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« Reply #7725 on: November 16, 2019, 01:18:05 AM »

LINEKRAFT - 'SUBHUMAN PRINCIPLE'

The best i've heard from him yet, but I haven't heard all his output. Brilliantly mixed. All sorts going on & each time I listen to it it's as if each recording updates itself when you're not listening to it.Displays great pace ,depth & imagination. Favourite track is 'Stand Alone'. For best results listen to with a decent pair of headphones / whilst using a rowing machine.

It's for sure the best release from the project so far - I'm a bit surprised that really no one has talked about it yet. Top tier stuff
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« Reply #7726 on: November 16, 2019, 01:46:24 AM »

LINEKRAFT - 'SUBHUMAN PRINCIPLE'

The best i've heard from him yet, but I haven't heard all his output. Brilliantly mixed. All sorts going on & each time I listen to it it's as if each recording updates itself when you're not listening to it.Displays great pace ,depth & imagination. Favourite track is 'Stand Alone'. For best results listen to with a decent pair of headphones / whilst using a rowing machine.

It's for sure the best release from the project so far - I'm a bit surprised that really no one has talked about it yet. Top tier stuff

I mentioned that I liked it much more than the Hospital Prod. LP (need to give that one another chance).

I've listened to Tape Dekay a couple more times & the Hymenal Opening cd on F&V. Lots of good feedback going on there but the release seemed to lose its momentum after the track that ends with musical loop but that may just have been me zoning out. I'll be listening to it again very soon.

I gave Hymenal Opening "Red Hymen" another listen & it definitely does not lose anything at any point.
« Last Edit: November 17, 2019, 01:27:16 AM by bitewerksMTB » Logged

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« Reply #7727 on: November 16, 2019, 09:27:27 AM »

I really like that new Kazumoto Endo CD. Very clean and precise noise from a master totally in control of his gear. Made me somehow feel like I'm inside a malfunctioning power plant. Don't know the methods used but it feels like it's recorded live, unlike some earlier material that seems to be heavy edited. Could maybe use some variety in sound texture but otherwise just a great record building up nicely from start to finish.
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« Reply #7728 on: November 17, 2019, 07:34:11 PM »

Agreed - it took me a few listens to fully process it but it's a pretty masterful blend of pure tone worship, and pure shredding noise with those brief musical moments keeping the momentum going. for such a limited pallette of sounds it never really outstays it's welcome.
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« Reply #7729 on: November 20, 2019, 05:56:02 AM »

See bottom of this post for digest commentary.

T.E.F. / A Fail Association ‎– T.E.F. / A Fail Association 7"
Yee-FRICKIN-haw this shit riiips. Harrd. Both brutes blasting out the gate with their A-game, seven inches of sphinct-scorching fire. Of the TEF, and the brute fury savagely driving this Total Earhole Fuckfrenzy, anything less would be...civilized. Of the Fail Association, till late a much missed guarantor of the sphinct scorch, the unbridled ferocity of the straight HARSH is...well, it’s almost scary. And frankly the only fitting response to a good, harrd, teffing.

So then, TEF to the deck. Time to check the boxes. Unrelenting. Neck-jerking. Spine-snapping.  Hyper-spasticating. White gloved, meticulously focused, laser-like precision and attention to detail. All the signature TEFisms that make TEF TEF. This feels different, however. There’s a roughage. A rawness. A sense of space that TEF tends otherwise to reserve for the briefest blinks betwixt the raging scorcheries. Question: should we consult the oracle or just the format? I’m weighing this against the ones and zeroes burnt into the two most notable precursors, the prodigious Framework and the little-less-killer Consequences In Conversation, and thinking the diffusion of the spikiest of spikes over a more bludgeoning range of ruggedness is a sufficiently welcome divergence as to reward speculation as to where it may be coming from. Regardless, leading off with TEF turns out to have been a good move (more on that later).

TEF. Wheedling raspberry oscilla-bleed and then the rapidly LR’d scrap-metal wig-out. Classic intro: hard Harder HARDEST, achieving peak brutality in eight seconds flat. Percussive blasts, drawn out for the briefest instants, exploding confetti-like across the pan, razored metal piercings attacking the ‘holes from every whichever. Repeated ruptures of schizo-frenetic contrast, setting off marginally slowed introspective moments against all-out dis-telligible wacky-smacky mc’cracky. Here char-burnt loop-snicker, there rubbery oscillating floppily-doppily, each serving as set up to full metal smack-down. At one moment a nice break as heavy-handed hammer comes slamming down in steady, meaty, succession. Then off in epileptic mess of shriek-bleat convulsion, violent lacerations crudely ripping through madly slapped-together attempt at making odd-sized bits cohere, frazzled harshheads ill-equipped to nought but twitch in dazed and abused approval.

A Fail Association unloads with such all-consuming force and damage that the principle recourse is to simply bask in the sheer earhole-annihilating ferocity. Holy hell this is loud. Not sure if it’s the mastering or the choice set of severely tweaked frequencies. Or just my now quite disabused expectation of something just that wee bit more subtle. Good thing this came after the TEF. A solid hit of this shit- at the appropriate levels, ‘natch- and the ‘holes are pretty much shot to hell, burnt beyond any ability to appreciate the finer spun intricacies of the chap on the other side of the platter.

As for the chap on Side Fail, well, there are a good and abundant number of breaks. Echoing shrieks, bleats, petite strands of stringy feedback scree. For the most part, though, the main idear seems to be: rip the earhole a new one. In the lost decibels of whitehot decay, abrupt kick into high-gear, whittling scathe-sheets ascending to upper-ended feedback screech, then the fuller bodied encroachments, screaming scorch-clusters blotting out the sky. At intervals a reach for blissed-out psyche permutation, mal-fortunately broken, hacked, gasping in singed blister-ments of uneven forward blasting. Then in the final moments a marked break for purely-washed whiteout, swarming screech storms enveloping the scene, surging into the stratosphere, disappearing with only the mousiest of squeaks to mark their passing.

Digest spew
Total win. Total Earhole Fuckfrenzy vs total earhole annihilation. TEF serves up the expected schizo-frenetic hyper-spasms, meting meticulously razored attentions to dis-telligible wacky-smacky mc’cracky- if perhaps unusually steeped in raggedly roughed up disposition. A Fail Association goes all-out in ripping the earhole a proverbial new one, whitewashed scathe-clusters broken into distinct fits of forward driven screech, the sheer force and damage induced in-hole sufficient as to rule out the possibility of repeated back-to-back playback. Or at least, the possibly of repeated back-to-back playback that is in any way distinguishable to the supremely fucked holes. Fuck off then. Go for a coffee. Take a stroll around the block. Get some air. Allow the earholes a bit of time to recoup. Then come back later, primed for the good, harrd, earhole incineration you deserve.
« Last Edit: November 20, 2019, 02:28:47 PM by Bloated Slutbag » Logged

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« Reply #7730 on: November 21, 2019, 06:00:03 PM »

Armed to the Teeth - Mania

Another album that I have been meaning to listen to for quite a while.  It is excellent and harsh throughout, though, at least on my fist listen, seemed to lack some of the scrap metal banging and scraping that I have enjoyed so much on other Mania releases.  Additionally, I like the sound sample from the firing range that was interspersed throughout, as I thought it gave the album a strong sense of cohesiveness.
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« Reply #7731 on: November 21, 2019, 10:28:47 PM »

I just received the T.E.F./A.F.A. 7" but haven't thrown it on yet. You should see the test press packaging: OVER THE FUCKING TOP INCREDIBLE!

Just finished listening to a brand spankin' new comp. from Phage Tapes:

METALCHEMY cd featuring Bocksholm*, Grunt*, Lethe*, Putrefier, Das Synthetische Mischgewebe, Sudden Infant, The New Blockaders, Richard Ramirez + Baculum*, Halachemists*, Knurl, & K2. * denotes my fave tracks in no particular order. There's not a stinker on the whole thing. Everyone uses metal as their main sound source but some, like Knurl, you can't tell at all. It's just heavy electronic distortion; I wish his sound sources would be allowed to come through more. Still, it's good heavy electronic distortion. Recommended!
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« Reply #7732 on: November 22, 2019, 09:27:19 PM »


BIZARRE SS cd

Have listened to this a lot since I got it a few weeks ago. A great deal of elements mixed into one long track. The usual sonic elements abound, but are all given plenty of room to develop and to breathe.Not blown out or too overbearing. Gradually the dynamics of the whole effort increase in power & depth. All sorts going on & the listener is kept invested the whole way. Highly recommended.
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« Reply #7733 on: November 23, 2019, 04:16:12 AM »

I really like that new Kazumoto Endo CD. Very clean and precise noise from a master totally in control of his gear. Made me somehow feel like I'm inside a malfunctioning power plant. Don't know the methods used but it feels like it's recorded live, unlike some earlier material that seems to be heavy edited. Could maybe use some variety in sound texture but otherwise just a great record building up nicely from start to finish.
Agreed - it took me a few listens to fully process it but it's a pretty masterful blend of pure tone worship, and pure shredding noise with those brief musical moments keeping the momentum going. for such a limited pallette of sounds it never really outstays it's welcome.

Been listening to this, every day, for a good little while now. In fits and starts, shits n giggles, bits and pieces. Each piece as though it were to reveal another piece of the puzzle. But the only puzzle to reveal is my own puzzlement as to what the continued attraction. I mean, in the specific. Probably something along the lines of the sheer viciousness of the fucker. In its vicious fuckerly fits, and starts. I feel like I can tune in for a single track, smoke the 'holes in the nicest way, then go on my way. Is nice. Like I keep coming back to try to parse the attraction, only to come away with some vague sense that dude has temporarily tapped into a certain vibe. A fuck ye-ess sorta vibe. That tension. That focus. That incessant brutal hammering. Some folks, like, just know how to push my buttons. My quattro pulsanti buttons.

Yes, I need help.
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« Reply #7734 on: November 23, 2019, 03:14:50 PM »

Haha.. I like these obsessive posts about K. Endo!
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« Reply #7735 on: November 25, 2019, 11:42:37 AM »

Clew Of Theseus ‎– Vaults Vol. 1 tape
Cathartic Process
Reissues and unreleased material from 2002-2003. Included on "Vaults, Vol. 1" are the split with Sewer Election, the 3" on Chondritic Sound, the "Meth Cook Sets Apartment Ablaze" 3", plus two unreleased tracks from failed compilations.
Somehow I was prepared to listen drone works, although I of course am aware and do have his noise works too. There are some good tracks of that category, but mostly this is a noise tape. And a good one! Often there is clear focus on very distinctive noise sound that has a lead role in track. Not just fuzzy walls, not cut up, not just pedal distortion, but always good noise sound as focal point of each track. 10+ years old special packaged tape - couple copies at discogs for mere 5-6usd! I would say worth grabbing!

Kapotte Muziek ‎– Vier Stukken tape
Realization Recordings ‎– RZC-009
It is one of those bands with massive discography and never seen point of collecting all. Or even most. Especially old stuff, I tend to like what I hear. Since he moved to less abrasive, less "industrial" and less "noise" works, I have not been collecting much of electro-acoustic material of his. I have some, but they never did the same impact as early works with very limited technology and tape-underground atmosphere. This tape is early 90's, but remains closer to old style. Loops or somehow repeating and smooth droning sound, but everything has echoing yet cold industrialish' feel to them. It's often darker than "dark ambient". Instead of keyboard stuff or academic stuff, this era of recordings one could often file next to more atmospheric works of Grey Wolves or Nails ov Christ and such! Entire tape is great stuff. You can find one track from korm digitaal bandcamp. I may be wrong, but it is possible entire tape was reissued on  Kapotte Muziek ‎– Twenty Five tape boxes set? As Vier Stukken doesn't have any tracklisting on tape and the Twenty Fire tape box doesn't indicate how long tapes of the box are. But if it is C-90, it's possible complete Vier Stukken tape is on one side of one of the tapes.
Check here:
https://kormdigitaal.bandcamp.com/track/vier-vier

Been listening a lot to Mattias Gustafsson latest LP. It is good. And I keep returning to it. It might be among the very top of most listened albums of 2019, but can't really say why? Is it because I'd hope it to be much better than it actually is? Probably! Since I like most of Gustafssons work so much, and this new album is so bleak and subtle. Piano. Synth drones. Quiet, atmospheric... it's good, and I keep returning, but also wishing it was more.
So putting some old Mattias Gustafsson stuff on tape deck:

Altar Of Flies / M. Frisk / Gjalp - Krig Pest Svält Död ‎tape
Nil By Mouth Recordings
This belongs to the early years flood of material. There was 7 releases in 2006. Followed by 11 releases - including this - in 2007. 8 came in 2008 and gradually pace went down fast. I have long hoped there would be re-issues of some of the old works. It is perhaps very much justified that artists himself feels that what was being done 10 years ago, was merely searching own style and identity as sound maker. However, as outsider, these works that present perhaps less stylish, less knowledge and aesthetic confidence, have some strange free flowing joyful element to it. There is room for mistakes and it's not all pure gold, but even C-30 oddly packaged collaboration tape, it is good stuff to listen to. Probably prefer his solo instead collaborations, but I have yet to hear bad material from him.
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« Reply #7736 on: November 27, 2019, 06:52:16 PM »

See bottom of this post for digest commentary.

Am Not – Incursions
Am Not – Extraterritoriality

Do you know your place in this world?
A question among questions, coming one after another, four-fold, in four languages, sometimes sober sometimes red-faced, driving urgently across darkly structured synthetic juristictions, metal thwacking metal, ponderously pounding percussives lending their no less weighted urgency. Questions upon questions to half-tempt a reflection back at questioner in question. Are you faithful to the covenants that bore these limitations? Given the rather contrarian position of the subject, I’m rather afraid to guess the answer.

Taken together, Extraterritoriality (blue tape, 2019) and Incursions (red tape, 2018) could combine to clock in at a solid hour and change, the coolly collected brevity of the stripped-back supplemental yin to temper the red-hot invasive thrust of its fully fleshed yang. And who better equipped to negotiate that first decisive thrust than GW “Biggus” Bush? Gaze into the red, into Hostile Space and into the Pootie Poot. Gaze long enough and feel the fiery return, warm buzz-layers undulating against labored, ceremonial, crunch-hammer, tightly orchestrated worms burrowing through layers of thick, blackened, curdle, higher-ended whine steadily upping tensions, dour declarations pouring forth from distorted voice. The net effect is like some continuously surging, multi-layered, air raid siren, or sustained, fevered, call to arms, any question of convincing in convictions clearly and presently answered.

If the remainder of the Incursions get anywhere near that first Hostile Space, I’d declare out and out victory. As it stands, as is Am Not... or to say, as Am Not is, er...the Incursions range further and wider than one might otherwise suppose to anticipate. With no less than four vocalists enlisted in repping a range of territorial tongue, the honor in the breach is little less than epic.

Onward faithful vocalists, to Feindes Land! This is Berlin, a complex concatenation of  docu-clips, goose-stomp, patriotic song. Here Hermann Kopp delivers clear, straight-laced, Germanic declamations over hefty martial thunder whose steady repercussions are drawn out to distort an otherwise airy atmosphere, made airier still by looped and twinkling electronic bleep-cadence. The dominant voice seems to be driving the beat forward even as the increasingly sooty skies seem to be crumbling all around it. Plainly there were still some stragglers because all too soon the rabid vocal railings of What Are You Waiting For? rip onto the scene. Man I do NOT want to be the sorry sod caught bringing up the rear cause you just know a righteous horse-whipping is coming. This is the pièce de résistance, m'boyo, and resistance <THWACK!> is futile. Steel hammers steel with renewed, almost desperate, vigor. The horizon blackens. Burgeoning psyche-swarms mass in clusters of heavy duty oscilla-singe, consuming all skies, suffocating all oxygens, evidence enough that- at least on matters of policy- the scorched earthers have won the day. Fortunately, cooler heads prevail on Cruth Do Bhaile. Heavy handed whop-CRUNCH crashes down with methodical precision as the clearly enunciated Gaelic of Claire Keating gives voice to hollowed-out, grey-walled dirge-whine.  Less the militant aggression more the mechanized processing stage, the punishing chomp and grind of gears threatening to submerge a voice already at some remove, as though entering its not-quite-pleased-sounding insinuations from behind closed door.

White Fight / White Flight treats grim sample to blackened synth throb, darkly subdued thud-thud barely hinting at a bit of the old ultraviolence congealing beneath unsightly surface. So it comes as little surprise when the frenzied vocal Irruption of Stab Electronics lacerates the false calm, creeping wheedle-fuzz delerium ascending to a periodic percuss of glinting steely thunk. Some superlative tension finessed into the woven fabric, the threat of real violence palpable, coming in overlapping swells, vocal increasingly on edge, purple-faced, veins bulging, vessels popping, pushing inexorably to the brink, never quite boiling over. Steely thunk is reprized in Continental Drift III, to resolve in a more robust collage of shifting, grating, steel-plate tectonics. This time it is the very matter-of-fact delivery of Irina Chkhaidze, distorting slightly and drifting fluidly into Russian territories. The underlying dirge-drone seems equally unhurried in its cold tonal drift, deep sea quaver willing constrictive pressures on slowly-buckling tubular hull. I’m trying to remember where I heard this before and I think the answer will have to be no-fucking-where. Unique, full stop. Primed now for the irregular, a series of weird robotic bleeps and bloops announces Auf Wiedersehen, Pet. Calm tribal pitter-patter drags attentions into a buzzing, whirring cauldron of arid exhaust fumes, to find in the choice sampled selections, processed and unprocessed, the dark heart, exposed, bloody, beating. What a start.

Extraterritoriality starts with an Exit and ends with an Entry, as though, per the earlier Incursive protestations, to transcend the demarcations that shape their jurisdiction, to set ablaze the paper chains that bind and encircle, to let yer colours flow beyond their lines. A word of caution, however. No sooner through the backdoor than a thoroughly Cleansing Violence sears the air, screaming for promised rivers of blood. Still, this here is more exception than rule (an albeit risky assertion given the project's evident contrarian inclination). But just to keep score: of the six proffered tracks only two of them really rise to the incandescent vocal-driven passions that fire the deepest crimson Incursions. The other four bring an odds n sods agglomeration of stripped down sensibility, post Pistols irony, and coldly clinical ambient shiver.

And now, back to our regularly scheduled Cleansing Violence. Clunk! Down comes hammer, up come the flames, smoldering singe-tones buzzing in a heated spiral that does not, at the surface, strike as particularly violent. Rather smooth simmers of barely restrained fury, the doctrinaire entreaty increasingly at wits end, the backing pulse coming with heightened regularity, the hammer slamming down with animated force, the grip growing tight, choking, shaking, with anguish, indignation, rage, rivers, tears, running red, black, crimson, give us now our rivers of blood! Must it always be this way, asks the sober voice of reason, cum stalker, cum blackmail, as the electro-inflected oddity of Better Together gentrifies pig-squeals of strangulated feedback to a controlled clatter of metal clank. Here it is the cycling insistence of minimal arpeggiated bass keys that propel the piece onward, the voice resting its case, the defeated spirit falling meekly in line. At last a bit of grim-faced humor, post rock anthem serving sampled inertial discursive over deformed mutant Kirsty MacColl and that nagging feeling, just, that certain taste-making predilections have been momentarily cheated. Just ask Johnny Rotten.

Side Entry kicks things off with a Homecoming whose instantly recognizable martial hammering causes bee-line for Developing World. This could be a sketch which birthed Come Home, absent vocal and snare, buoyed with phallic aplomb, sat astride mighty steed, or B-52, coming home in glorious hellfire to wipe clean the slate with ol’ pops, like, for good. Then the Red Emperor, White Emperor presides upon the field. In the opening moments, in the cruel sample of tortuous slave-driving, in the uneasy buzz-sawing invective, reminiscences of latter period Whitehouse. Fortunately the emperor is soon to manifest significantly more depth and presence. First with a one-two punch of the beat-machine. Then the thin sampled splay of exacting metal abuse, slapping with a dry, vicious, savagery, tortured voices wailing, perpetually, on the edge of panic. Underlying sizzle-sheets start to double then treble, flattened nasal whir fighting deep bassy thunder.  Finally the heavily processed vocal aspersions. At a truly great moment, the buzz-sawing invective pulls back, the cruel sample lurches into perspective, and great buzzing swarms carry tortuous flanged vocals through a by-now quite dense and shifting mass of damn near rapturous, rigorously wrought, cacophony. When none but the sample is left, brutal. The final moments are a deadened, ice-cold psychedelic sheen, fluid quivering synth-waves that actually had me bee-lining again for Developing World. Not that that should matter. This is all sample-driven ambient messaging, and in spite of its pointed, mesmerizing, pitch, no, it is not pleasant. Given the choice, which is by no means a given, I Will Not Be Reborn In The People’s Republic Of China.

Digest spew
Question: can the the coolly collected brevity of the stripped-back supplemental Extraterritorial yin temper the red-hot invasive thrust of its fully fleshed Incursive yang? There are other questions, though, plenty of em, and regardless of the current state of my willingness to be reborn in the People’s Republic Of China, I’m afraid the answers are best left to the oracle. I mean, this isn’t a fucking game. Or is it? Red-hot waves of incandescent fury, tightly controlled, mesmerizing, coming in waves, now calm, collected, now raging, white-hot, never to the point of scorching but certainly hinting that such a scorching is not only possible, it is likely. I would like to declare masterpiece, but there are just too many goddamn pieces, most of which I’m still turning over. In my earhole. In my head. The Red White Emperor knows all sees all but the bishop moves diagonal. Plus I could never figure out that damn horse. Your move, your grace. Your place in the world is formless and only will can give it shape. Check.
« Last Edit: November 28, 2019, 11:51:31 AM by Bloated Slutbag » Logged

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« Reply #7737 on: November 28, 2019, 11:47:02 PM »

VALKOISET - Primär, Tape
I was always a fan of the experimental/melodic side projects put out by and around the 90's black metal scene. Obviously not all of them, since many were shite, but a whole lot. Wongraven, Mortiis and Neptune Towers from Norway, as well as Cernunnos Woods, Darkness Enshroud, Akrabu, Proscriptor, Equimanthorn from the US - it was all a part of the black'n roll lifestyle of the 90's, and I've never really stopped going back to it. Enter the "Dungeon Synth" fad of the past few years... In principle, I support it, and I've actually bought and listened to a bunch of releases, but in all honesty most of it does nothing for me. Nevertheless, the scene has its moments, and this tape of "Dungeon Synth Against Communism" must really be counted among them. Valkoiset is Finnish for "white" in plural, and refers to the anti-Communist forces in the Russian civil war and the Finnish vapaudensota (losing in the former case, victorious in the latter). The cover is grey, the tape is some odd dark military colour, and the artwork is minimalist. Overall, devilishly handsome. The sound could be described as eclectic, to say the least. The basic components are: 1) miserable synth lines, of the sort that would be found on the "atmospheric" side projects of lesser-known black metal bands of the 90's, 2) heavy bass and crunchy industrial sounds that bring Cold Meat or Steinklang stuff to mind, except it's all somewhat more analog and tape-ish 3) cold, spoken word samples in a variety of languages, summoning a mood of black-and-white, war fetishistic cut-up VHS collage 4) ambient pad drones to (sometimes) tie it all together. If this is ever available outside of the absurd and typical DS limitation, I recommend it with all my heart.

YANA - Fat Carpet, Tape
I don't know why, but I'm rarely attracted to noise live recordings. Often there is something missing, or something wrong, or it's all just a tad too weak - in short there are problems which even extremely primitive and minimal direct-to-tape studio or home recordings often somehow circumvent. Perhaps it is simply youthful memories of shitty concerts (and less-than-optimal live recordings made by oneself) that come back to spook me? Regardless, the two Yana gigs immortalized on this Freak Animal tape do not suffer from any of these problems. In fact, this sounds like classic (well, this is a really young project, but whatever, boomer) Yana. Crumbling rumbling, crisp and broken up treble that shreds without pissing the listener off, rusty flanger sounds, indescribable energies trying to escape (vocals?), attention-demanding bass feedback pumping... Fat carpet is fat shit. The live setting has even inserted a certain space and esprit less obvious on their earlier offerings, and I'm left to wonder if this is a simplistic live recording which has randomly gone spectacularly right, or if there has been some serious fucking mic placement, mixing and mastering going on here. These two sessions are massive. Having resigned myself to only posting positive reviews, since I usually turn off music I dislike these days, I can only say that this is something people need to hear.
« Last Edit: November 29, 2019, 12:35:52 AM by Yrjö-Koskinen » Logged

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« Reply #7738 on: November 29, 2019, 01:35:40 AM »

Kryptogen Rundfunk - Tales from the mirrored spaces
CD / zoharum

again masterful dark ambient trips, album in 9 episodes. hard to place this sound in time, could be old but is relatively new. not too harsh, more of "collecting very good sounds" (humming hissing spiralling, no shitty synth pads) and mixed tastefully. repeated listening.
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« Reply #7739 on: December 04, 2019, 10:41:43 PM »

Costin Miereanu - Luna Cinese 1975 - I don't know what you'd call this, but it is a masterpiece.  Among other things, I think I've heard this referred to as library music, but I've never understood that term.  Yet another Cramps reissue I'm sorry I didn't pick up when it was right there.  The pressing quality was crappy for a while, so that might be why I didn't mess with it.  From a dark sci-fi soundtrack vibe to field recordings to vintage electronics.  One of those albums that doesn't much allow for distractions or multi-tasking.  It'll grab and hold your interest.  Really interesting and sharply done.  The cover art is right there, too.  I checked out some of his other work on youtube, because I don't think anything else but this has been reissued.  There's a box set to be had (or bandcamp page).  I see he has his own youtube channel.  Maybe he can be enticed to build a bandcamp archive.  Hope so.

Two wonderful, mindwarping slabs of avant-garde electronics and dark ambience from the Italian Cramps label (see also Tempo Furioso by Martin Davorin Jagodic).  Costin Miereanu was born in Bucharest in 1943, and has lived in France since the 70s, where as well as composing he's had a distinguished professorial career with students including Ana-Maria Avram.

Luna Cinese was his first album release, with the original LP sides titled 'Lato x opp. y' and 'Lato y opp. x' and the tracks themselves named Parte Prima (Seconda) and Parte Seconda (Prima).  The first track is a stunningly disorienting stew of electronic whines and bleeps overlaid with fragments of speech in different languages - and yep, Miereanu's on the Nurse With Wound List.  The deadpan delivery of what sounds like scientific experiments also brings to mind for me the very early films of David Cronenberg, and that font used by Cramps on their records also helps, very Stereo.

The second track is purely instrumental, with bits of flute and vibraphone floating around in the queasy-ambient smog as well as more electronics and some field recordings.  This one has a slight edge for me over the first track due to the sustained eerie atmosphere, but the whole album is essential if you like this sort of thing.
-slow goes the goose
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"the overindulgent machines were their children"
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