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Major Carew
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« Reply #8340 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 #8341 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 #8342 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 #8343 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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« Reply #8344 on: November 19, 2021, 09:33:51 AM »

American Band ”Low Fiction” LP
This starts surprisingly slow. First it is.. contact mic crackles and stuff like that. It gets gradually louder, and is harsh noise already on A-side. B-side starts full on blasting what reminds me of moment when seeing American Band perform at No Fun fest. It was one of the most intense and rough harsh noise gigs. Loud PA, multiple guys, doing massive noise wall. One guy with contact mic’ed raw animal ribs, hah… Unlikely to be much of sonic contribution, but it was great seeing huge guy screaming at the ribs. I have not heard most of new Jason Crumer stuff, so basically no idea what he is up to in recent stuff. One can always return the old and never be disappointed.
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« Reply #8345 on: November 19, 2021, 01:38:45 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.

Great to see this review here - I am a long time fan of Shackleton.  I have the 2LP release of this (and it is getting a repress) - the artwork from long time collaborative partner Zeke Clough is fantastic as always.

This album is such a trip - polyrhythmic drums, deep and dark trancelike passages... it feels like a culmination of his past 10 years work as a solo artist. True, he gained initial popularity in the dubstep era, but he was always an outsider there.  His Skull Disco label never became part of the dubstep explosion and the discography remains credible to this day.  He has taken ever darker and explorative paths ever since.

I highly recommend last years collaborative album with Waclaw Zimpel, https://samshackleton.bandcamp.com/album/primal-forms
3 long pieces that push his sound in really exciting ways. 
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« Reply #8346 on: November 20, 2021, 07:16:43 AM »

Smell & Quim - Quim De La Quim , tape reissue on Industrial Coast. - From the recent wave of S&Q reissues i caught this. Original is not old, a 2014 release on Zincken's Stront label. Personnel is Srdenovic and Gillham, joined by R.Rupenus and Wharton on two tracks. I say two cause as it is easily noticed by track titles / order / credits, Side B is the material of Side A in reverse, literally. Dont know what to think about this. Would i prefer it empty ? Or shorter duration tape ? Well, i had listened Side A some days ago. Good stuff ! Very good ! Today i listened Side B. Good noise remains good noise even if played in reverse. Maybe better ? I feel it noisier, for sure messy-er. Tape seems still available for anyone interested : https://industrialcoast.bigcartel.com/product/smell-quim-quim-de-la-quim . Worth your money.
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« Reply #8347 on: November 24, 2021, 11:32:34 PM »

Autoerotichrist - Bondage Morningstar - possibly my favorite reissue (collection) of the year - pure pleasure.

I see they took down their bandcamp page.  They were active again.  Hope all is well.
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« Reply #8348 on: November 27, 2021, 02:30:01 PM »

Contagious noise?

I have watched my Netzach ”collection”, that basically consists two LP’s, for long time. Thinking that this "Altitude Of Thurs" LP with early stuff, Ex.Order split material + unreleased, from 1993, was so brutal in its repetition that it is more in tradition of industrial music DIFFICULT experience than enjoyment. I had postponed returning to it for years and years. Live LP, has pre- Propergol, but equally disturbing Hollywood smash-hit movie sampling in it. But contagious noise? Listening to latest Noisextra episodes, it made me want to re-listen Netzach. I have feeling this may not be as good as tape they’re talking about, but kind of gutsy move to make SO repetitive, so primitive, almost unchanging loop torment… and then reissue it on LP! I can’t see anyone doing the noise, nor doing LP these days. Challenging and difficult sound, indeed. Not a instant hit.

Another Noisextra episode, John Wiese. I actually have quite a lot of Wiese stuff, and perhaps than to doing reviews & zines for nearly 30 years, many people, including Wiese, sent his first 7” to me. Trade, review, some sort of contat, can’t remember. But one day long long ago, very first Wiese 7” landed in my mailbox, and still after all these years, listening his works…
Contagious - of course! Being reminded, being inspired to pull out something from shleves. So thanks to noisextra for these couple things, even if not exact same.. Soft Punk LP was playing here, and some stuff is very good, other stuff is somewhat "computer electronics" vibe to it. Not bad, but instead of hard noise, its like colorful... ehm.. pink noise, haha..
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« Reply #8349 on: December 01, 2021, 03:44:48 PM »

Theologian / STROM.ec - Hubrezine

Weird how little is written of this collaboration album. Maybe it is not the flavour of the week type industrial, or heavy hitting power electronics, but certainly a good album with inreresting aspects to it. Delicate soundscape with familiar elements from STROM.ec and Cloama. I am not that familiar with Theologian so I could say what he is bringing to the table. Surprising elements such as the melancholic guitar passage at the end of "Ubik". Vocal bursts of Toni/Theologian (I assume), but they are handled with more 'grace' so to speak. Album starts with "Involuntary Dilation" which introduces very delicate and detailed sounds, crisp and piercing in the own subtle way. Title track Hubrezine has more of the guitar from Ubik, painting a dreamy soundscape which slowly transformates into a heavy looping with furious vocals, song totaling near 20 minute behemoth. "Exegesis" offers a breather after, crips synth work accompanied with Toni's trademark vocal fury, kind of an odd couple but works. "World War Terminvs" is an ambient piece, floating in the air, sort of reminding of Cloama&Blutleuchte material but more straightforward and 'prettier' sounds. Excellent addition the arsenal of this collaboration, making listener attentive with change of mood and colour of the release. Final track "Flow My Tears" sounds like a malfunctioning synthesizer, left playing alone in an abandonent spacestation or nuclear missiles raining upon earth, your choice. Haunting, operatic vocals create a super eerie atmosphere.

Overall highly overlooked album, large cardboard packaging gives justice to artwork which has high detail, and of course traditional Neuroscan hexagon motifs.
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« Reply #8350 on: December 01, 2021, 03:58:56 PM »

Lusters - Rock Music

After buying myself finally a pair of new speakers, this tape among others sound so much better. Two guys collaborating their skills. Nevethless a solid noise album with a bit of both creators elements. Kind of familiar sound from Edge of Decay but paired with more intensity and presence. Haven't seen much of writing of this either, definately worth picking up if you haven't.


Thor's Hammer - The Fate Worse than Death

A classic black metal album from Polish bad boy Capricornus. Not much to say, I was totally blown away how fucking good this is. Especially the title track has everything I could ask for from a black metal song. Synths, solid riffs and vocal work shredding. Production has this steel cold approach, if you can even call it production, more like the way it was caught on tape.


Grunt  - Early Years 93-94 / "040695-080895" cdr

Both releases give interesting look to Grunts early days, perspective how the sound has developed over the, now, over decades. From clueless how does this work, to Japanoise influenced harsh noise of 1995 cdr. I guess these were also released in a box set, but decided to get these. Got these among a big pile of noise/industrial/pe score, more about that later maybe.
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« Reply #8351 on: December 01, 2021, 04:21:37 PM »

Theologian / STROM.ec - Hubrezine

Weird how little is written of this collaboration album. Maybe it is not the flavour of the week type industrial, or heavy hitting power electronics, but certainly a good album with inreresting aspects to it. Delicate soundscape with familiar elements from STROM.ec and Cloama. I am not that familiar with Theologian so I could say what he is bringing to the table. Surprising elements such as the melancholic guitar passage at the end of "Ubik". Vocal bursts of Toni/Theologian (I assume), but they are handled with more 'grace' so to speak. Album starts with "Involuntary Dilation" which introduces very delicate and detailed sounds, crisp and piercing in the own subtle way. Title track Hubrezine has more of the guitar from Ubik, painting a dreamy soundscape which slowly transformates into a heavy looping with furious vocals, song totaling near 20 minute behemoth. "Exegesis" offers a breather after, crips synth work accompanied with Toni's trademark vocal fury, kind of an odd couple but works. "World War Terminvs" is an ambient piece, floating in the air, sort of reminding of Cloama&Blutleuchte material but more straightforward and 'prettier' sounds. Excellent addition the arsenal of this collaboration, making listener attentive with change of mood and colour of the release. Final track "Flow My Tears" sounds like a malfunctioning synthesizer, left playing alone in an abandonent spacestation or nuclear missiles raining upon earth, your choice. Haunting, operatic vocals create a super eerie atmosphere.

Overall highly overlooked album, large cardboard packaging gives justice to artwork which has high detail, and of course traditional Neuroscan hexagon motifs.

Agreed, a very unusual but very good album. One might even say there are shades of cyberpunk to the sound, in the best way possible.
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« Reply #8352 on: December 01, 2021, 05:15:06 PM »

Toteslaut - Daikukotennyo 10" mLP

There was some buzz over this release, but I was a quite disappointed with this. Saw the potential but really did not hear it, certainly has a distinct vision to it, but I think it needed something more to be worth the praise. Which brings me to...


Toteslaut - Strident Impurity CD
Since I didn't have too high hopes for this one, it really proved me wrong. This CD is where all the pieces click and it sure works. Has that bizarre, broken and rotten atmosphere first, and later tracks just burst into ripping mess of noise and shrieking vocals. Not bright in colour, just pure BLACKENED noise, heh! Spun the CD two times in row, it was that good.
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« Reply #8353 on: December 01, 2021, 06:03:53 PM »

Toteslaut - Daikukotennyo 10" mLP

There was some buzz over this release, but I was a quite disappointed with this. Saw the potential but really did not hear it, certainly has a distinct vision to it, but I think it needed something more to be worth the praise. Which brings me to...


Toteslaut - Strident Impurity CD
Since I didn't have too high hopes for this one, it really proved me wrong. This CD is where all the pieces click and it sure works. Has that bizarre, broken and rotten atmosphere first, and later tracks just burst into ripping mess of noise and shrieking vocals. Not bright in colour, just pure BLACKENED noise, heh! Spun the CD two times in row, it was that good.

Yes, I got the 10", but wavered on the CD because I wasn't overly impressed with it. Sounds like I should reassess!
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« Reply #8354 on: December 01, 2021, 06:38:41 PM »

Joe Colley - Desperate Attempts at Beauty CD - Ground Fault 2003
The first time I listened to this was on a stereo, at low volume. That was a mistake! This is a meticulous, heavy, droning mass of slow moving noise that demands close listening. With a return to my 2 hour a day train commute, i figured this was a great opportunity to give this a close listen. Tracks vacillate between heavy, panning drones and more musique concrete style on tracks 2,5,6, which are recordings of ice in water, and water being absorbed into clay. One of the "coldest" recordings I have heard from Colley. Sounds wonderful through headphones. Evocative, pessimistic noise worth tracking down.


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