I have mentioned it few times elsewhere perhaps.. Now that latest news of experimental artists dying has been quite bombardment, I feel certainly that these great artists certainly deserved the nod of appreciation from a lot of people. Countless pictures of records of Nitsch, Schulze and latest Albin Julius. Yes, it is good that death of artists is noticed but at the same time makes me think how it could be more creative to appreciate the living. Even the newbies. Of course on SI forum, there are topics of low profile artists, but it seems vastly easier to start topic of something better known and already appreciated and discuss that.
So as mentioned, why not Moozzhead appreciation now that I just went through all the latest physical tapes. I have heard some of this stuff in advance and has been sort of blown away by fast pace of his progression. I own already 90's works of Moozzhead and back then, tapes were not so much to celebrate. Man was more known as absolute passionate noise head who was always collecting, buying, trading and selling new noise. In recent years he did some stuff, but it wasn't really until covid happened and man had extra spare time in hands and suddenly this new phase of Moozzhead started. I was blown away by the first recordings and instantly signed him to FA. First tape, then CD.. and both are good, especially the CD, but soon it was clear that project is leaping forward into better and better things. Satatuhatta tape is vastly better than tape on FA.
And now that I have listened very good "Waist Watchers Anonymous" tape (New Forces) , then "Adventure in Modern Erotics" tape (AAD) and concluding the latter is perhaps the best of new tapes of his.. but then "The Doors of Perfection" tape (WCN).. and it is still a notch better than anything else?
What you got here, is kind of no-bullshit harsh noise, which relies all things big, fat and juicy. Each tape looks a bit different, each tape is compositionally or sonically different, but all of them fall into "pedal harsh noise". Man relies heavily into bunch of pedals connected direct to analogue 4-track and then "bounced" one or more times to get the perfect saturation many like on the old noise tapes. I don't mean the dirt and lo-fi qualities of old tapes, but THE PERFECTION what barely happens in all-digital process, what can be achieved by saturation of magnetic tape.
The Doors of Perfection does many things, from crackling "gated noise" crunch to colorful electronic-efx unit fuckery, to blasting broken glass type of sounds what makes me think of overdriven and accelerated The Haters.
Some of the tapes are smaller editions, but now when you might still find them, it could be good time to grab & appreciate!
