PLAYLIST with COMMENTS/REVIEWS

[FreakAnimalFinland]

CON-DOM - Subjection

Related to that, just listened MARK SOLOTROFF "Sexual Homicide" tape. (Bloodlust! 008)
I kind of like this simplicity of one noise on one channel, and another in other channel, and mostly based on synth, I would guess. It's more rotten than other tapes he did as solo work back then (GROSS & OEC) and different than his later works under his own name. But then again, while it is 50 copies tape done back then, just like Con-Dom mentioned above, I'm kind of amused that covers would be so lazy that Mark would merely recycle photos of the same simple synth. Also in covers of Con-Dom where it wasn't related at all. Another thing is that I recall asking Mark years ago in past, am I hearing things, or is it really that many of Super Eight Loop project tapes include same pieces twice, just reversed. (No reply.) And this is case here too. It appears obvious that B-side of tape is A-side reversed. Or am I hearing things? It just makes one ask question whether making noise appears lesser importance than making a lot of releases. So many, that you don't have time to actually do new tracks or find cover artwork, heh...  But I guess questions can be filed under "who cares" section as tape is long long sold out. Still, after all being said, pretty good tape from Solotroff, despite its minimalism and simplicity.

[FreakAnimalFinland]

Not dull line recording, but resonating spaces, exploding amplifiers, etc. All that texture what made noise piece more than concept.

That's the crux of the recording situation as some of the exact same lines and analog systems are being played live which I enjoy as a feature for any recorded piece be it something like Raionbashi or Werewolf Jerusalem.  It's that fine line of adding too much of the nonexistent 'theatrical' - reverb, echo, compression, gating, etc. to achieve something that is usually played completely untreated in a voluminous live situation.

Of course I didn't mean that one should try to similate loudness, but simply capture it. Like.. lets say, to capture room sound properly, is different from adding reverb effect for theatrical purposes - to give illusion of big spaces, but often sounding exactly that. Not big space, but obvious special effect.
So when saying I'd really hope to hear HWN that IS loud, would be about someones ability to capture sound what documents utterly loud. What is audible, whatever volume you play the document.

Like:

Some like the Pure disc, the Bulb disc, and the Zabriskie Point disc are heavy and full right out of the stereo's gate while a number of the Alchemy discs have to really be adjusted and cranked to force the heavy walls of lower end to match the walls of high end feedback squeal.

To me, 1995 "electronic era" isn't so loud sounding as the earlier stuff. Of course this is not question that "louder is better". I like that 1995 release bunch for density of textures and massivity and fullness of sound. But on quiet volume, it is not that loud. Or at least not in way how I understand loud. While earlier 90's discs, despite lack of bass frequencies and being relatively thin (Quietus), it's violently loud and piercing. You can hear that the sound only emerged from utmost loud blast of amplifier power. How feedback is so painfully brutal, you feel the utmost sonic torment. And certainly, not matter of any special effects. Simply capturing loud situation when all small subtle details makes one feel what it is.

But as said, plenty of noise is more than just about being loud. Often sheer loudness takes away lot of other sorts of textures and frequencies. Especially the crunchiness of direct all-on-red tape recording can be impossible to replicate "loud". Without involving crucial elements like blown out signal on magnetic tape.

And lets say:
No problem with off-topic. If discussions catch life, they can be edited into their own topics. I would hope that PLAYLIST - being most active topic on forum, would be more than just list. Comments, discussions, advices, recommendations, etc!

[FreakAnimalFinland]

Jessica Rylan /  C. Spencer Yeh "RYLAN / YEH 2xC-30" 2x tape
Dronedisco
c. one hour of 2005 improvised noise with home-made synthesizers and electronics. I guess this moment in history of USA noise makes boneheaded industrialists grin of disgust, but it's pretty good stuff at best. Sure some quite lazy moments here and there, but shitloads of live gigs, collaborations and releases behind, they know what they are doing. Perhaps B-side of set is the best. But at the same time moments when Rylan is humming quietly some vocals below the warm analogue noises work well.

XOME "switch" tape
Hospital productions
I guess dubbing on tape makes Xome here sound less forceful, but at the same time it may add more grain and texture to very line-sound pedal noise. Not near as good as for example biz card disc on PACrec, but still pleasant ultra hectic button tweaking harsh noise. Despite oversized format, I actually like this style of packaging.

[FreakAnimalFinland]

Some weeks ago was listening WORKDEATH "excuse me but I think..." tape. Realised I also have their "Count The Days" tape on Hospital prod. Possibly first tape of project after couple CDR's. One side has (buried) vocals and muddy electronics, while entire b-side is brilliant analogue drone. Always slowly modulating into new things, but relaxing and nice sound. In some ways makes me think of Romero, although not perhaps compositionally same. But that drone has organic feel to it, even when being electronic. Good stuff. And A-side not bad either. Not at all. Just less monolithic dimensions.

DEAD MACHINES "Full moon" tape
Hospital productions 101
Same era tapes all these 3 mentioned today. Same kind of tall oversized packaging, I guess ltd 50 each.  John Olson & Tovah Olson duo doing improvised semi-goofy noise. About thousand tapes on american tapes and such labels. Quiet, primitive, non-talent guitar bling-blong and sax blowing. Gong hits. Then just suddenly everything snaps cut in middle of sounds going on. Flip b-side and same thing continues. Think of some random late night jam with toys, instruments and gadgets and that's that. Not noisy of distorted. Hardly lights blinking on tape for most part of its duration. It gets noisier and more intensive before ending, but too bad most of time quite worthless stuff and both sides appear like random cut from longer session. Start and end in middle of things.

[Bloated Slutbag]

Chris Watson - El Tren Fantasma
Chris Watson‎– El Tren Fantasma - The Signal Man's Mix
I'm on a train, y'all. Look at me on a muthafuckin train! Were this not so painstakingly composed and arranged, I'd have resurrected the "sound of engine & industrial mechanisms" thread. Fully cinematic sound-recordist documentation aboard the Ferrocarriles Nacionales de Mexico, a real-life epic "that has now passed into history". But what a way to go. Wonderful juxtapositions of Watson's more representative nature sounds - insects, crickets, chirping - against the occasionally all-encompassing – indeed, overwhelming - chuff chug hiss screech of one raunch-ass rig. One gets a sense of Watson attempting to document every of the more dramatic species of (aural) sensation to be experienced upon this fantasmagorical ride – save perhaps the odd break to take a big ol' dump (though it wouldn't surprise me if that's on here too) – all overlaid, interpolated, mixed...smeared...  to output rather heavy, heady, concoction.
The Signal Man's Mix is almost worth the price of admission, containing extended mixes of two original El Tren efforts. The first I am disappointed to see is a remix my least favorite El Tren – faux  rhythmic bent and all - but develops the (much preferred) ambient elements to an extent that actually salvages in me a nodding, synchronized, agreement. The second gets things back on track, electing to remix El Tren's satisfyingly thunderous closing number, spicing things up with a few ringing ambient tones, and considerably upping the oomph.

Z'EV + Chris Watson - East African Nocturne
I knew I'd have to wait till late night, well into a few cans, before subjecting the capacities under percolation to these nocturnal ejaculations. Perfectly buzzed conditions, I'd surmise, in which to appreciate the buzzing narrations of masters z'ev & Watson. Buzzing, well. "Buzzing" is truly not the word. Better words might include: (hyena, elephant) snuffling, (hippo, frog, lion) snorting, (vulture, insect) scratching, and other onomatopoeic words that rhyme with (real life) "flatulence". Behind all this sits z'ev, re-arranger and processor, offering a subtle backdrop of curved metal drone and scrape. Like paying witness, at the edge of consciousness, in the throes of sleepless drift, to some creepy, night-time, African ritual... at a safe distance - at least over the next rise - and separated by several reassuringly solid trees. I, Bloated Slutbag, being at this time of considerably less than sound mind, declare this z'evdarkened spew the bzst fluarrging pizzzflflubbp aarye eerurrrewwuppit.

K.K. Null _ Chris Watson _ Z'EV‎ - Number One
Another z'ev brainchild significantly gentrified by the wonderful wildlife of Chris "I'd record my own asshole in the name of science" Watson. Were it not for the incessant yammering of Mr Null, this could be a(nother) dank, smoldering, ritual of epic proportion. With Null, however, forget any trite manbeast struggle with nature or nurture. This one leaps right off the planet. So here we are, deep in the jungles of Zaire, venturing ever deeper, enjoying the slow z'ev'd throb amid Watson'd bugscape and- suddenly- crazy man Kazuyuki starts wailing away. Wham bam squeal slam. The dark ritual atmosphere is all-pervasive, but so too an instability, a raging tempestuousness, ever verging on boiling over. The insects populaion, alien. The fauna, dripping, grinning, salivating. The landscape... somehow wrong.  A natural progression from here, I think, would be a  (painstakingly arranged) Watson recordist project that cuts out these z'evnulled middle men, juxtaposing heavy industrial construction (sites) with densely populated forests, or something. Has such been done? Should.

[Zeno Marx]

K.K. Null _ Chris Watson _ Z'EV‎ - Number One

one very fine album

[Levas]

Plague Mother - Starkweather/There I've Gone - First couple releases of this project was a pleasant surprise for me. This one is quite weak and boring.

Toil - Obscure Chasms - nice black metal

Puce Mary - The Viewer - Decent album, but not something I'd go hunting for and paying ridiculous amounts.

Giel Bils - Somme - I guess we've traded with this label from Belgium some time ago because I saw the cover of this lying on the table for quite some time. Nice one. And I was really surprised about the contents of the tape! Great material. 42 untitled tracks of murky, muddy, lofi sounds that has some very specific old-schoolish vibe. Enjoyed it thoroughly and I'd recommend to check it out.

Giel Bils - Abide to Hate - this one is shorter and I didn't get the same feeling as from the previous tape. But not bad.

Hvide Naetter - Massernes Fremdrift - Danish separatism? Rather good industrial - synth, percussions, etc. Check it out too.

[Levas]

ah sorry, I've confused Plague Mother and Painted Woman. Don't remember much about Plague Mother

[FreakAnimalFinland]

COMA DETOX "Reduced to an Invalid" tape
self released debut tape, ltd 55 copies back in 2009. He did one tape for Nil By Mouth in 2009, another tape for Filth & Violence next year and then split LP with Mania.. and that's it ? I guess so. No news for couple of years. I think there is perhaps very '09 filthy sound approach here. Raw sound based on metal junk, primitive electronics, delay drenched shouting gruffy vocals, overall analogue and rotten sound. Something to be found when one would mix together Bizarre Uproar, Mania, Pogrom (of course this came later on..), etc. Nothing very original or groundbreaking, but at the same time, in genre of brutalist industrial-noise-pe-filth it works very well, and perhaps belongs to very top of the US newcomers at that time.

ANAKRID "Under Going From / From Going Under" tape
Cathartic Process
Jesus! Thinks of band who did 12 VINYL LP's between 2005-2014 + bunch of CD's, tapes and other things. I think I don't even have more than this one tape? I guess most of releases are on his own label anyways, and it isn't really more than one LP per year.. but still kind of weird to think being completely clueless of his other work. But in other hand... Electronic ambient-noise of some sort? Not sure what other releases are. This is dubbed all-on-red on tape, so not sure if it has added grain and pressure to sound, what otherwise appears to be hi-tech effect games, almost sci-fi space sounds in my ears.  At noisiest, it is almost noise. Other times - which is most of the tape, just multilayered heavily effected digital cinematic ambient. Well, now I understand why I haven't really noticed this project despite dozen LP's... OK stuff to listen, but awakes zero emotion or enthusiasm.

[Foyer Second]

DEAD MACHINES "Full moon" tape
Hospital productions 101
Same era tapes all these 3 mentioned today. Same kind of tall oversized packaging, I guess ltd 50 each.  John Olson & Tovah Olson duo doing improvised semi-goofy noise. About thousand tapes on american tapes and such labels. Quiet, primitive, non-talent guitar bling-blong and sax blowing. Gong hits. Then just suddenly everything snaps cut in middle of sounds going on. Flip b-side and same thing continues. Think of some random late night jam with toys, instruments and gadgets and that's that. Not noisy of distorted. Hardly lights blinking on tape for most part of its duration. It gets noisier and more intensive before ending, but too bad most of time quite worthless stuff and both sides appear like random cut from longer session. Start and end in middle of things.

Not long ago, I was listening back to their Futures album on Troubleman and actually enjoy it a lot. I may have got it when it was released but only spinned it 4 or 5 times since then. Strange how my tastes move with the sound I am personally seeking. Anyways, I was wondering what are their releases people would recommand ? As usual, discography is huge, varied and filled with hit & miss as I got a rip of "dead end at Olson St." and thought it was boring as hell (seems close enough to that Full Moon tape described by Mikko with live recording of electronics & toys wandering quietly). Futures focuses on electronics (no flute nor bells, etc). That sense of wander is still present but here, it is wonderful. There is always something happening with pieces shifting in differents directions (to stay down-to-earth). [Edit : I was just listening to the CD and if first 3 tracks are great, last 2 are less enjoyable and sound differents from the first part of the album; maybe is it bonus material put on CD cause I see there was a 10" version of that release]

Now, about that Xome tape on Hospital (Switch), I didn't listen to it for a long times but remember that I though it was a shame that it got dub like this. No high end. Mute sound.

[urall]

DEAD MACHINES "Full moon" tape
Hospital productions 101
Same era tapes all these 3 mentioned today. Same kind of tall oversized packaging, I guess ltd 50 each.  John Olson & Tovah Olson duo doing improvised semi-goofy noise. About thousand tapes on american tapes and such labels. Quiet, primitive, non-talent guitar bling-blong and sax blowing. Gong hits. Then just suddenly everything snaps cut in middle of sounds going on. Flip b-side and same thing continues. Think of some random late night jam with toys, instruments and gadgets and that's that. Not noisy of distorted. Hardly lights blinking on tape for most part of its duration. It gets noisier and more intensive before ending, but too bad most of time quite worthless stuff and both sides appear like random cut from longer session. Start and end in middle of things.

Not long ago, I was listening back to their Futures album on Troubleman and actually enjoy it a lot. I may have got it when it was released but only spinned it 4 or 5 times since then. Strange how my tastes move with the sound I am personally seeking. Anyways, I was wondering what are their releases people would recommand ? As usual, discography is huge, varied and filled with hit & miss as I got a rip of "dead end at Olson St." and thought it was boring as hell (seems close enough to that Full Moon tape described by Mikko with live recording of electronics & toys wandering quietly). Futures focuses on electronics (no flute nor bells, etc). That sense of wander is still present but here, it is wonderful. There is always something happening with pieces shifting in differents directions (to stay down-to-earth).

I got about 20 Dead Machines releases bought back when they were released (Full Moon being one of them)  And actually haven't listened to them in the recent years.
But i do remember liking 'Mystery of the fall off islands part two" , 'minister to a mind disease', etc..

[octis]

Gruntsplatter - The Abberant Laboratory

You brobably all know Scott Candy's artificial death indust soundscapes .
The exact feeling is like a smog is spiraling right through ma vains . Refiling and pumping black devoted resonances of howling devillish souls .

[Dr Alex]

Gruntsplatter - The Abberant Laboratory

You brobably all know Scott Candy's artificial death indust soundscapes .
The exact feeling is like a smog is spiraling right through ma vains . Refiling and pumping black devoted resonances of howling devillish souls .

Love that album a lot!! Almost all Gruntsplatter's releases are great.

[FreakAnimalFinland]

LASSE MARHAUG "Camellia Sinensis" 4 x tape box
Tape Rape
Very neat release. Big vinyl box housing 4 different color tapes, pro-tape with body prints. Blue, Red, Green and Yellow tapes. Very thick paper back book, glossy pages, including collages, photos, other artwork. Landscape, movies, lasse portraits, and Lasse interview (conducted by myself, for Special Interest #1 tape feature and reprinted here). Stuff is recorded 2008-2009, using guitar, tape delay, electronics, metal objects and contact microphones. It's kind of unfortunate that two first tapes appear quite weak. Simply due lack of sheer amplification power. Sound itself is fast and always busy kind of harsh noise, but it suffers from some things like certain 2000's works of Putrefier or old Thirdorgan. It's harsh noise, but lacking punch. No crunch, no heaviness. Just quick moving distorted stuff. Yellow tape gets noisier with good punch added. Tape delay, crunch and loud electronics get on much much better level than two previous tapes. Makes me think of 2000's Government Alpha on A-side and B is much more about massive metal junks and thin textures on top. On the final Green cassette, Lasse is also much more amplified feel, on A-side sound also become crunchier and louder. Most of all very crisp with short room reverb. B-side remains quite high pitched electronics without ever being really noisy, but still among best stuff on this box. Still not his best works, but often much louder. It all appears live recordings and is a bit hit & miss. I think two first tapes don't really hold expectations. Two last ones makes box worth having!

[FreakAnimalFinland]

KAKERLAK "Temporary & successive stages" tape
Thorax Harsh Cassettes 13
Wall of brutal noise. But pretty good in that style. It has some nice little extra crunch compared to some others. Grain of noise is not that small, but it has physical strength despite being "just wall"..

CRACKED MIRROR "Despair" tape
Grotesque
Ltd 35 copies tape from Kazuma Kubota's harsh noise wall kind of project. First half of a-side shows us very very typical stuff a'la mid 2000's The Rita or Vomir. Then suddenly things change and he hits more typical live-at-one-take harsh noise blasting what could compare some older Richard Ramirez project stuff. For this guy, stuff is very simple, but I find the normal harsh noise stuff enjoyable, while wall stuff is too generic. B-side mix of harsh noise wall and moments of metal junks. I think best parts its middle of a-side.