Started by GEWALTMONOPOL, December 15, 2009, 09:30:59 PM

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Quote from: ConcreteMascara on April 22, 2020, 05:14:38 PM
Quote from: absurdexposition on April 22, 2020, 04:42:20 PM
Quote from: FreakAnimalFinland on April 22, 2020, 09:43:55 AM
Nihil, I feel that NOD has the best side here! All bands appear noisier than on some of their other releases, but especially IRM did more interesting things later on!

Always loved this comp. Got it in a trade (or purchase) from someone on this board ages ago. Can't seem to find the PM anymore to confirm who it was.

I wasn't the trader, but wanted to chime in and say I'm also a big fan of this one. The Institut side is weird and does very little for me, but the rest is quite nice. I like the one artist per side style. IRM definitely did more exciting work later on, but their one track Strictly Platonic is one of my favorites of the pre Virgin Mind era. Nod's side of industrial fairy-tale stories is the kind of thing that almost becomes too cheesy with its narration, but the sounds back it up. The Girl and the Giant is the one I really remember being unlike anything I'd really heard before.

"Kill the Blind" is also great.

It's also interesting to think that they were able to press it under the radar with that Daniel Johnston track on the SLP side.
Primitive Isolation Tactics
Scream & Writhe distro and Absurd Exposition label
Montreal, QC


CUT HANDS - Afro Noise I
At long last. Since I never really got down with Whitehouse, excepting some 90's Total Sex listening experiences, it stands to reason that I've also missed out on Bennett's new project. After hearing a few clips online and reading up a bit on Cut Hands (including some subnormal leftist hit piece on Whitehouse that ended with an arrogant reference to the endeavor) I felt the time had come. I've been doing the listening on a Panasonic SL-SX390 portable, fortified with a couple of glasses of dry white wine (need to work on that waistline, what with obesity being a risk factor for COVID-19 death and all). Semi-expensive in-ear plugs. What can be said? This project seems terrible underrated. That is a good thing of course, since contrarian elitists such as myself could never enjoy a commercially successful Cut Hands, and we're really what it's all about. The most stand out feature, aside from the impeccable production, is the strong (and I do mean strong) rhythmic element at work here. I've long felt that the incorporation of rhythm in violent electronic music/industrial/noise/PE is a somewhat underdeveloped thing. There are, of course, German rhythmic industrial, and there are at times sampled percussibe sounds added as flavor in or around power electronics and noise tracks. Additionally, there are lots of terrible distorted drum machine BS recordings of various types that make no-one happy anywhere. Incorporating one of the most basic musical elements there is in extreme electronic music seems like a difficult thing to do properly.

With Cut Hands, I think William Bennett has found one possible approach. Afro Noise I retains a distinctly non-musical quality - it's not very conducive to booty shaking unless done in some inhuman, shamanistic fashion. Still, the lion's share of the album not only contains, but consists of percussion and rhythm. Clean, in your face Africa-inspired drums and percussive clings and clangs build into complex but monotonous structures -sometimes supporting other sounds and even melodies, but often just straight and pure. There's other stuff here too - painfull feedback, controlled noise bursts, odd synthesizer tones and chords coming and going in strange ways. So, while the feature which stands out is the seamless and powerful incorporation of rhythms and drums, this album is also a very competent experimental/industrial album, with some brutality to it as well. Very pleasing, very impressive, and also (as befitting a pioneer trying his hands at something new) - innovative. This will not be my last encounter with Cut Hands.
"Alkoholi ei ratkaise ongelmia, mutta eipä kyllä vittu maitokaan"

Ahvenanmaalla Puhutaan Suomea


Charnel House
First is the best and the noisiest. However, unlike the name suggest, these are not only noise compilations, but present all sorts of Japanese underground music. Or lets say, not all sorts of. Besides sheer noise, you will get industrial, weirdo rock spastics, impro, psych, etc.
It's not all gold, but also in 2nd and 3rd part that came like 3 years after the first one, you will have some good harsh blasts from K2, Kazumoto Endo and such.
Ongaku Otaku issue 2 info sheet from 1996, after first comp, before 2nd. I remember watching the first issue grainy black & white images of MSBR special packaging, thinking WTF. When finally seeing some of then for real, my impression was equally amazed.

Another things, I'm not sure what it is about Japan that compilation mixing noise with sweet female indie music works out. Can't imagine that being done almost anywhere else?

is just exactly that = A Monster! Monstrous harsh noise of Lasse abusing Macro sources, with a lot of things happening. Mostly different things on left and right speakers. If talking about mid 90's heavy mid's and blown out crunchy brutality, this lives up to the standards of the era!
It is not so neatly edited but has the hands-on live mix feel to it. Neither it relies of keeping noise on the sweet-spot all the time, so to say, but like the great 90's noise, it has the minor drifts and slips from perfection and this keeps the true spirit of tape noise in maximum. This way the highlights are really the highlights!
Cover is ultra simple. Page from xxx rated magazine clued as "folder". Label stamp and shitties fading info sticker glued on top.

DEAD BODY LOVE "Volcano god" tape
DBL tape is probably better than any of his CD or any of already reissued stuff. C-30 of pure brilliance! When I think of SPITE, it's like *everybody* did their best tape there - or best of that era. That is valid for GRUNT as well. I did not intend it to happen, but Europe After Storm tape was just.... too good to remain ltd 50 tape, so it got eventually done on CD with bonus stuff.

PAIN JERL "Alchemistry" tape
Pain Jerk. Fuck. Every time I listen some Pain Jerk I have not listened for ages, I tend to conclude that this is absolute killer and "one of the best". That could be said about Alchemistry tape too. 1995 Pain Jerk noise at its best. It's 100% PJ, but also different from a lot of other PJ I have listened in recent times. I won't start to analyze what exactly makes it different, but like Pain Jerk concluded in 90's, it's not just noise. He composes with sounds. This is one of the differences of the old school Japanese noise (a'la Hijokaidan, Incapacitants) where maximum chaos and maximum noise is the goal, vs. Sound artists like Pain Jerk, who may seem pure noise, but are actually quite sharp sound compositions.

BLACK LEATHER JESUS "Sex in the name of god" tape
1993 BLJ tape. It was reissued in 2004, but I guess almost equally hard to find?
As usual, it's dubbed on C-90, but material is one hour.... Or is it?
Since I see CDR mentions it is like two 31 minute tracks, but on this tape, A-side ends in probably 10-15 mins before side is over. You can hear the song end, and then stop button sound a bit later. B-side goes all the way to the absolute end of the tape. So It makes me wonder if CDR release is slightly different than the tape as sides/songs here are clearly different length while CDR has both different artwork and... durations?
Two tracks remind of the days when BLJ was not really harsh noise. Sound is rotten and dusty, as if recorded with boombox or tape recorder, and not really "mixed" or "produced". First side reminds more of 80's UK power electronics than 90's USA harsh noise. It's eerie feedback howl, that is not really so piercing or irritating. Almost substitutes mid-frequency synth oscilation. Like on the most "laid back" Sutcliffe Jugend tracks or some Ramleh. ...Or lets say The Gerogerigegege Story Of The Thalaba song from Senzuri Power Up CD. It is that type of stuff, with some noises trying to emerge below the feedback but barely make it. It's that great moment where noises struggle to erupt below feedback, and this eruption point and sounds 100% saturating and melting together is one of the greatest things in noise compared to having things multi-tracked and mixed with utmost clarity.
B-side has more things going on. Equally dark and brutal material, with more noise texture, spoken pieces, TV/movie noises, etc. It sounds as if session was done in room, and whoever happened to be louder, got heard on recording. all guys must have just one thing in their hand. Not like table of gear, but really focus on modulating one particular element, which keeps this material controlled, fairly thin and ripping - in a good way.
For those who seek the blasting harsh walls, tape may not be among the best, but for me, and probably those who like the old PE / industrial noise, this is true gem that hopefully is featured iin some Ramirez related box I have heard rumoured to be under making...

I am firm believer that if running label (or being "artists") it is good to listen a lot of noise. Some delayed releases may cause nuisance among guys waiting something to be published, but I think instead of churning out new stuff out there, one must keep perspective confirmed.
It is easy to be impressed of something if your friend made it. Or you happened to listen something on exact right moment. To get proper perspective of worthiness of the material, it feels good to listen both classics and great stuff, ...and also the other things. To get good enough gut feeling of the highlights and the "average" and even the poor quality. To realize what it means if new thing you put out falls into category of "huh, well, I'm never listening THAT again..."
So, oh yes, sometimes while there would be a lot of things to do, more crucial is to listen releases that already exists to be able to accurately hear value of something new. This is why listening your old stuff instead of preparing masters and dubbing tapes is probably equally important, or even more important...

Although, some stuff, that may not be perfect by any means, not even that good, have some sort of personal historical value and purpose. Like LUPINE "Consumer" tape. I have my doubts if mr. Reed (Luasa Raelon, Envenomist, etc) would want to be remembered of these recordings, hah, but it displays greatly how early stage noise work is progressing in leaps. Just year or couple, and he was doing things on very different league than these tapes that are not even mentione at discogs I think? Sounds are quite synthetic in wrong way, like cheap multi efx and 2000's digital loopers, with that "less than 16bit" sampling rate(?) feel to it. Guitar sounds that are not really that noisy, but fueled with odd eq settings and cheesy digi delay - been there done that. Listening experience may not be entirely pleasure, but it is still lesson to be remembered.
When listening new master of artists and you can either put it out as "support", or you can also support artists by concluding that you may want to look into these few details before starting to mass-spread things. This seems to be also valid for many veterans these days when gadgets and digital recording seem to have created surprising obstacles that become clear when you listen enough of examples.

I know I posted quite a lot, but also listened even more. Not everything is comment worthy, but hard to not report when playing things like:

DEATH SQUAD / HYDRA split tape
was one of the very few DS tapes I did not get when it was originally released. I used to receive letters from Michael (and actually still do at least for christmas, hah) always filled with the latest tapes. Sending back my own crap of the time. I missed only couple DS tapes, and this one managed to find from Japanese record shop. 600JPY price tag still there. I suppose it was 2005 when I visite there are now defunct indie/noise/weirdo store at shinjuku are had three different DS tapes for sale.
DS is his early style of heavy blown out noise wall. Hydra is instrumental, painful as fuck electronic noise tracks.

DEATH SQUAD Cutting Myself Open To See & Feel Blood - 3x C-20 box set.
First edition of 20 copies came out with rusty box-cutter blade, self mutilation photo, and three tapes consisting both heavy noise rumble, but also seemingly about to make transition to spoken word direction. Simple static fuzz with delay effected body-abuse themed spoken pieces. Good stuff. It was later issued as C-60 tape and cdr.

( Anyone who has Stimbox/DS tape on HLAS label, and willing to get rid of it, please please contact me. Could have some extra copy of DS own tapes to trade for it or something else..)

NUX VOMICA "Spindal Alpha" tape
from 1991. Discogs rates this 3/5. One rating, though. But considering when almost everybody gets like 4,5-5/5... hey damn, this is really good dark experimental/industrial/noise soundscapes! I should probably organize rest of nux vomica titles in order to see what else did they do, and whether later works are this good.

Bloated Corpse
Full length C-60 tape. I recall being little critical of the "joke" back then. Christmas noise split did not really appeal my taste on things. Not only christmas basically quite stressful and sucky times, but does not look good as design... haha.
But getting greetings, of course appreciated nevertheless.
What I do appreciate, is the brilliance of FACIALMESS here. I think I said it before, but in this era, project stands up the with THE BEST of harsh noise genre. I can name drop harsh noise era of Merzbow, mid 90's of Pain Jerk and Killer Bug/Endo (earlier style) put into blender and shaken hard. You may get something like Facialmess. It is FAST, always wild ride going forward. It has none of the stutterloop and long abrupt stop type of pits of contemporary cut up. It doesn't sound like any of the mentioned guys alone, but kind of compressed noise energy as a whole.
I am surprised that this stuff is not re-issued, right? I think entire old BC label discography could make excellent anthology CD of Facialmess.
I talked to friend and he concluded that even the latest works of Facialmess he has heard, has been good. But that was 10 years ago. I must say that I have not been following closely. I always take new release into distro when I see it, but some experiences with more goofy tape, involving joke'esque elements thrown among cut-up... I do strongly prefer the full throttle as opposed to sort of driving school noise.
Was talking with friend, explaining my dislike with shitty drivers. Seeing people in traffic lights, engine stops. Re-start. Abrupt leap forward to instant stop. Not knowing should they turn or not. A lot of contemporary cut-up is like that. Stutter-loops and awkward re-starts. Handbreak is on, parking skills all fucked. Just the feeling that what is this guy doing in middle of city. Fucking just step on it and get going! ( That is total opposition for the good cut-up which is like "how did he do this?!" -category. )
So yes, cut-up is much less of interest, and early FACIALMESS is the full throttle noise - with tons of things happening and excellent sound. If he still does that, I could be into grabbing any missed items!
LASSE on this tape offers 30 mins of the "90's noise". Not classic, not his best, but one will enjoy the no-BS approach of just having session of distorted, kind of hand-made and source-dominated material.

d/S "where the boys are" tape
Ramirez 90's project.  It is: harsh noise. Not much to say. Good stuff.

Building of Gel "red" tape
Less Than Zero
another Italian label release that is very very scarsely available. BoG was really unique Japanese 3 member noise band. Started as very electric and tech-heavy (yet gimmick free) noise. Later works had some rhythmic element. I suppose split tape on Freak Animal 1995 was their first tape on "label", and in following years they went on Less Than Zero, Self Abuse, New Noise... If term "under rated" is used in context of Japanese noise, I'd say BoG is the one where it should be applied!

Rudolf Eb er "Ken-da" 3"cdr
is good stuff. Just overdubbing bunch of kendo sessions over eachother. Yelling and hitting multiplied. I listened AND tried to listen several P-tapes 3"CDR's. Some were quite shitty and stopped din middle. Besides Rudolf, the Daniel Menche "for the beasts" 3" was good. Few others proved to be things to be sold away...

MAEROR TRI "Mind Backwards Reversal" tape
BRUME "Iswari" tape

Neither belongs to the best works of artists, but especially Brume is absolutely the "WTF era" -of experimental tapes. You can never guess what he will be doing next. It is at the same time absolutely fantastic, and then soon borders nearly unbearable, and it feels gutsy move to put out that kind of stuff what is really *difficult* and experimental. Not just easily grasped and easily satisfying. Therefore a keeper of course, despite far from best Brume.
E-mail: fanimal +a+ cfprod,com


TR Kirstein & Jacob Kirkegaard ‎– Imperia LP - Posh Isolation - I'm pretty sure I bought this from Mr. Umpio's little distro while visiting in 2013? I find these types of minimal ambient/drone/sound art things hard to rate and review. I think the contextualization and the aesthetic framing of music this abstract half decides what I'll like. but this is recording is based on recording from a nuclear power plant. so I'm automatically more interested. the actual sound, well it's feels obviously good. easy to listen to from first listen. Like Kevin Drumm's "Imperial Distortion". For me it's just the right amount of stasis and tiny sounds and changes to keep me engaged. I came back to it over the weekend because in a weird bit of coincidence I binged the Chernobyl miniseries on Saturday, the day before the Chernobyl meltdown anniversary. so nuclear power was on the mind and this delivered, in a very subdued way. Also minor point, it's a very nice pressing, very clean sounding.

Eduard Artemiev ‎– Solaris Original Soundtrack LP - Superior Viaduct - supposedly official, long awaited issue of the actual music from Tarkovsky's Solaris. Not the re-recorded versions that were the only versions available for a long time. while this music is better, I do think it suffers from a lack of impact standing on its own. it's also funny to think that there's only some 40 minutes of music for a nearly 3 hour film. I'm glad I bough this score when it came out, that it was reasonably priced and nicely designed BUT I don't grab it as often as good John Carpenter or Fabio Frizzi score. 

Zeno Marx

Quote from: FreakAnimalFinland on April 27, 2020, 08:15:35 AM
I believe half of this (?) is also on the Tapes 1990​-​1999 4CD set.

Quote from: FreakAnimalFinland on April 27, 2020, 08:15:35 AM
I am surprised that this stuff is not re-issued, right? I think entire old BC label discography could make excellent anthology CD of Facialmess.
"the overindulgent machines were their children"
I only buy vinyl, d00ds.


Solmania - Metamorphor Chorus CD - Alchemy Records (1991) - have I mentioned my love of Solmania here? Maybe a few times... Picked this album up late last summer, the last piece I was missing from the Alchemy Records CDs. I thought it'd be a lesser work considering it's semi-early in the band's catalog but now I just feel dumb for waiting so long to grab it. Metamorphor Chorus I is one of the absolute best songs/tracks/jams/meltdowns in the whole Solmania discography. Multiple layers revolving around one furnace blasting rough as hell part that never stops. Is it a drill or a furnace blast or a sander? You'll keep guessing! Lots of metal scraping in and out of the track and later on spooky drone atmospherics. It's not high energy, most Solmania isn't, but it's absolutely enchanting. And this is when Solmania was just Masahiko Ohno! If ever that was a band whose logo I'd get tattooed, Solmania might be the one. Also this CD shows up pretty cheap second hand fairly often. I absolutely recommend snagging a copy if you're so inclined.


灰野敬二 [Keiji Haino] ‎– 滲有無 CD - P.S.F.  & ‎慈 = Affection CD P.S.F. - Picked this up last year when I was on a big PSF and related kick. 滲有無, which I think is translated Permeation is the weirder and harsher of the two. Meandering isn't the right word but it's certainly not linear either. Lots of sections of metal bashing and scraping. The expected tortured yelps and slurs and very nice prickly guitars and synths (?). Sometimes I was thinking about the sound source as much as just enjoying. I listened to half of it while walking my dog and the rest while lying down, neither of which were complimentary activities. Definitely an album that will take a lot longer to get in tune with. 
慈 = Affection is like easy listening in comparison. There's some guitar strumming, some distortion and "nice" vocals. I actually listened to it first and 滲有無 after which was maybe the wrong order? Absolutely love the cover art though. The kind of thing I'd hang on my wall if there was a poster sized version.

Unclean - Syntiinlankeemus CD - F&V - compared to Keiji Haino a revisit to this album felt like a relaxing easy listening!  I like the synth oriented approach here compared to other Unclean material. I think it suits the slower speed of the tracks and is less necro than Tesco type stuff and maybe uglier than Unrest Productions style stuff? Definitely the kind of album that demands loud volume with sufficient support of the whole frequency range.

S*Core - Missing Volume LP - Zabriskie Point - Regrettably I have very little S*core in my collection. Strangely, two of the items, this LP and the Sediment CD I'm quite sure share versions of the same tracks. I haven't spent  the time to figure exactly which ones but I get deja vu listening to either. But I digress... This whole album is a relaxing but lo-fi malaise. It's so relatively uneventful that you're completely unprepared for the next level excellence of the final track Reverse which has a wonderful core loop that goes on for the perfect amount of time. I really have to grab some of his other recordings...


I've made a recent discovery of Final Machine from Ohio lately. Incredible bleak industrial/ambient and noise.


Solmania - Kill CD - Alchemy [2016] - So I waited a few years to get this album because of its price and "shipping from Japan" only availability but last summer I had to bite the bullet and get it. First off, the images of the cover online, which is reminiscent of Autechre's Untilted, don't do it justice. The booklet is a series of color paper, layered in a staggered fashion. It's one of the best layouts I've seen from Masahiko Ohno, who almost always delivers a classy layout. Of course there's the matching OBI which works right into the main artwork design. But don't let the smart design fool you, this easily the most destructive assault ever committed to disc by Solmania. HARSH feed back right from the get, and then layer upon layer upon layer of fucked up, screeching noise descends upon you. It almost reminds me of some of the older K2 I've heard in the level of density but also refined complexity in the sound. Kill makes all prior Solmania albums look downright anemic. This is stupidly dense. You need multiple listens to even begin to parse through, and even then it's so dense your brain just starts grabbing one bit and wandering off listening to that, ignoring all of the other stuff going on. But then all of the sudden almost all of the elements unravel and it seems sparse, which is just the calm before the next deluge. For my drug ravaged brain these moments of "lightness" are appreciated so my brain can catch it's breath before trying to absorb further onslaught. Two highlights stuck out after re-listening last night: 1) the classic looping broken bit half way through that becomes straight groovy and then the last 20 minutes which just had my eyes rolling back into my head. Reminded me of the set Hiroshi Hasegawa played in Philly 4-5 years ago that sounded like an uninterrupted noise climax for the last 20 minutes or so. Cannot recommend enough!

Grunt / Clinic of Torture / Nicole 12 - Nihilist Paraphilia 3" CDr - Freak Animal [2005]
A nice little sampler of of  Mikko's projects and a release I return to often. It's a quick fix of screeching feedback, rugged throbbing synths and overall negativity. The Clinic of Torture track stands out especially for it's total completeness despite its short run time. The foundation of throbbing bass and heavy distortion on most/all elements is instantly enjoyable, and one of my favorite approaches CoT takes from time to time. But there's no weak track. I think all of this stuff has made it compilations eventually, but I still prefer this under 20 minute snack.


Quote from: ConcreteMascara on May 04, 2020, 08:14:19 PM
S*Core - Missing Volume LP - Zabriskie Point - Regrettably I have very little S*core in my collection. Strangely, two of the items, this LP and the Sediment CD I'm quite sure share versions of the same tracks. I haven't spent  the time to figure exactly which ones but I get deja vu listening to either. But I digress... This whole album is a relaxing but lo-fi malaise. It's so relatively uneventful that you're completely unprepared for the next level excellence of the final track Reverse which has a wonderful core loop that goes on for the perfect amount of time. I really have to grab some of his other recordings...
I play these two alot myself, but I've never recognized any particular tracks or even sounds that might have been re-used. I'll have to study this close.

I am in an S*Core mode right now, which means I'm indulging in alot of Mnem as well, especially Engrama and the brand new Elyktrion. Some select Hands To works tickle the same nerves too, the SFO album especially. Oh and DMDN - Agonistes, even though admittedly quite harsh, seem to pass through the same time-bending wormhole as the other weirdos mentioned.

Zeno Marx

Quote from: Baglady on May 06, 2020, 09:37:22 PMSome select Hands To works tickle the same nerves too, the SFO album especially.
Interesting comparison.  Makes so much sense.
"the overindulgent machines were their children"
I only buy vinyl, d00ds.


early lo fi Italian proto black metallers has been brought to my attention
The vocals sound closest to "critters" characters talking ive heard so far.


Quarantine has offered me more motivation to start buying more records/tapes that I actually want instead of local shop filler, so I finally received my copy of the Con-Dom/Militia's "Scorched Earth Policy" tape and was not disappointed.

The tape had never been played before, and the sound was very clear and incredible. Con-Dom doing what he does best, but Militia's side is what did it for me. Having hearing these tracks for the first time, I didn't expect such the nice contrast between the artists. I understand why they felt compelled to reissue it on CD format in the early aughts.

Fistfuck Masonanie

Spore Spawn - Okureteshimai c20 (Foul Prey)

This one really took me by surprise. To be fair, I haven't heard any of the artist's past releases.

Very well attuned and a great breadth of detail. Carefully rides the rail between quieter passages and building to harsh moments in a thoughtful way. This is very close in style to the recent Kazumoto Endo CD, Keiyo. I've heard this style labeled as "post harsh noise" or something to that affect but not sure it completely applies or if I'm in the love with the connotations the word "post" carries with it.

What really makes this stand out is the great composure and intelligent flow to the two tracks. There is an extreme and beautiful attention to detail in how the two tracks progress. Both in the narrative sense and also in the flow of the cut-up style utilized in the harsher moments.

Going to keep my eye on future releases from the artist. Excellent stuff.

Fistfuck Masonanie

Blind Date - Acting Class (Oxen)

Tyler Keen's Blind Date has been one of the most consistent American noise acts in recent years. Release after release seems to somehow out-do the last which is impressive as everything I've heard going back to Open Trap on New Forces has been exemplary work. The sound is in line with classic Americanoise junk metal distorted to the outer limits, however his ability to dial in the frequencies and textures is unmatched by most current artists. The bass flattens and the mids are crunchy as fuck while coming through extremely clear from one another. The CD format benefits the work here as the frequencies are extremely pounding and crystal clear. Even after the 39 minute disc is over I'm left wanting more.