Recent posts

#1
Quote from: BlackCavendish on April 20, 2026, 09:54:31 PM
Quote from: FreakAnimalFinland on April 20, 2026, 07:54:59 PMThis is actually quite interesting, since I never really considered pictures important. Which is also why my store has barely any. Current age is so visually dominated, that there simply wasn't old school templates of text based store systems available. So most of stuff I have is just generic "picture will be added later" type of images. No idea if it effects sales negatively or not?


On a personal level, it's not a big deal, especially nowadays when I can find the cover elsewhere in a second.

But If I'm browsing the site looking for a third or fourth record to add to an order, than maybe an artwork might catch my attention more than a band name or title and push me to add one more item.

This exactly. Also am a "visual buyer", I check NH/FA site mostly if I am looking for a specific release, but hardly ever just to browse the huge inventory... on the other hand, sometimes one can find an old release that's sold out elsewhere, just because people can't be arsed to browse the "wall of text", so it's a win sometimes to have no pics haha
#2
GENERAL SOUND DISCUSSION / Re: PLAYLIST with COMMENTS/REV...
Last post by AASB - Today at 06:40:33 AM
Death Pact International - FBI Most Wanted: Ragnarok (2021)
I picked this up from Hospital on a whim, not having really listened to this project before. Apparently multiple different artists are involved under this moniker so I have no idea whether The Grey Wolves are actually involved in this particular album. While I think it overstays its welcome a bit at almost two hours, I still found this a very interesting release. It's almost more a sound collage than a noise album, with most of the actual noise work being relegated to muted droning, mixed much quieter than the actual samples. The samples themselves are spoken word snippets. Sometimes these are very minimal, with phrases like "FBI", "Ragnarok", and "Jonestown" being repeated over and over. The second half of the first tape two much longer snippets played over each other, which appear to be FBI profilers describing two different (and gruesome) cases. I found this effect to actually be pretty disorienting, as your brain kind of tries to follow both lines of dialog at once while not being able to fully focus on either consistently. In fact I would say "disorienting" also describes the overall effect of this album - while the droning ambience is sort of hypnotic, the use of spoken word samples serves to constantly pull your brain elsewhere.

Death Pact International - A Christmas Carol: Preparing Society For Death (2025)
Kind of like FBI Most Wanted, more of a conceptual release that seems to be trying to juxtapose class war with Christmas charity. The noise aspect is less muted this time, sounding more like earlier Grey Wolves releases to me, and there are some actual PE vocals here and there. There's still a heavy use of samples though, in particular a lengthy track that consists entirely of dialogue from A Christmas Carol (in particular Scrooge complaining to Cratchit about the expectation of charity on Christmas, I believe from the 1938 version of the film?). While I think the juxtaposition of themes is kind of interesting here, and this is probably the first time I think I've ever heard a Christmas-themed noise album, I didn't think this was quite as strong as FBI Most Wanted.
#3
GENERAL SOUND DISCUSSION / Re: Live show reports / commen...
Last post by Minus1 - Today at 06:07:21 AM
Quote from: k.p.g on April 20, 2026, 06:25:03 PMI have been busy since returning from Europe, but my plan has always been to write some "daily thoughts" of each gig down here after my return.  Still being busy though, I am dividing things up show by show.  So, we start with Helsinki Gray Ritual --

Atrophist opened up Helsinki show with a violent and murky set.  Pretty appropriate, as I had a rather violent and murky day post-binge drink the night before.  Hah.  But back to the noise -- for as much harsh noise as there was in this set, the artist also had some sort of sounds that reminded me of psycho crackhead babble underneath.  It really brought out the mind of a painfully eroding from the inside.  Where we played was this sort of dingy tire shop that Janne found, and I think that this sound was very appropriate for the face.  I could imagine the faces and places that inspire this stuff, and somewhere like this is fitting for it.

Absolute Key went for some very entertaining, loop-based work.  Big metal bang 'n clang was presented as the backdrop for synth noise slaughter that had me reminiscing on more "minimal" Merzbow releases like Hybrid Noisebloom at points.  But then suddenly, I hear some vocal loops; chanting perhaps?  Oh yeah, it is!! Bring it on.  This is the kind of material that made me follow the project after a Tribe Tapes release last year.  Set ended with Antti smearing ash on the crowd.  Good Friday indeed.

Vigilantism felt like a series of songs style PE that normally I am not a fan of.  Here, it worked though.  Simplicity beats all, and Vigilantism knew that.  So primal were all the sounds here that when some new element was introduced, it felt like you were getting sucked further into the industrial turmoil.  This was my first time hearing the project too, and I really enjoyed!

Triptych guys tell me before the gig that they enjoy the likes of Bizarre Uproar & Grunt.  It makes sense where they start playing!  Deep synth work pairs with this violent scrap metal sound to add as a backdrop to the vocal anger.  Similar to the DDU set of this night, I felt like Triptych would be getting their feet wet with this gig, and were maybe not performing at full power.  The skeleton of the set was there, but it is just a matter of feeling comfortable/tour nerves.  Still, they still managed to put together a very good set from it!

Not much to say on the personal front of performances.  I will leave that to the audiences who saw the Dead Door sets to decide.  All I know is that next time, I will have a better power supply for all equipment.  Hah!

Turku thoughts tomorrow.

Dude! How come your PS was wrong?

😂

I love your posts / reviews. I read all. I rarely respond / comment. But...thanks!
#4
GENERAL SOUND DISCUSSION / Re: Sissy Spacek
Last post by Minus1 - Today at 03:34:19 AM
Declension.

2 tracks / 37+ min.

A 2026 release of 2024 recordings.

Mumma / Wiese.

I think these are live recordings?

There's a buzz going on about this possibly being Sissy's "first PE record", which confuses me a bit, and clearly I need to update my understandings of the various genres of Noise. I thought Sissy did PE...often!?

What struck me within 10sec of pressing PLAY was, here, yet again, on my 19th Sissy album, I'm hearing something different and new. Sissy does NOT repeat themselves, as far as I have heard.

Vocals here, presumably by Mumma, (but maybe also Wiese?), are quite varied and terrifying. Long shrieks sometimes appear amongst the (possibly lyrical) grunts. I think they topped themselves vocally, here.

These vocals rest upon a strange, often looping, always mutating bed of sounds that give me 80s Merzvibes. There's a deep-chamber-echo type feel to the sounds.

Ah fuckit. The description at Soundohm is excellent, and I humbly copypaste it here:

"On Declension, Sissy Spacek's core duo John Wiese and Ch. Mumma condense their most feral impulses into two mid‑2024 blowouts, erecting sheer walls of cascading electronics and scorched‑throat vocals that feel like being dropped into a collapsing star.
Declension finds Sissy Spacek in its purest, least negotiable form: the core duo of Ch. Mumma and John Wiese alone in rooms in Chicago and Cleveland in mid‑2024, turning voice and electronics into a single, seething mass. The record is split into two long pieces – "Abgrund" and "Spiraled Galaxy" – that function less as tracks and more as hostile environments. From the first second, you're inside a pressure chamber of chaotic, cascading signal: squalls of high‑end scree, sub‑bass shudder, violently clipped midrange, and a vocal presence that has been shredded past language into raw, ragged texture. It's "vocal hell" in the most literal sense – not theatrical evil, but the sound of a throat pushed beyond what it was built to do, swallowed and multiplied by circuitry.

The duo's longstanding chemistry is crucial here. Mumma's voice, already a central weapon in Sissy Spacek's arsenal, isn't simply screamed over the top; it's fed into Wiese's electronics, folded, reversed, granulated, smeared until it becomes one more cascading layer in the torrent. Wiese, in turn, treats the entire spectrum like a sculptural material, piling dense blocks of noise and then letting them fracture, punching sudden holes in the wall to let brief flashes of space or pure tone through before slamming it shut again. "Abgrund" – the abyss – lives up to its title, dropping the listener into a free‑fall where orientation is constantly sabotaged: no beat, no riff, just shifting strata of impact and erosion. "Spiraled Galaxy" feels like its warped twin, the same materials whipped into a more centrifugal motion, sounds flung outward in spirals that keep snapping back toward the centre.

Recorded on the road between two Midwestern cities, the album carries the grit of live energy without being a live document. You can hear the immediacy of performance in the way the structures evolve: sections swell to near‑unbearable density, then implode into jittering filigree, only to be buried again under fresh avalanches of signal. There's no sense of post‑production smoothing; edits, if they exist, serve only to tighten the screws. What emerges is a kind of maximalist minimalism: two sound sources, two people, and an absolute refusal to dilute the confrontation.

Within Sissy Spacek's vast and mutating discography, Declension reads as a statement of renewed focus. No guest players, no expanded instrumentation, just the project's founding duo pushing their core elements – voice and electronics – to another threshold. It's a record that asks for a lot: volume, attention, a willingness to let form reveal itself not through melody or rhythm but through shifts in texture and intensity. In return, it offers a rare thing: a noise record that feels less like a genre exercise and more like a single, sustained, lived‑through event, two sides of a crisis etched into tape."

Me again. 😂 I mean...it could be a single 38min piece. The tracks are basically twins.

A fucking brilliant release, this. I'm thrilled. Sissy never rests. There's always some new boundaries to explore and push. Wow.
#5
GENERAL SOUND DISCUSSION / Re: PLAYLIST with COMMENTS/REV...
Last post by tisbor - April 20, 2026, 11:50:32 PM
Quote from: k.p.g on April 20, 2026, 08:50:09 PMPain Jerk / Dogliveroil - The Snake Charmer's Beautiful Daughter (Betley Welcomes Careful Drivers)
A split & collaboration packed into one neat disc; only complaint is that the split portion is 10 minutes too long on each side.  Found that on both solo portions, each artist had given their best material in the first 10-12 minutes of tracks.  Pain Jerk solo portion holds my interest for most of its duration, but since it's the last track, I am just feeling pretty beaten down.  Dogliveroil's solo track, on the other hand, pretty much nose dives after 10-11 minutes, leaving me wondering "when the hell is this going to end?"  Not the best feeling. 
But since we are working backwards, we are now back to the collaborative tracks, which, are both really stellar!  These two artists worked off of each others sound very beautifully.  Just wish they put more track length into the collaborations, and not these 20+ minute behemoth solo ventures. 
Solid disc overall.

Weird format also kind of makes this one even more classic
#6
GENERAL SOUND DISCUSSION / Re: Starting a mail order, wha...
Last post by Leewar - April 20, 2026, 11:50:19 PM
Dont deal with anyone listed in the rip off's topic.
#7
GENERAL SOUND DISCUSSION / Re: Starting a mail order, wha...
Last post by BlackCavendish - April 20, 2026, 09:54:31 PM
Quote from: FreakAnimalFinland on April 20, 2026, 07:54:59 PMThis is actually quite interesting, since I never really considered pictures important. Which is also why my store has barely any. Current age is so visually dominated, that there simply wasn't old school templates of text based store systems available. So most of stuff I have is just generic "picture will be added later" type of images. No idea if it effects sales negatively or not?


On a personal level, it's not a big deal, especially nowadays when I can find the cover elsewhere in a second.

But If I'm browsing the site looking for a third or fourth record to add to an order, than maybe an artwork might catch my attention more than a band name or title and push me to add one more item.
#8
NEW RELEASES ANNOUNCEMENTS / Death Squad Book (Second Editi...
Last post by radiumk9 - April 20, 2026, 09:31:29 PM



Death Squad – Collected Documentation
1997 North American Tour Book (Second Edition)

ISBN: 987-1-7780934-5-6

Available from:
Neural Operations

Second edition of 99. With a gloss cover and
a USB card with the same audio as the original
version instead of the three CDs.

Same content with some slight layout adjustments.
Added some thoughts about a good friend who passed last year.

The first printing should still be available from
Influencing Machine Records in California.

In 1997 Michael Nine set off on his first tour as Death Squad.
Beginning in Northern California, where he lived, the tour was an ambitious
six month journey across the United States and into Canada, comprised of sixty shows.

Amidst the chaos he managed to extensively document his experiences,
taking close to four hundred photos and preserving flyers, posters and handouts.

After decades of touring, Michael looks back at this first
venture and shares his recollections; digging into the memories of
each show, the people and places encountered along the way.
The reader is taken on this journey and plunged into the
underground noise scene. The highs, lows and absurdities are amplified.

Folder 1 (DISC ONE)
1. KCPR 91.3 Dark Market Broadcast – San Luis Obispo, CA 3/25/97 (Excerpt 8:13)
2. Zoot's Coffeehouse – Detroit, MI 6/24/97 (25:38)
3. CHUO 89.1 Radio Shakuhachi – Ottawa, ON 5/14/97 (Promo + Excerpt 5:47)
4. Vinyl Locust – Milwaukee, WI 6/30/97 (14:03)
5. WVUA 90.7 Tuscaloosa, AL 7/15/97 (Excerpt 8:24)
6. Sound Exchange – Houston, TX 4/13/97 (Excerpt 7:22) recorded by Keith Brewer

Folder 2 (DISC TWO)
1. The Moroccan Café – Salt Lake City, UT 7/29/97 (12:53)
2. KTRU 96.1 The Genetic Memory Show – Houston, TX 7/21/97 (19:21)
3. Unknown Live Show (Excerpt 7:42)
4. KRCL 90.9 Salt Lake City, UT 7/29/97 (18:20)
5. 1st Ave. Café & Lounge – Fargo, ND 7/7/97 (Excerpt 4:07)
6. CJAM 91.5 – Misanthropy 511 – Windsor, ON, Canada 6/23/97 (Excerpt 4:45)
7. Salon Zwerge – Chicago, IL 6/17/97 (Excerpt 06:32)

Folder 3 (DISC THREE)
1. WLUW 88.7  Something Else Radio Show – Chicago, IL 6/15/97 (21:23)
2. KDSU 91.9 Trout Mask Radio Part One – Interview – Fargo, ND 7/6/97 (8:15)
3. KDSU 91.9 Trout Mask Radio Part Two – Set / Interview – Fargo, ND. 7/6/97 (23:17)
4. KDSU 91.9 Trout Mask Radio Part Three – Interview – Fargo, ND. 7/6/97 (9:24)
5. The Terminal Bar – Minneapolis, MN 7/1/97 (Excerpt 6:19)

Still Available


MK9 Book


Greg Scott Book


Death Squad 1998 - 2000


The Pain Factory

Available from
Neural Operations Store


#9
GENERAL SOUND DISCUSSION / Re: PLAYLIST with COMMENTS/REV...
Last post by Stipsi - April 20, 2026, 09:26:01 PM
Quote from: k.p.g on April 20, 2026, 08:50:09 PMPain Jerk / Dogliveroil - The Snake Charmer's Beautiful Daughter (Betley Welcomes Careful Drivers)
A split & collaboration packed into one neat disc; only complaint is that the split portion is 10 minutes too long on each side.  Found that on both solo portions, each artist had given their best material in the first 10-12 minutes of tracks.  Pain Jerk solo portion holds my interest for most of its duration, but since it's the last track, I am just feeling pretty beaten down.  Dogliveroil's solo track, on the other hand, pretty much nose dives after 10-11 minutes, leaving me wondering "when the hell is this going to end?"  Not the best feeling. 
But since we are working backwards, we are now back to the collaborative tracks, which, are both really stellar!  These two artists worked off of each others sound very beautifully.  Just wish they put more track length into the collaborations, and not these 20+ minute behemoth solo ventures. 
Solid disc overall.

With pain jerk you can't go wrong (at least until mid 2000)
#10
GENERAL SOUND DISCUSSION / Re: Starting a mail order, wha...
Last post by NedOik - April 20, 2026, 09:09:18 PM
Quote from: FreakAnimalFinland on April 20, 2026, 07:54:59 PM
Quote from: SCHEDELWEISS on April 20, 2026, 11:36:14 AMHaving actual pictures of the releases you're selling on your website should be a given, alas... ;)

This is actually quite interesting, since I never really considered pictures important. Which is also why my store has barely any. Current age is so visually dominated, that there simply wasn't old school templates of text based store systems available. So most of stuff I have is just generic "picture will be added later" type of images. No idea if it effects sales negatively or not? It is possible site look unprofessional and unreliable, but simply don't have time to go search pics of every release I got.

Personally no images - this is a negative for me. It screams placeholder/can't be bothered - not a slight at you Mikko hehe... as I get it why you do it. But I think a release has a cover for a reason and lot of times it's integral to it. In the "old days" sure I also used to also get handwritten / typed lists from mail order sources where it was not possible to put an image. But now even the crappiest phone now has camera with print sided rez. Plus I still apply physical store thinking to online. i.e. If I went into a record store and all the covers were blank with just a description text I would buy nothing - unless the person behind the counter was a very very good talker. This may be personal to the way my brain works but there's countless times where I've become interested in something I knew nothing about just because of the cover.