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Author Topic: PLAYLIST with COMMENTS/REVIEWS  (Read 3044905 times)
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Bloated Slutbag
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« Reply #8115 on: October 15, 2020, 03:49:13 PM »

very slight alterations to original fb post from a few weeks back

Kal – ornament&crime.ornamentasirnusikaltimas
Anyone remember the Lithuanian project naj? One of those PURE RRRecords revelations a la Rend or Zone Nord, coming out of nowhere and completely flooring my ass. Notice how only my ass is mentioned as it rare indeed that I encounter mention of the project. naj, I mean. naj was the principle, gathering together the combined geniuses of Darius Ciuta, Rolandas Cikanavičius and Algis Mielius. The former, Ciuta, I would take for the leader, one who is currently actively* engaged in tapping rich lines in the field recordist / microsound vein. There would definitely be shared airs between naj and the recent Ciuta as far as the very rough organic sounding materials in play. Shambolic at moments, and other moments pure genius, broken, broken down, shattered, clustered, austere, ranging far and wide, getting plenty dense with the layers of gnarled acoustic debris, always interesting, never repeating. This goes for the PURE disc, Resituation Smile, and the entire naj discog in general (what little of it the earholes have imbibed).

PURE issued another excellent naj-related disc in the name of Akala, aka Rolandas Cikanavičius. This one shares the rough organic tendencies of naj, but draws them out into often lush droning pastures to net a kind of industrial strength clunk and grumble through arid gloom chambers. The hulking corpse of heavy industries slowly rotting in distant vistas of corpulent rust.

Which leaves the never-to-be-PURE-realized Kal, courtesy Algis Mielius (with contributions from the other two naj-ers. um, sounds rude somehow). Organic grits deep sunk into sedate fields of viscous ambient drone, breathy shimmers carrying attentions into infinities of sweetest neverland. Sweetest neverland, at least, in comparison to naj. Direct comparison to naj might be found in the sharp metallic drone of the excellent Fixthemeteronthezeroposition, but with the metals dissolved in acrid pools of acid, osmotic vapor trails running along a lengthy piece of wire, dragging drear machine hum into implacable vistas of liquid gray. But wait, leave out the liquescent shades, let’s come back to that wire, cuz it is apparently the principal sound-making implement involved. Draaaaag attention slowly along that narrowest protraction of malleable alloy. Dig into gritty organic kernels studded at uneven intervals along the full and not insignificant stretch. Discover in the many and not-to-be-remarked-upon cracks the barest smidget of noise proper, middling rickety sandpapery scratchings deliciously arching along the periphery, breaking down under oppressive bass-heavy pressures, snuffed into indistinct wafts of argentine gloom. At one point a slow-thudded rhythmic intrusion reminds the listener that the apparently free-floating drift is kept under latch and key. Immersive.


* when I say Ciuta is actively engaged, I mean like, Merzbow level. Check out his shit on archive dot org:

https://archive.org/search.php?query=creator%3A%22darius%20ciuta%22

We're talking somewhere in the neighborhood of three (five?) hundred recordings, all I think made in a relatively short space of time. Plus there are all the other official Ciuta releases to be found on various legit labels.
« Last Edit: October 16, 2020, 05:33:17 AM by Bloated Slutbag » Logged

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« Reply #8116 on: October 16, 2020, 03:34:51 PM »

This afternoon I'm listening to all Pogrom and Budrūs records I have, you Liberal Cunts.
I've just one question: Where's Levas?


I second this question! It's been years since he was regularly posting and about 3 years since there was consistent label activity.
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burdizzo
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« Reply #8117 on: October 16, 2020, 03:53:27 PM »

He also had a 'zine, and he was supposed to be working on another issue? "Terror", wasn't that it?
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Balor/SS1535
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« Reply #8118 on: October 16, 2020, 05:51:26 PM »

He also had a 'zine, and he was supposed to be working on another issue? "Terror", wasn't that it?

I think Terror was his - very good material (and he was kind enough to make the interviews available online as well).  If he is working on another issue, that would be great news.
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burdizzo
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« Reply #8119 on: October 16, 2020, 09:33:51 PM »

He also had a 'zine, and he was supposed to be working on another issue? "Terror", wasn't that it?

I think Terror was his - very good material (and he was kind enough to make the interviews available online as well).  If he is working on another issue, that would be great news.

He certainly WAS - a few years ago. He had reviews and at least a couple of interviews completed (one with TxPxR, if I remember right), but it seems he's 'gone to ground', and the third issue of "Terror" will most likely end up not happening at this stage.
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Balor/SS1535
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« Reply #8120 on: October 16, 2020, 10:03:05 PM »

He also had a 'zine, and he was supposed to be working on another issue? "Terror", wasn't that it?

I think Terror was his - very good material (and he was kind enough to make the interviews available online as well).  If he is working on another issue, that would be great news.

He certainly WAS - a few years ago. He had reviews and at least a couple of interviews completed (one with TxPxR, if I remember right), but it seems he's 'gone to ground', and the third issue of "Terror" will most likely end up not happening at this stage.

That's a shame, as his zine had a nice blend of big names and totally unknown projects.  Hopefully he will reboot it someday.  I don't remember seeing a second issue, though.  Who was interviewed in it?
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burdizzo
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« Reply #8121 on: October 16, 2020, 10:39:55 PM »

Issue #2 was dated 2012 (Jesus - was it THAT long ago?!!), and featured IRM, Sick Seed, Jake Vida, Slogun, Dieter Muh, Barrikad, Mikko Aspa, and Impulsy Stetoskopu. In fact, isn't that last name another that's faded away without completing an on-going project (namely 'The Encyclopaedia Of Industrial Music')??
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« Reply #8122 on: October 17, 2020, 12:22:47 AM »

Issue #2 was dated 2012 (Jesus - was it THAT long ago?!!), and featured IRM, Sick Seed, Jake Vida, Slogun, Dieter Muh, Barrikad, Mikko Aspa, and Impulsy Stetoskopu. In fact, isn't that last name another that's faded away without completing an on-going project (namely 'The Encyclopaedia Of Industrial Music')??

Thanks, some of those would be really interesting to read.  I will have to hunt down a copy.
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Baglady
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« Reply #8123 on: October 17, 2020, 10:20:46 PM »

MATTIAS GUSTAFSSON - Frusen Musik CD (Careful Catalog, 2019)
Listening to some of Mattias’ records remind of my teenage years when I regularly suffered from heavy migraine. No matter how I isolated myself (locked myself up in the most quiet and remote part of the house, turned out the lights and covered my ears and eyes), it didn’t help. Gradually I started to hear more and more sounds, as if my brain little by little amplified every real and imagined sound that went on in our home. Unintelligable noise from radios and tvs, dripping sounds from pipes and taps, buzzing electricity, wood creaking etc. Each and every sound slowly getting louder and louder, moving closer and closer. Like being stuck and strapped in an audial gallery of intrusive sounds. Several Altar Of Flies recordings have the same affect on me, but thankfully without the migraine. Frusen Musik falls into this category as well, and it’s one of his very best albums to date, I think. It has this slow and slightly intoxicated trot to it, which many of his more erie records have, but rarely as perfectly paced as this one. Beautiful packaging too.
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« Reply #8124 on: October 18, 2020, 02:42:12 PM »

PGR / Merzbow / Asmus Tietchens - Grav (CD, 1991, Silent)
Easy to pick up cheap. I'm guessing that it was planned as an LP back in the 80's? It's two ~20 mins tracks from 1987-88. Akita recorded his part of metal works in 1987. It's the highlight of this disc for me. Sounds like metal works done in a huge room/space at times. Typical metal works of that time by Akita. Someone said that Akita often crushed his colleagues when he collaborated. This is not the case here. The final mix supposedly done by Tietchens is well done. If you're crazy about any of the players it's worth picking up, otherwise not so much.

Unfortunately the disc does not end there. At the end is a 20 min piece split into four done three years later by Cascone. Using source material from the other two players. You don't hear much of Merzbow on this. Only some electronic stuff that i find very boring. The first part could have been added as an epilogue but after that it goes downhill. This cut sounds completely different from the original material from '88. After multiple spins i'll stop this disc short after two tracks if i ever decide to play it again.

I havent heard anything else be Tietchens and PGR really. What does it sound like? Recommendations? I saw Tietchens live around 2004 i think, and i didn't like it. So i never bothered to check him out. But i guess his early stuff might be alot different? That last track from 1991  does not make me very curious about PGR. But the LP on RRR maybe is different? I haven't heard Thessalonians either...
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« Reply #8125 on: October 18, 2020, 04:25:20 PM »

MATTIAS GUSTAFSSON - Frusen Musik CD (Careful Catalog, 2019)
Listening to some of Mattias’ records remind of my teenage years when I regularly suffered from heavy migraine. No matter how I isolated myself (locked myself up in the most quiet and remote part of the house, turned out the lights and covered my ears and eyes), it didn’t help. Gradually I started to hear more and more sounds, as if my brain little by little amplified every real and imagined sound that went on in our home. Unintelligable noise from radios and tvs, dripping sounds from pipes and taps, buzzing electricity, wood creaking etc. Each and every sound slowly getting louder and louder, moving closer and closer. Like being stuck and strapped in an audial gallery of intrusive sounds. Several Altar Of Flies recordings have the same affect on me, but thankfully without the migraine. Frusen Musik falls into this category as well, and it’s one of his very best albums to date, I think. It has this slow and slightly intoxicated trot to it, which many of his more erie records have, but rarely as perfectly paced as this one. Beautiful packaging too.

Have been listening to this one a lot lately. Don't think I've heard anything he's done that I haven't enjoyed immensely but this is for sure a standout.
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« Reply #8126 on: October 18, 2020, 05:18:02 PM »

I havent heard anything else be Tietchens and PGR really. What does it sound like? Recommendations? I saw Tietchens live around 2004 i think, and i didn't like it. So i never bothered to check him out. But i guess his early stuff might be alot different? That last track from 1991  does not make me very curious about PGR. But the LP on RRR maybe is different? I haven't heard Thessalonians either...
There's a Tietchens thread, and I thought maybe freakanimal started a PGR thread.  Some good collaborations.
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« Reply #8127 on: October 19, 2020, 10:41:00 PM »

Putrefier - Pray For Fire (7", Birthbiter, 1992)

 Finally digging into this nasty little slab after waiting months for it to arrive (from Montreal, at that). Disclaimer: It's REAL good.

 The title track is a Broken Flag-esque piece of Power Electronics, with that unmistakable Durgan whine riding high above the festivities. Metal is scraped, stereo fields are messed with, and Tony Di Franco sneaks in to do something. Is that his drum machine?
 Having only heard Body Hole (Meat Rack) via the sub-par YouTube rip, I'd always assumed that it was an unprocessed factory recording. I can definitely hear manipulation/human interaction happening on this listen, though.

 I really need to track down some more Putrefier works. Industrial Recollections did a reissue of the Cog Dominance tape a few years back. Let's hope that these recordings finally get some wider recognition.

S•Core - Morbid Moppets (C46, Afflict Records/Trinity Production, 1986)

 Your favourite noise dude's favourite noise dude.

 I often think of Yutaka Tanaka as THE quintessential experimental musician. Ever-evolving, never afraid to change his sound up (often from track-to-track), yet always unmistakably sounding like S•Core.
 This tape serves up five VERY different slabs of industrial nastiness, starting with "The Afterimage", a sidelong slowburn of scraped metal, singing bowls, and gut-rumbling sub bass.
 The B-side diverts into the beatshit side of things, especially with the near-EBM of "Reddish-Black". The exception is "Sutra", nearly twelve minutes of DEEP, frigid drones.

 Unfortunately, Tanaka has all but disappeared from the scene over the last two decades, though there have been talks of recent correspondence from a select few. Frequent enough Star Wars conventions, and you may come across the man in his natural habitat.

C.C.C.C. - Amplified Crystal II (C90, Endorphine Factory, 1993)

 C.C.C.C.'s Ummagumma?

 A-side is a nearly 45 minute remix of the original Amplified Crystal LP by Akifumi Nakajima. My favourite recording from the Control Center. Aube's touch really opens the mix up and allows for some of the more buried tones to shine.
 The B-side is a different monster entirely. Each member gets their own solo track, before ending in a gorgeous full-group flare up.
 Hiroshi's piece sounds like Astro, Kosakai's track is definitely not an Alvin Lucier cover, Mayuko's is all beautiful electronic screech n' wash, not too dissimilar from the much later Lunisolar CD, and secret weapon Nagakubo's "Phallus" is a throbber.
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« Reply #8128 on: October 20, 2020, 09:08:39 PM »

SHREDDED NERVE - Acts Of Betrayal CD (Chondritic Sound, 2020)
The only thing I had heard of Shredded Nerve prior to this was a 7” from 2014. I barely have any memory of how it sounds, just that I thought it was allright but nothing special or original. Just... tape noise. Six years on and he has definitely worked out something of his own. A fusion of all eras of industrial and some very jagged oil-soaked tactile mechanical noise. And the (at least initially) odd acoustic number (”Meridian”) bringing Organum, Metgumbnerbone and whathaveyou to mind. But I digress, this is mostly strange, loud and unsafe machinery. He’s partially tiptoeing into Worth territory here, while dragging a sack of his own props and tools behind him, refurnishing, fucking up the scenery. Molding and melting all this into something coherent and comprehensive (well...), Impressive! It’s alot to digest, but that is a good thing. Exactly the sort of noise I feel there is too little of right now. Great disc!
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« Reply #8129 on: October 24, 2020, 10:48:03 PM »

RYAN BLOOMER - In Response To A Threat C40 (Harsh Head Rituals, 2010)
Much like his other tapes from this period, part of In Response... is a slideshow of different textures, feedback, acoustic hammering, bloated crackling drool, huge cavernous echoes etc, all loaded with muscle-snapping tension. It’s as if he has picked apart some large multilayered composition and placed all the ingredients in a straight line, with the occasional hissing pause inbetween here and there, examining and highlighting them one by one. He’s great at this, bringing everything out of the sounds he uses or produces. Steroids straight into the 4-track. The flipside sees him more patiently (as in violent yet restrained) knead and stir the shit out of some colon-fluttering bass-heavy torrent, adding some seriously fontanelle-tickling feedback to the mix. He soon puts the lid on though and keeps it that way, hinting at the shitstorm whipped up inside. It boils, foams, smells worse and worse and then it’s all over. Masterclass cooking.

DEAD BODY LOVE - Emetic C40 (Labyrinth, 1997)
After enjoying the great new reissue of Low-Fi Power Carnage I felt like revisiting some other old DBLs. What strikes me straight away is how much more focused LFPC feels compared to most of his later works. Each of the four tracks deal with a particular sound or texture and sticks with it. He kept the crumbling he perfected on LFPC throughout his good period though, but became more restless in his performance. That restlessness spawned some great stuff, such as Emetic, which I’ve grown to love even more. Driven by gravelly heavy chewing loops, it rolls forward like a damn tank in a crossfire of feedback and searing mid-frequency spatter. Can’t help but think this change for the more hectic style of his came about by hearing and correspondibg with certain Pennsylvanian lunatics.
And on another note. Dead Body Love is such a big name, but how long was his good period? Three years, maybe four?
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