no real relation to RRRon's thread on Troniks.
Perhaps it an outgrowth of the scene but compare and contrast the works of Halflings, Cathode Terror Secretion, Yellow Tears, Cowards, Pharmakon and notable others.
This stuff lies somewhere in the between of power electronics and death industrial, but is far more nebulous of a sound, almost to the sound of stuff like Burial Hex. Is this a new potential style of P.E.?
Whereas a great deal of American P.E. is harsh and violent and raw, these guys are quite lush and atmospheric. Meanwhile, they're not overly similar in sound to American death industrial acts (The Vomit Arsonist, Sewer Goddess, NTT, Murderous Vision) because they're far less "song" oriented then traditional D.I.
Thoughts on this sub-subgenre?
I think the "American PE" suffers probably from prejudice (deserved or not) cause by handful of cases, and even if there is great deal of variety, perhaps it isn't really visible for most people who prefer to keep distance. It could be useful to list some of the acts, PE or related, with short descriptions what they actually are about.
Who qualifies to "new wave"? Are we talking about pretty much everybody who came after I.A., Slogun, Final Solution, Hydra, Taint, etc?
Are bands of late 90's and early 2000's.. despite 10 years in "business", still new wave?
Are there any good comps with New American Power Electronics?
Has not been done yet, but should be.
I guess yeah, "new wave" meaning since 2005 and active this decade. I like the "bad american PE" scene (Deathpile, Slogun, Bloodyminded, Intrinsic Action) and think it's pretty great. I just want to make the distinction between these guys. Honestly, it's not just American stuff, as these acts don't really sound like much Euro stuff that I'm aware of either. The reason it's "American PE" is because these acts are from America. I suppose "New Wave of Power Electronics From America" would have been a better title that wouldn't have dragged out the old American P.E. stereotypes argument.
Fusty Cunt Records is currently working on a 2xc-15 comp where each artist does one minute. It's all made up of harsh noise, p.e. and death industrial stuff.
Comp contains tracks from:
ADOL, Teeny Bopper (Halflings-related), Ten Little Piggies (other Halflings thing), Nyodene D, Pyrrhic Thanatology Monger, Koufar, Endless Humiliation, Climax Denial (as another project), Ahlzegailzeguh, Contamination Diet, Fellahean, Murderous Vision, Pharmakon and a few more. It's a good sampling of stuff.
I suppose "years of the project" isn't a good way to judge "new wave" but of the artistic style. Amorphous P.E. with very little structure, but lots of sounds.
I would add Xiphoid Dementia, the later works of Twodeadsluts Onegoodfuck and Pyrrhic Thanatology Monger to this list.
I guess:
Halflings
Yellow Tears
Pharmakon
The Cathode Terror Secretion
Twodeadsluts Onegoodfuck (later stuff only. first few albums are noisecore/goregrind)
Pyrrhic Thanatology Monger (hn/pe)
Xiphoid Dementia
Cowards
stuff is synthy, bursts of harshness, incomprehensible vocals (for the most part), introspective themes, tendency to do heavy drones evolving into chaos.
So I assume you mean also thematically/visually "new wave", which is unlike bands in the usual industrial tradition?... so exluding maybe acts like American Boots, County Club, Deathkey, FFH, Shallow Waters, Vomit Arsonist, Bereft,.. ?
Not that I don't know there aren't good acts or cool people from the US but much arrogance from certain players have left me wary of things from that side of the water. Rip off merchants like Solotroff, assholes like Ron, slackers like Greh, the endless stream of "dudes", whiney PC hipster fucks all on parade in the troniks forum but still the idea that the US is the place where it all happens and the rest of the world doesn't matter. Add to that a considerable slump in quality but a steady increase in releases. So yes, I am wary. If people "over there" start adopting a more humble attitude my interest may be reignited, until then I remain sceptical.
That said, the XIPHOID DEMENTIA CD I heard last week is brilliant. I was very impressed by that.
Quote from: TheGreatEcstasy on January 14, 2010, 10:14:44 PM
That said, the XIPHOID DEMENTIA CD I heard last week is brilliant. I was very impressed by that.
I listened to one of his songs a while ago and I came up with a funny:what does xd sound like= if streicher wore a silksuit instead of a camocape and drove a prius instead of a tank.
I think the track had tanks and a very OTT feel to it as far as the amount the stuff going on.
I like several of the newer acts which is only mathematics since its such a huge place. but ill take great ecstasys route and be a whiny minge for a while. whats up with bereft having only metal looking artwork and fonts. this bothers me.
Not sure if you mean that in a negative or a positive way but I welcome people who are trying to move on from the expected. It's nice to see the effort being made. But that's not the only reason I applaud XD, I think it came out well. It's a close call at times but I think he manages to steer it on the right track all the way. I repeat myself but I thought that was very impressive.
Not everything must be crude, primitive and "brutal".
I was postively surprised when I heard the track. just because it was so over the top. I wouldnt mind hearing a couple more tracks but the cover was in poor taste and as a whole it might not really be my cup of tea.
theres one american new wave band, Im not sure if I should say its name if it turns out to be complete shit but I really liked a few tracks I heard from amy lace. no-fi kind of chaos with really cool shouty vox that worked similar to sloguns chronicle of a serial murder, sort of fighting with the noise for space but sounding super while its happening. probaply no real releases and likely to change in direction but like I said, a few good tracks at least.
Quote from: TheGreatEcstasy on January 14, 2010, 10:14:44 PM
the idea that the US is the place where it all happens and the rest of the world doesn't matter. Add to that a considerable slump in quality but a steady increase in releases. So yes, I am wary. If people "over there" start adopting a more humble attitude my interest may be reignited, until then I remain sceptical.
It is possible to also watch in mirror once in a while. As I said earlier, prejudice might be deserved.. or not. I'm looking at european PE and when we remove all the acts who have been there for decades, how much more europe has to offer, and how valid would be feeling superior over it? Certainly some rip off merchants and people slower beyond acceptable level are around in Europe as well. Ignoring that fact and targeting attention only to favorite targets of disappointment isn't necessarily best route. Greh being slow, or Mark doing CDR, or RRRon fooling around with jouyful pranks, hardly is a sign what American PE is?
Certainly there are some "american" qualities, but one still has to consider that couple bands and labels don't really give accurate view of what country as large as USA has to offer. It's like talking about "european pe", which is possible, but removes all the actual differences of detail and substance what is in different parts of europe. I admit that I do fail to join in to same mentality relatively often. But in reality, I do think that some of NYC acts has different approach than say.. Texas? Providence acts were different from mid west. Some acts coming from metal background has different approach than those coming from punk... or industrial, or rock.
I guess main debate perhaps would be: are some of these acts "power electronics" at all? Like listening to Yellow Tears "don't cry" 12", I think it IS some of the greatest soundworks from USA today, but is it power electronics? Not more than any other experimental sound collage. I recall guys like Solotroff has been removing "PE tag" from Bloodyminded. Perhaps feeling disconnected from "traditional" PE and now presenting it now with other genre tags? Wasn't Rape-X too more like just electronic death metal noise? With very little to do with actual PE, more like US DM music replaced with distortion and then growling vocal on top? XallXforXthis or whatever it was, like straight edge hardcore with music removed. HC yelling over simpe synth noodling. Perhaps there in I.Action / Final Solution fashion, but somehow becoming very non-PE atmosphere afterall? Of course, I'm not against progression or saying that some purity over genre lines would be better than innovations. It's more of thinking do these people think they are PE, and does their labels think they are PE, or is this just tag given on forums and by distributors giving simple selling catchphrases, or "journalist" with intent to find some nice new thing (like "new american weirdo noise"). While those who do the sound maybe rather be just... "noise" ?
I guess, that the term New Wave of American Power Electronics is toward PE analogous to what "new wave of american noise" (coined by Wire??) is towards noise. Perhaps between lines one can see the split to acts that one doesn't need to care that are the die hard loser noise for obsessive home listeners. And the other, is the worldwide touring indified & accepted artists that are written about, celebrated and nice & accessible. I have my doubts how many of artists actually want to be lumped in that, no matter if they differ a bit from trad. clichés.
personally i don't really care about USA-pe, just because there's plenty good stuff over here (ok i digged older things like Deathpile and Final Solution etc....but now? Harsh Judgement, Liver Mortis&co, Sewer Goddess, )......i'm just not into the "noisy-guitar-band" thing, the endless piles of meatbox's, labels more busy releasing 'objects' (lathecut cdr's, lim15 cassettes, ...) the whole synthnoise thing (i like some of it, but i get the idea EVERYONE is going modular), the whole pre-orders-gone-wrong scene.....
and to be honest, mostly the best usa-stuff is released on Euro soil LOL....
There's the odd new project that trickles through over here. Not much of a scene and I don't really care if there is or not either. If the odd thing that appears now and then holds up quality wise as opposed to an avalanche of mediocre to sub par bands then obviously I choose the first option. Superior is not the right word. It ranges from lack of interest to contempt depending on how the project/person/label presents itself.
I don't dispute that I have unfairly lumbered these PE acts with the rest of the US noise scene but then again it's mostly one big dysfunctional family nowadays. None of them seem too unhappy about being in bed with each other. Take the PATHETIC NWOAPE thread with Ron at the helm on troniks. So many people falling over themselves going ME ME ME to be on it. Had some of them been up close to Ron he'd need no toiletpaper for the next few months.
Let me be even more unfair when I say that whenever I see something released on RRR, Bloodlust, Hanson, Chondritic (and there's probably more but I forget now) I pass it right the fuck by no matter how interesting it seems. Should I become urgently interested at some point I'd rather contact the bands than do business with any of those labels. Should I draw a short straw and come up with zilch then so be it. There's plenty of timeless classics to spend time and money on.
And to reiterate, there are cool people in the US with some great music being made but most often they aren't the attention whores hyping themselves up on troniks.
Quote from: TheGreatEcstasy on January 14, 2010, 10:14:44 PMstill the idea that the US is the place where it all happens and the rest of the world doesn't matter.
My impression of this whole "versus" thing is that the scene in the US is very much based around live concerts and personal relationships. Seems to me the most "talked about" groups also are the ones that has toured the most - i e Wolf Eyes and Prurient?
So - the main thing here could also be that European acts very seldom play in the US at all? Add to that the general low value USD and european shipping costs and there you might have the very small interest in European groups in the US. And why should you? You have two million groups in the US already.
Also - I tend to do the same - I mostly enjoy Swedish industrial/noise when it comes to that particular "genre" (though I wouldn't exactly call my interest in non-Swedish groups nonexistant).
Sure, that's one reason but I'd say there is more to it than that. If I'm wrong then by all means correct me but my impression is there is not seldom a near total lack of knowledge or interest from the US in what goes on outside the US. A golden comment from Ron a while ago (I wish I could find it and stick it in the quote section here) was something along the lines of noise started in Europe, moved to Japan and currently lives in the US. I'll try not to dwell too much on his idiocy. Coming from Chief Clownshoes over there I wasn't particularly surprised anyway. Maybe other US members here could bring more clarity to the table and say if this is the prevailing attitude or not? Maybe it isn't but it often seems like it.
You make a good point. There is a wealth of good things over here and at the moment I'm more inclined to focus on and support that than a so called NWOAPE.
Quote from: TheGreatEcstasy on January 15, 2010, 02:00:18 PM
Sure, that's one reason but I'd say there is more to it than that. If I'm wrong then by all means correct me but my impression is there is not seldom a near total lack of knowledge or interest from the US in what goes on outside the US. A golden comment from Ron a while ago (I wish I could find it and stick it in the quote section here) was something along the lines of noise started in Europe, moved to Japan and currently lives in the US.
But isn't this pretty common observation, not just Ron's view? And we can see it is not totally groundless. You can see most of bands being influenced by likes of TG, Whitehouse, SJ, TNB, etc. Not that there wasn't noisy recordings before (experimentations were probably all around), but if we talk about underground noise, not about some art music, then we can see bands like Ramleh, TNB, Whitehouse and so on set examples for many who followed them. Then go forward to late 80's and early 90's, and all you hear is talk of Merzbow, Masonna, Hijokaidan and other Japanese artists. While many european old bands (like mentioned above) were on hiatus for years, everybody seemed to be into what Japs were bringing and those were the bands who gained international press attention. Every label wanted to have some Japanese bands. You can see labels everywhere, with pretty high % Japanese noise. Then suddenly Jap noise seemed to interest very few. While people were investing insanities for rare hand made noise tapes of Americans. Many of Jap noisers lowering their profile or just blatantly stopping.
You look where most of labels seem to put out material. Where most of gigs are being organised. Where scene if filled with flood of new blood, instead of tired old relics. That's the promised land of USA.
Does it mean things stopped elsewhere? Of course not. And above is naturally very very simplistic version, ignoring many things like whole boom of CMI, rise and blitzkrieg conquering german PE did all over the place. Very creative era of older UK bands going strong. Italian monstrocities not only early 80's but mid, late and also whole 90's. Sweden, Finland, whatever... But all that said, one simply can't argue against fact USA being the focal point of current noise. In good and bad. Even topic as this, we can probably see dozens of messages suddenly in slightly heated discussion. Same possibly would happen on every forum. And on every forum topic like "japanese noise" or "japanese industrial" awakes just few yawns and couple guys posting few remarks. There are several good acts there, new things happening, but probably as funny as it sounds, noise just dwells now in USA. Everything is about USA or position of X versus USA. And only, because its let to be so. Even topic such as this, couldn't be just list of good bands worth checking out and observation their characteristics, but it automatically turns XX vs. XX setting where it's about making their problem "ours" (read: blaming them not knowing history or what happens in europe, while on same breath admitting not caring what they do and not knowing what happens there or supporting any of their stuff).
I don't think European or japanese labels lose anything if some American guy doesn't know, care or buy "our" stuff, since most often it is really not "our audience". Why should he? It's like complaining why Sunn o))) fans won't buy my stuff. They just don't, and most likely will never do so and that's it. I can't really blame them for it, just as I can't blame someone being into reggae, instead of Grey Wolves. There is relatively big audience in US for PE. More than say UK, Sweden or Finland. Collectors who know their stuff, and fanatics who keep supporting the labels. How much more is needed? It's impossible and most of all unnecessary to insult audience for lack of appreciation towards Genocide Organ, when they really just want Prurient, Aaron Dilloway and John Wiese. When that audience approaches PE, they probably need it to be just as mentioned. The ones they can relate to. Not some old bald fatso talking about history of foreign countries they barely know to exist, hah.. So, in end, I'm pretty much all in favor of this neo PE. It's nothing away from me.
You can always blame people for being into reggae.
That aside I would really like to see some good, well put together compilations with American bands. Not just PE but a LP or CD with just the best of PE/noise/drone from America. Maybe something for Cathartic Process? I'm sure that the selection would be really good and challenging.
Mikko! I will try and reply to your last post later. Right now I have to go and do a nightshift.
I second Strömkarlen's comment and I could think of few people better suited than Cathartic Process to do it. It would mark a welcome step away from the usual Ron or Solotroff involvement with it's inherent bullshit like artwork on the cheap, formats of suspicious origins or the noise is fun approach.
true force pain electronics was supposed to put out a comp called skin flicks which I presume would have displayed quite a few usa acts but it was canceled.
other than that nothing really comes to mind, recent that is. maybe rrrolfs locked groove lp. that came out a little while back. and I refuse to listen to shittytalk about the old fuck, he has earned his stripes a few times over.
If topic can be hijacked to cover all the US pe AND related, so we don't have to split hairs who is pure pe and who is not, who are the ones who either are new or started to get more known in perhaps later parts of 2000's? Year of first release may be inaccurate in some cases, but as far as I know would be: (in no particular order)
FFH (2005)
Sewer Goddess (2006)
Vomit Arsonist (2004)
Karlheiz (late 90's stuff exists, but band probably got more noticed from 2005 pic LP?),
American Boots (2009?)
Country Club (2009)
Breathing Problem (2007)
Liver Mortis (2006)
Pleasure Fluids (2006)
Cathode Terror Secretion (2007)
Halflings (2006)
Pharmakon (2007)
Cleanse (greh been around, but maybe this noticed by 2005 7" and 2008 12"?)
Brethren (old video/cdr released from 2003, but real CD 2005)
Deathkey (2006)
Shallow Waters (2006)
Fire In The Head (couple CDR's in 2004, but first real in 2005)
Fleshobidience (2007)
88MM (2006?? first public releases?)
Climax Denial (2005)
Ru-486 (and other destructive industries related, 2005)
Secret Abuse (2007)
Bereft (some early releases exists, but perhaps more known from ones on late 2000's?)
Xiphoid Dementia (couple early 2000's, but I guess his works after mid 2000's are better known)
Gilles De Rais Order (2006)
and this is the stuff I have/or have heard. I can't necessarily comment on bands I've never heard of, so don't list them myself. And probably forgot a many, especially countless side projects. But it's not that I'd be writing bible here, so just threw in first things that came in mind. If we say here is 25 bands that have established themselves within last 5 years, and look how many of them are "hipsters", "clueless americans", etc I'd be willing to really hear grounded proof about that. Pretty much all who I have had opportunity to meet, hear or somehow deal with, have proven to be quite far from that. With these 25 bands, if one would ask 4 minutes each, choose best 10, and make comp. LP, it would probably kill. And I'm pretty sure, it would not lack of quality, innovation, strength and power. It is little unlikely that this could be done by any american label. Those who release PE vinyl, are very limited and their interests may be elsewhere.
Mikko!
I've given this some thought and I reach the conclusion that you and I are in agreement on at least 50% while the rest can matter less. I will continue being sceptical after all the bullshit and hype I've witnessed but with that in mind I also keep my mind open for whatever quality project presents itself. Like I always have.
Another thought that crossed my mind before. Let's say a USPE compilation featuring the names on your list would happen, who would have the balls to do it with BRETHREN and DEATHKEY on it? The PC-brigade would be all over it thus talking the focus off the original intentions.
PC PE? I think there's Black Bloc; can't see him wanting to "share a platform" with Brethren and Deathkey but I could be wrong.
A serious comp. of modern US PE would be great but I don't think Cathartic would be in a financial position at the moment. Down the track, one can only hope. In the meantime I'll take any good US PE on it's own merits, regardless of year it started, others' hype, etc.
This Fusty Cunt comp. Nyodene D speaks of sounds like a worry to me personally, though, as it's supposed to be only one minute per project. Far too gimicky for my liking; I can understand some time restrictions but this just restricts each project from doing their own thing (I've contributed to a minute-per-track comp. myself and didn't care for it much). I'm hoping that a future comp. of full-blooded US PE will allow each project more space.
Most of the artists on the minute long track tend to do shorter pieces in the first place, so it's not to big a worry that there's a time restriction on it. It will be worth checking out though. If someone wants to finance a full-blooded comp of USPE, then I'd say go for it.
dunno about PC issues with the PE artists. I think most PE dudes are fairly nihilistic about who appears on stuff like compilations. Asking a non-WP dude to split with Brethren or Deathkey is quite a bit different then just the two of them being on a comp.
Well, if you say it's worth checking it out, I will, but I'll reserve opinion 'till hearing it. I still believe that most artists need time to make their point with their pieces but that time can be any of the artist's choosing, so, if it's one minute it's one minute. Hopefully my prejudice will be unjustified.
I would also hope the majority of PE artists in the US would not have issues with each other's politics (or lack of) to the point where they would exclude themselves from a representational compilation. Maybe one day, it will come.
When I suggested a possible disruption to a US PE compilation featuring BRETHREN and DEATHKEY I didn't mean any invited groups pussying out but the usual outside whiney PC fucks raising their "concerns" by causing enough palaver overshadowing any original intent. It's not unlikely that the other artists taking part would be demonised as well. We all know there are people out there crazy enough to do it.
You're right, but how effective would they be? It is, after all, hypothetical; anyone getting together a NWOAPE would surely not take into account the whinging of a few wankers. Fuck, if anything, it would be an incentive. From what I've seen of the "debates" on the Black Board and Blue Board, there's enough dissent among listeners to at least guarantee an audience of any potential comp.
I've had this experience, years ago, doing a home taping punk project that had a split 7" with the infamous Rupture. The whole "guilt by association" thing that followed from a very few quarters (including at least one dickhead who's opinions where just laughable) taught me that the whinging of a few means nothing unless you let it mean something (the mistake I made at the time, I'm not proud to say). I understand what you mean, then, if some projects would not want to be "demonised" in that manner. But then it leads back to those projects showing enough backbone to not let a few dickheads dictate terms to them. It's something that sometimes has to be learned from experience I'm afraid.
yeah, the PC kids are the ones who will probably have more of a problem...
When you live in Australia maybe not effective at all. When you live in the UK it's a different matter. Here you can lose your job for being a member of the BNP. It's bad enough here but much worse in Germany where the Antifa own the streets. In Germany they lynch you for wearing the wrong clothes while the police look the other way. The sickest shit is that those people scour the internet for whatever they can find and if they decide to make you a target then you are. Fuck all you can do about it.
Not that any of this is a concern for me personally. I won't be involving myself in a US PE compilation with or without any "controversial" contributors so I couldn't give less of a fuck for myself. But anyone who does will be wise to bear the potential for backlash in mind.
I don't particularly care which projects or artists are APE. I'd find it infinitely more helpful if I just had an idea of which releases stood out. Which is the cream? I find it difficult to believe, as wrong as it might be, that any of them are thoughtfully consistent with their work. Being performance based, and not studio based, dictates that would be the case more often than not.
EDIT: you folks are giving the US scene more credit than I do. PC? That would indicate that they actually give a shit about something other than themselves...or that they notice the details. I don't see it. Maybe a couple of them are outspoken, but the majority of what I see doesn't make this seem like it would be much of a concern. They're a mass of puddles.
I'd be interested in knowing what problems Brethren, Deathkey, Genocide Lolita and others have had in regards to their releases (maybe another thread topic). You're probably right to advise guardedness.
dunno if David or Kramer will talk about stuff like that outside of e-mail exchange (not that I know them personally). Justin Ordnung (GL) is probably more accessible through something like myspace.
I doubt problems are "huge". You know, most of problems delivered by having offensive (to some) content is that:
1) people will talk about it = read: free promotion.
2) labels who may worry about negative feedback, will not sell it = read: those who do, sell few more.
Those are the basic things. Then when profile goes up, it may lead to cutting off opportunities to play gigs in certain venues. Some alternative left wing places may be horrified when someone complains why they host show for the nazis, and they'll immediately cancel it.
I have gotten few returned discs. Refusals from labels to distribute certain titles. Cancelled live shows. Protest from customers and some labels over releases. Insults from people all over. It's not really a problem, it's what I call communication. People telling what they think over release that I made.
But as far as I can sense the wibe, most of these white consciousness related projects aren't very welcomed by several others who are very sensitive where they want to be associated. Due circumstances of negative attention having bad consequences, they need to keep distance. Thinking of situation of UK gig organiser who did Der Blutharsh, DIJ and others (including Grunt) and I believe pretty confusing story included pictures including wearing humorous swastika armband, names of these famous "nazi bands" she organizes etc were distributed in form of letter in her living area (predominantly black) and contacts to her work, contacts taken to venues and shops selling tickets etc. Think situation like this, and probably many shops of high profile labels who have wild imagination, might want to stay away from trouble. Trouble that can be caused simply by 1 guy. To me personally, if album sells 500 and is praised by almost everybody who gets it, vs. couple dozen who gets upset, and perhaps 1-5 who might do something about it, seems like pretty good indication which is the thing for example label should listen to. Of course this will marginalize label somewhere very far from possibilities what less offensive new wave of...... -approach could bring.
Anyways, as said before, I'm very sure that with track lengths of 4-5 minutes, with good 8-10 bands, LP would be good. I think what would be needed is inviting all, and rejecting the crap. The policy what makes people really pissed off, but is necessary when doing good compilation. Weak links simply must be rejected, even if they come from a friend. Perhaps that's why comp. should be done by someone outsider, who isn't friend.
Any compilation with Genocide Lolita on it will definitely NOT have my support! That shit IS offensive. Offensibly BAD! So bad in fact that if he toured Europe and the antifa decided to take action I'd temporarily join them in the name of music.
I think many probably not heard his other projects. I'm not 100% if GL is his "main project" or just one of them. Operation Miranda tape was released by Finnish EST label, and I think it got pretty good feedback and sold well. It is PE, and it's new, but I doubt there is other things available? It's not a utmost stand out release, but goes pretty well in same league with Pleasure Fuilds, Men Of Iron Heel, older Liver Mortis etc.
Haven't heard Operation Miranda but he's a nazi so of course it sells. Never mind if it sucks or not because being a nazi is oh so controversial and naughty and people are gagging to get a piece of that. That's the pathetic reality.
Operation Miranda was never advertised to be related to GL, or Justin in first place. It was anonynous project of sexual nature. First I wondered could it be Slogun related due he has track with same title, but later found out who it was. Of course gossip travels, but I think most people never knew who's project they're buying, and most certainly not any possibility of nazi link.
I think the link what is in sales and content, is not that it should be "nazi", but that there should be something. Bands that are very vague, very unclear, very music oriented, very mild in terms of what can be said about, they just don't lure the typical buyer in same way. When you say anarcho primitivists pe from midwest US or true crime PE from NYC, it will raise interest immediately. Literally same material what is just wall of noise, or it is marketed as extremely militant and minimalist avalanche of wall of noise will probably sell more. GL as band, never sold shit, as far as I know. His material home burned, home inkprinted, never in any distro, special editions extremely small editions.. like was it 10? It's another case what you can't really argue about these bands having more success, when everybody else sells few hundred and those riding with nazi reputation won't reach more. Often perhaps even less. I would think the new wave PE from USA always sells more, if they just press more.
few messages remove. Keep in mind the usual rules of discussion clearly defined in message top of section.
Quote from: Strömkarlen on January 15, 2010, 06:38:00 PM
That aside I would really like to see some good, well put together compilations with American bands. Not just PE but a LP or CD with just the best of PE/noise/drone from America. Maybe something for Cathartic Process? I'm sure that the selection would be really good and challenging.
What I was asking for what NOT a roll call of anything PE related in America but a comp that was heavily curated and show-casing new groups from America that I and my others have missed in the avalanche of tapes and spraypainted CD-rs that have flooded the world since the early 2000. I still want to hear that comp. I miss those well put together comps of yesteryear where you would find out about new groups that you never heard about and get some great tracks from others.
I would like to add COMA DETOX. Raw & filthy. Just what one could imagine to come out from label like Filth&Violence. And hey guess what? tape coming out pretty soon . Not everything has to be crude,nasty and brutal, but if it has F&V tag on it - it will be! heh.
Also C.D. tape from Nil by Mouth out soon-ish.
GENOCIDE LOLITA live clip: http://www.youtube.com/watch?v=HxhO79xd4VI
thats sounds pretty good! visuals are nice as well. Also "Totenkopf" tattoo is something that I have concidered myself for a long :) I like this bloke. I have understood that GL is more of that myspace,filesharing, soulseek type of thing? And thats something I am not into at all. Anyway just checked some studio works which didnt reach the quality of that youtube live. Weak digital sound, bedroom recording, not much of an idea etc. Is G.L. or related projects active nowadays??
There is a some cultural differences between USA and lets say Scandinavia. ya know that small talk thing. they ask how are you. But dont wanna really know. Very easily if something is irritating its like I am gonna kill you. When you heard "I m gonna kill you" in Finland you can be 100% sure there is a knife coming for your chest in few seconds. That is pretty much related the thing that every release is awesome killer and rad and paypal sent. that mentality and few slow and "un-underground ethical" labels. That IMO is bullshit. otherwise hail AmeriKKKa!
Already mentioned, but Deathkey & RU-486. I've dealt with both on a more personal level and their dedication to what they do is unwavering. For me that is part of the appeal, but of course they need the chops to back it up, which in my opinion they do. Neither seem to suffer from the "hey look at me" syndrome which seems to permeate (but not exclusive to) US PE.
And Mr. XE, you're dead-on with G.L. The live clips are definitely better, but I do he think he suffers from some weak production or maybe just cheap equipment. Hi heart is definitely in the right place, but I question his "underground ethics" as well. There are very few US projects or labels I trust now for pre-orders or trades. I always get a little flak for "kissing Finnish ass", but I've yet to deal with anyone there who hasn't done exactly what they say they will do.
What I'm reading is a more pronounced attempt to drive content (or story) through the sonic component, where in the earlier days content would be more didactically driven via lyrics/text/artwork/background/militant statements of intent/etc. Nyodene D's descriptor, "stuff is synthy, bursts of harshness, incomprehensible vocals (for the most part), introspective themes, tendency to do heavy drones evolving into chaos" reinforces the point; though I read similar attempts in, say, Grunt's entertaining tale of collecting concrete sound materials in frozen a industrial wasteland or The Rita's recent "diving" exploits.
A few years back, I proposed the potential for a blossoming of like-minded tendencies among a more technically proficient species of harshnoise practitioner. Though at the same time I acknowledged that pe, the more intrinsically content-oriented, was better positioned to take advantage (of the technological advances at hand). And I went on to suggest that a French pe-ish purveyor, Propergol, might serve as flag-bearer for such movements apparent.
But this development has in any case been long in coming. All human experience is represented in a narrative frame, whether that experience is defined as memory, history, identity, whatever. If the most visionary representations are to be flopped out by those who fail utterly to stick to the common story, so much the better.
Quote from: Nyodene D on January 14, 2010, 09:06:32 PM
Fusty Cunt Records is currently working on a 2xc-15 comp where each artist does one minute. It's all made up of harsh noise, p.e. and death industrial stuff.
DISCO NIHIL has done the same several years ago. "Strangers In The Night" C10. But not exclusive to american stuff. However, i like this 1 min. idea somehow.
I think specific time on comp has been done many times. From lock groove to 5 sec, to 30 sec, to 60 sec...
For example Come Again II, which I always praise, manages to give very good overview of Japanese noise despite very brief 90-120 seconds contributions. However, I don't think it is possible to make very good PE compilation by defining it by length of track. I think there should be much much more other qualities and approaches than "what you can make in 1 minute". It somehow trivializes PE if you ask me. Most likely result being just blast of noise with some yelling. Which would be fine with "noise", but can't really relate on idea for industrial/pe.
Quote from: FreakAnimalFinland on January 16, 2010, 10:04:44 AM
Thinking of situation of UK gig organiser who did Der Blutharsh, DIJ and others (including Grunt) and I believe pretty confusing story included pictures including wearing humorous swastika armband, names of these famous "nazi bands" she organizes etc were distributed in form of letter in her living area (predominantly black) and contacts to her work, contacts taken to venues and shops selling tickets etc. T
that was a very sad story indeed...