he does best; that being his signature abstract harsh industrial noise craniectomy. Hyperactive mid-to-high range aggression coming to the fore early on - composite pieces of the sort MSBR used to forge. Signal to noise ratio is completely unsteady: past channel capacity; the rate at which information can be reliably transmitted is long since passed; perpetually off-the-radar noise fuckery. Distorted divebomber-like loops filling up a good long portion of magnetic tape thereafter. Seemingly at the artist’s whim, this is paired with abstractly warped cassette speed manipulation – but it works... Surprisingly somewhere in the final “Nine Point Multi-Directional Blade Placed Within (Unable To Retrieve)” A-side track there’s some sickly acidotic synth loops slowly catabolizing amidst a cacophony of piercing noise signals. This from the same mad scientist who concocted Morbid Paralysis 7” for Novichok earlier in the year...    But across this whole release there is no fixed point. This tape is choppy bliss. From segment to segment, there’s passages of silence, false starts; not so much reminiscent of Rudolf Eb.er’s molecular-level precise cut-ups: but in a much more ‘sloppy tape experiment’ manner, as is the whole style of the tape... This is why we emphasize the need for a listening-terminal with a largest possible noise-channel audio capacity to be selected as a test site for this release. No Dolby!
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« Reply #8330 on: October 27, 2021, 02:48:54 PM »

Die Reitenden Leichen - Scumshot (Monolithische Aktion) cassette
Monolithische Aktion is back! The latest batch is only small part HNW but mostly good harsh noise of various styles. I like this new DRL tape the best of the bunch. Gone are the more static days as this is just active harsh noise. No drone passages or quiet parts, only ripping harsh noise. Sounds somehow very clear and crispy (digital?) but at the same time very powerful. Great!

Oblive - Demise (self-released) CDR
This came out more than 10 years ago I think. Not the sexiest of formats but the material here is top notch. I have not heard that much Oblive but everything else has been HNW. This on the other hand is heavy harsh noise. Really punishing brutal stuff. Sometimes active, sometimes more static (especially the second 15+ min track) but not total HNW minimalism at all. If anyone can point out similar releases in the Oblive discography I would be more than happy to try hunting some down.
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« Reply #8331 on: October 29, 2021, 09:26:42 AM »

Out of town again.. I have probably mentioned that I have quite strong objections to online listening. I do it to certain extent, but it tends to lean to ”stuff I know”. Was listening Genocide Organ ”save our slaves” vinyl rip and liking what I hear, but… When there is supposedly all the great new unheard noise out there, it is odd that I listen digitally ”things I know” and physical is the method of new discoveries! Seems almost like opposite I hear from other people.

Now, consciously, decided to go to bandcamp and check out something unheard. Thinking what it could be.. and amusingly enough, found myself listening YKSI tape. Something I know is on its way to me on physical format. Finnish harsh noise side project of UTON. Released by Satatuhatta -label (Aprapat). Label has profiled already now as place who can offer new, unheard or largely unnoticed noise tapes. Not just putting out artists some other label popularized, but offering new things. Never heard of YKSI before. UTON, of course, is the known name in Finnish noise/drone for couple decades by now. I like what I hear. Its harsh noise. Almost ”hnw”, but not static, not crackle studies, no mid-range crunch. It has very simple way of shifts. Couple layers of things going on, and one layer gets replaced by new sound while other layer(s) keep on going. Changes occur ever few minutes, so it is basically slowly and gradually shifting, but in other hands these shifts are clearly audible. Not just slow mutation, but abrupt change one element while other sounds keeps piece somewhat same. So, no ”cut up”, no appearence of caref ”editing”. just noise that keep going forward and gets better and keeps one interested. Will re-listen from tape, which is (I’m told) louder than bandcamp file!
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« Reply #8332 on: November 04, 2021, 08:41:36 AM »

V/A DIMENSIO Group LP.
Finnish early 70’s avantgarde art group, that was into kinetik art, installation, sound art etc. Album published in 1987, recording at EMS and some other places including Finnish studios of the time. Partially excellent, all the way good electro-acoustic stuff. I would guess that old Finn electro-acoustic/experimental sound largely unnoticed abroad?
https://www.discogs.com/release/490427-Various-Dimensio
https://www.youtube.com/watch?v=FNrpYLrb7lU&t=53s


The New Blockaders TNB est mort 2xCD
Tesco
This was actually first thing I bought from TNB. I did not know what type of packaging it would have, so I was blown out when getting item! Feeling that was not uncommon when gettin your hands to early Tesco stuff! Usually it would be something outstanding.
When I got this, it took me actually quite long time to fully appreciate it. Clatters and racket and slow tempo odd noises and squeeling/screeching high pitched sounds somehow melted in my mind as if release is all the same thing from beginning to end. This is partly true, that I assume both CD tracks are always mix of same sound material? They start exactly the same, they have the exact same elements going on you can recognize and structure too. But seems like different mixdown or something? Quite Organum -like feel that you are not quite sure if you are listening same track or similar track over and over again, hah...
Anyways, when this came out, I was more on the mood for Masonna, Merzbow, Pain Jerk kind of sounds where you get loud in-your-face harsh blast, not just saturated slow mass of junk. Needless to say, opposed to AGGRESSION and sonic violence, TNB has something else - and when you get it, this release among everything that came before it is pure gold.
I have once talked - or almost talked with R.Rupenus. Back stage of London gig, what RRR put out as pic LP. RRRon and couple others said come to check out Rupenus, he is backstage. We went to door, and man was HAMMERED. Couple words were exchanged but no idea what those words may have been. Haha! No problem. No really anything to say to artist of such class, than the usual Thanks for great albums!
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« Reply #8333 on: November 04, 2021, 08:42:59 AM »

The long planned re-vising old own Freak Animal label titles… K2/Grunt LP and Ramirez/Grunt LP, both from 1997 and they came out same time. Back in the mid 90’s, it was actually K2 who contacted me first, sending introductory letter and telling he had heard of Freak Animal. I am sure I was aware of his work by then. His noise tournament 7”s series was done by the time this was done. I liked and still very much admire the noise tournament series (that’s something what would deserve CD resissue!), so eventually suggestion was made for doing this collab LP.  I like the material, but doubt that more than 200 copies vinyl needs to exists… From Grunt, these are among the last ”all-over-the-place” noise releases before transition to more focused stuff. It has the charming whatever goes -attitude, though..

Ramirez collaboration/split history is a bit clouded… What I can gather from actually still having master tape from RR, is that he originally sent audio for RR solo or split 10”. Track that was used here, is more based on ”sampling” talk from radio, mixing it with the delay/distortion feedback noise. Not just harsh noise, but leaning more to…. Almost ”power electronics”? Then the other side proposed for 10” wasn’t as good, but it had really great bits and pieces in it. This material was therefore chopped up as source sounds used for Grunt+RR tracks. Grunt solo track was unusual at the time. It has massive hi-fi keyboard tone in it. I had no synths at the time. This was recorded at rehearsal place of Finnish cult doom metal band UNHOLY. I recall asking guys if I can record some minutes of their keyboard. Over that recording was placed vocals and harsh noise burts. I think collaboration material is the strongest on this. Perhaps vinyl only, 100 copies back in 1997 is a bit too little. At least some people complained it is one of the hardest titles to find from FA.
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« Reply #8334 on: November 04, 2021, 08:45:36 AM »

TURBUND STURMWERK / INADE split LP box
Loki/PAS
Last weekend I just bought new amp to stereo system. Vastly better than I had before in this set-up. Now seems like all other titles before this has played with better and cleaner sound than before! Just so much better turntable inputs and grounding etc.
Turbund Sturmwerk side is way less inspiring than Inade. Inade, very good here. Vinyl cut is a bit quiet and also dirty. When you crank it up, constant surface noise is little annoying in atmospheric material, which is most audible in TS side which is so clean synth sounds.

TAINT "Misogynist Lust" LP
Freak Animal
Taint LP, that sounds loud and clean. The press I mean. Material.. not so clean! There was edition of 9 copies with silk screened + hand written poster + back cover sticker. Regular edition was small too. Not sure was it 100 including these, or 100 + 9? Either way. Listening to this LP, it is so clear how Keith was absolute master in disturbing vocals. No screamo, no tough roar, nothing ”metal” or ”punk” in vocal style, but perfect timing, tension, stylish use of efx, great vocal feedback, mostly using disturbing whispering, talking, simple phrase repeating vocals. Something one could imagine obsessive person mutter while… doing what they’re doing. Same time as this came out, there was Victimology 2 LP, that is perhaps better than the original CD. It was tough to convince Keith that all samples between tracks could be notch louder on LP. Original CD was intentionally all material as one track so you can’t skip while listening and samples between noise so quiet that if you turned volume up to hear them, noise assaults would be extra punishing, hah..  Difficult power electronics, all the way! When eventually CD will be reissued, I guess his original vision must be honoured.
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« Reply #8335 on: November 04, 2021, 08:50:53 AM »

Been a bit busy catching up after "holiday". While packing orders etc, ongoing week work playlist been mostly the tapes. No bad tape on this pile... Corral Shut "scuff marks", Absolute Key demo 1, Missing "III", Psykoosi, Prurient "documenting sound", Culver/Haare, Scathing "pale faced feeders", Aprapat "born rare", Wasteland jazz unit "Assembled rejection", The Räty, Sunken, Ungeziefer new tape, Psychward, edge of decay new tape, Slow Burning,... etc

Highlights would be MISSING ”III” tape on New Forces. Listened it twice yesterday as it was just sooo good. Totally eerie and disturbing, Prurient ”Documenting Sound” tape is yet another proof how Prurient gets somehow relaxed on tape format, and can put out raw and fierce noise what probably would not happen on CD? HAARE & CULVER tape, partially good, partially g r e a t  drone-noise! SCATHING tape, full blast harsh rules ok.
PRAISE tape is actually finnish grindcore. It is very very rare that contemporary grindcore is this good (in Finland at least!).
SUNKEN tape was also good surprise. Finnish label put out tape of New Zealand air-organ / drone / noisy oddity. Way better than expected! I guess that label may have advertised on this forum.
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« Reply #8336 on: November 04, 2021, 12:30:02 PM »


A few tapes from the ODAL 1983-1986 boxed set I borrowed from a friend:


‘POSITIVE SOUNDSCULPTURES’

What at low volume sounded like wild apes in a cage, but when turned up is sawing wood against metal, or something similar. Small parts of this sound like a DX7 that’s been done up the arse. There’s what appears to be loops of objects sped up & down. Someone breathing over a PA with lapel mic left on but not saying anything? Gradually becomes more chaotic but rebuilds again where it began. Rather thin & stripped down but still has a great deal of power. There’s an imposing loop of what sounds like a large whip at the end of the B side that gradually turns into something heavier.Tactile atmosphere, hence the title I imagine.


NIHILIST DOGS

Begins with the infamous Con-Dom loop (the release on which it appears i’ve somehow forgotten). Not sure which way around it worked there, or maybe i’ve got that wrong. There’s what sounds like number station transmissions, but layered with other unspecified noises & pitched down voices, quite eerie. More loops appear, some more aggro than others. It’s near impossible to put your finger on what any of the source sounds are, or what they’re getting at.They gradually degrade into nothing. There’s one piece of a piano (or possibly digital synth?) which I found rather annoying. That didn’t last long though. Whilst some of the loops gradually degrade, some build up and then disappear. The B side starts with yet more unidentifiable noise with crude industrial rhythms layered underneath it. More crazed loops follow. Possibly synths, but it’s just as likely it isn’t. There’s some quite bizarre modulating sounds, some that are just unnerving & awkward, that again the origins of which are very hard to pin down. The only thing I think I can make out on the B side is these aforementioned dogs growling or white noise with envelope editing, but that loop turns into something else and disintegrates , so could be something else entirely. There’s a human voice pitched down at the end of one loop, but it’s hard to tell if it’s in pain or pleasure. It’s quite clear to hear a similar tone to other projects of the same era, i’m not sure if it’s voices modulating, or what, but there was clearly an element of the intentionally unidentifiable in that era of noise and industrial, but this might be also due to the limitations of certain recording equipment, or just the muddiness of older tapes, less than ideal recording circumstances etc.



‘BLACK’

Cut ups that sound like they’re being made live somehow of classical music, interspersed with rough pulses of feedback, voices breaking through (?), all covered by the 80s murky noise tape atmosphere. Crunching and hissing, with distant buzzes and ripping noises. Think there’s voices buried in there somewhere? Followed by….Loops of what sounds like a hands on tactile approach with different metal objects or similar, something like a factory floor or conveyor belt, but colder. 



‘BODY & SOUL’

Grinding synths and feedback manipulation, mixed with short-wave type radio noise. Ping pong / square wave modular synth type moments that constantly change. Rather abrasive and pumping.Then, Roaring & distant pink noise with something ominous going on underneath with fast feedback changes, possibly flange. Becomes very rotten at times. Gradually changes to spacey radio static again. Broken morse code type messages? Stuttering rough sequenced synths reappear.Whooping / hooping synths . Driving and hard pulsing. Distant synths then appear with something that sounds like it’s being hit quite hard. More feedback and modulation interferes. Extremely cold. Sample and hold modular sounds with delay appears along with some kind of loop of what sounds like a small metal object clacking.



‘THE CHOICE OF A NEW GENERATION ‘ 1 + 2

A side of the first tape is a long one of a constant loop of the same pulse, but with changes. It’s unrelenting, and just keeps going the whole way. Sounds like layered synth or electronics put through a small amp but turned right up. B side begins with minimalist bleeps & signals that gradually modulate , degrade ,deform, crumble, reform themselves and then disintegrate again.The B side is punctuated at the end with an eerie whining electronic tone. The second tape begins with modulating electronics, and what sounds like tape speed manipulation, layered underneath with what sounds like moving physical objects, but it’s impossible to define what they are. One of them sounds like the engine of a small outboard motor slowed right down. Some more like lathes or objects in a machine room. B Side of the second shorter tape starts with what appears to be someone struggling with a microphone whilst they’re attempting to bundle someone into the boot of a car. Physical objects like metals & stones are layered and pitched up or down. Fluid of unknown description slurps down pipes, and there’s definitely voices in there.


AGAINST HUMANITY


Starts with what might be a very dead sounding air flu expelling gas. A similar piece follows, but with a very simple loop underneath. Next is a crunching wall of noise but with rough synth tones breaking through underneath. Driven very much into the red, are what sound like radio voices coming via an external-in but can’t be sure. Feedback gradually breaks through & all becomes a bit more chaotic until it slowly pours itself down the drain. The B side is signature Odal. Bonkers loops and chaotic sounding movie samples.Some sound like they’ve just been recorded more than once, some perhaps triggered with a sampler? Some of them mixed with a synth? More unidentifiable loops and field recordings follow, some sound like fireworks or breaking glass. Some more ominous. There’s one loop that sounds like a pair of mechanical lungs gasping for a last breath of air.There is nothing positive about this tape, it is very much Against Humanity!


Will continue listening...

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« Reply #8337 on: November 12, 2021, 06:04:50 PM »

Shackleton – Departing Like Rivers 2xLP - Woe to the Septic Heart!, 2021
Haven't had much opportunity for noise and related listening, mostly sticking with other genres the last two months. I feel this is worth a mention here because despite being one of the most musical things I've ever heard, it's also very dark, weird, and hard to categorize. For anyone familiar with the last 10 years of Shackleton's work this isn't a huge curveball or anything. It's within his trend of "proper" albums where one track oozes into the next and each album is a cohesive whole in feeling/visuals/message, but somehow this feels like the next big step forward. Syncopated rhythms collapse into themselves, giving way to disembodied vocal transmissions and clinks and clunks of metal, alien instruments, thick bass swells envelope forward momentum, a nude descends a staircase in the dark. And shit, this all happens in the first track. Imagine the Aural Hypnox crew at their most adventurous, but with a fevered rainforest vibe and it might get you close. This album is absolutely restless, moving from one interesting idea into the next but it's done in such a way it doesn't feel like dicking around with weird sounds for an hour, but some kind of otherworldly manifesto. Potentially my favorite album of the year.
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« Reply #8338 on: November 12, 2021, 06:47:19 PM »

TED BYRNES - Formula CS (Lake Shark Harsh Noise, 2020)

Given the context of this being released on LSHN, some the sounds here initially reminded me of those of certain works by THE RITA - rumbling friction of contact mics on nylon, contact mics (and/or knives) dredging watery depths, etc., but these eventually give way to barreling sounds that conjure up the desired images of Formula One cars idling, engines crackling (and/or cackling), sputtering as they prepare to hit the track in full precision force at top speed. The "solo acoustic percussion" that Ted Byrnes defines his work as has never sounded more "electronic" than what is presented on the B-side - that description should not betray the material's authenticity, however, as its "purpose" has perhaps never been more fully realized than in these perfect emulations of short stroke engines. Compare the sounds to DAMION ROMERO's "Idle" [recording of a 1968 Plymouth Road Runner idling in the driveway] and one would be hard pressed to say there is any difference between the "natural" sounds presented on both releases. The liner notes to "Idling¹", a release by Byrnes and Sam McKinlay collaborative project CACKLE CAR, state "The physicality and visceral nature of rapid percussion sampled and interpreted with analog overdriven gate and bias fuzz effects. The resulting textural sound resembles an idling top fuel dragster engine" - an effect achieved by RITA-izing Byrnes' percussion. Here on "Formula" the desired outcome is attained without electronic aid, and that speaks volumes to Ted's ability and intent. After running a comparison to "Idling¹", I immediately put this tape back on and found that whatever "other" sounds I had been hearing upon first listen simply did not exist and were likely a result of my own bias and/or preconceptions. Hearing "something else" is easy to do with contextless noise, but no context is lacking here. This is streamlined in such a profound way that it can be nothing other than Ted Byrnes' "Formula". Recommended listening.
I'm just now discovering the world of Byrnes' solo percussion.  I recognize the name from Sissy Spacek, but I never broke out the shovel.  I should pay more attention to what is happening with percussion and noise beyond junk metal etc.  Reminds me of the excitement around Left Hand Right Hand and Menche's Concussion.
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« Reply #8339 on: November 19, 2021, 09:33:11 AM »

JANITOR "Richie" LP
There is couple Tesco releases after this 1999 LP. I don’t think I’ve ever heard anyone praise or say ”got to listen more Janitor”, so that was perhaps only reason why this ended to my playlist now. Was browsing shelves and it was random grab.
Duo consists BJ Nilsen (Hazard, Take Dekay etc..) and Lina (Deutch Nepal). So these guys, in 90’s, were sometimes absolutely great. I guess it is mainly the uninspiring graphics and the name of project what I never liked.
Last song of A-side is too much of later DN -style of semi-out of tune singing over loops. Most of stuff on LP is simple industrial-loops and spoken pieces pulled out from movie. At best this LP is on B-side, where they hit the full-on distortion mayhem going on. Crushing distortion loops and eventually simple old fashioned rhythm loops and spoken pieces. Not masterpiece on either artists discography, but nevertheless LP that will stay in my shelves…
Anyone has fresh memories of other Janitor output?
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