Didn't buy much music or do a good job of following up on projects I'm interested in throughout 2017, so a "best-of" list would be pretty dumb, but here is an excessive amount of reviews of highlights I've received in trades and so on:
O Ratel Ratel "Vervaag" CS (Several Minor Promises, 2017)
O Ratel Ratel "Tranendal" CS (Audio Visuals Atmosphere, 2017)
O Ratel Ratel "Zomerzonde" CS (Audio Visuals Atmosphere, 2017)
An apparently virtually-unknown project I received in trade directly with the artist, O Ratel Ratel is pretty damn good stuff that needs more exposure. I won't review each tape one-by-one or track-by-track, because there's too much material and I'm writing from memory, but overall I'd describe it as a mix of industrial, drone and musique concrete experiments. While it's definitely indebted to the current vogue of "tape noise" et al, this is hardly anything that would show up on some tiny Scandinavian label, Vitrine, Hanson, or whatever. A little more fully-formed and evolved, this stuff is more like a modern take on XX Committee, old Maurizio Bianchi, and maybe even stuff like Vivenza or Brume. I think a lot of folks reading are basically missing out, as this is really good, although it's hard to differentiate between some tracks and tapes. In terms of style and atmosphere, there's none of that dour, melancholic vibe even in more subdued parts, just a sort of lush tranquility. In more energetic sections, they tend to be rhythmic and uplifting, rather than aggressive and intense. I would guess that a whole lot of experimentation went into everything before the ideas were formed let alone the record button was pressed, and I have to say I wish this much effort had gone into my earlier projects. Lots of thin, hissy crunch and saturation via tape, semi-melodic synths, strange percussion, odd field recordings, and a huge emphasis on reverb/modulation effects. If you're not necessarily looking for groundbreaking stuff, but want a departure from the usual industrial heaviness, albeit without moving into bedroom lonely-guy melancholy, this will probably appeal very much to you. Crumer over at No Rent should put out a tape by this guy, as that'd give him the exposure he deserves.
H.Ö.H. self-titled CS (self-released, 2017)
H.Ö.H. "Random Bursts" CS (self-released, 2017)
I realize that the fearless leader of this forum/magazine has already reviewed these, but I thought it worthwhile to include my own because I had a totally different impression. While he described these type of minimal, crude fragments as having a "disturbing" quality, I found them relaxing, meditative, even peaceful! Sure, we are talking about grainy radio static overdriven on tape, cable humming and hissing, tinny metal clanking, and fluttery tape warping, but I basically felt zero aggression, darkness, anger, sadness etc. regarding these tapes – just a dedicated enthusiasm for a very simple but effective range of closely-related sounds, which happen to be a bit weird and slightly abrasive. This stuff is basically the definition of "tape noise." Not much structure to speak of, just experiments of texture, sound, and mic placement. I feel like this stuff has little appeal to those always needing something heavy and loud, but on the other hand, I think anyone interested in basic, effective sounds with an odd, personal character to them would appreciate if not really enjoy this project. There's just nothing else to compare it to. The Vitrine/IDDB crowd would shit their pants over this stuff if they just gave it a chance.
Urall "Nothing But These Bright Edges" CS (Midnight Manhunt, 2017)
Bought this basically at random because I'd seen the artist post here occasionally, and wanted to take a chance on something unfamiliar. I'm glad I did, because this is great stuff albeit very much the vogue "bedroom tape concrete" style that is rather current. Nevertheless, this stuff has a melancholic vibe and an austerity that doesn't feel forced or contrived. Simple, crunching and crinking field recordings alongside some looped, decayed melodies (synth, I'm guessing) and processed recordings of birds, insects, etc. This is the type of stuff to go with your morning coffee when you have to get up early and it's cold out, or maybe after coming home exhausted from work – this definitely has an atmosphere and an absorbing quality, but not overwhelmingly so. This isn't ambient as a style of music, but ambient in the sense that varying degrees of attention in listening will probably all produce valid results/reactions. I will note that this stuff is a bit "soft" and radiant, kind of like the above-mentioned O Ratel Ratel. While very much industrial and experimental in nature, I wouldn't assume it has much of a chance with the black-military-hat crowd. Folks into more "accessible" stuff would love this, especially fans of Elisha Morningstar and the Strange Rules roster. Some great warped, saturated piano recordings seem to confirm that suspicion. Overall this feels experimental and not fully-formed, but by no means a pointless exercise. Sketches rather than "songs." Get this if you like solitude and the outdoors.
Droit Divin "Tous Coupables" CS (self-released, 2017)
More not-quite-death-industrial from this French band. A huge improvement on the previous tape ( which was a live recording, much heavier), this stuff is unique in that it's not that heavy or aggressive, but still powerful. This style of synth-heavy industrial in "band format" would certainly appeal to some of the US, Canada and Euro acts doing the whole "drum machine industrial" kind of stuff, but this is more abstract and less traditionally beat-driven than comparative acts (Believer/Law, Secam Kino, etc). Basically, this is the kind of industrial I don't care for, but done in a way that I can actually enjoy and appreciate.
Regarding more details in sound, I feel this has a lot in common with older projects despite not actually sounding like them – Club Moral, Intrinsic Action, Hunting Lodge, super-early Whitehouse etc. Distinct 1-2 rhythms, bass guitar, undistorted synth, subtle melody, and heavily-flanged/delayed vocals. All that aside, there's an individualistic quality to the sound, wherein it's hard to pinpoint the atmosphere. In addition, I don't really speak French, making it all the more obscure. What I especially like, though, are the reverberated noisy background details that sometimes sound like metal junk, sometimes seem like electronic noise bursts in conjunction with the mind-numbingly simple rhythms. Tracks also seem to get more intense further into the tape, which I always like. Some of the sound details aren't as loud or as defined as I'd like, but whatever. Take a chance outside your normal sonic and/or political orientation, and check this project out for a dose of refreshing energy and precision. This will be getting repeat listens for a long time over here.
Violent Shogun "The Monotony of Death" CS (self-released, 2017)
Apparently, this tape is dedicated to myself and the H.Ö.H. fella. I want to feel grateful and flattered, but I'm not sure if I'm worthy of that! Nevertheless, I'm always interested to see what Mr. Dazet does outside his usual noisecore mess – I should note that this guy is also one half of the above-mentioned Droit Divin.
And holy fuck, he certainly has my attention. The first "movement" of side A is creeping, wet, reverberated static with incredible detail, not unlike mid-period Whitehouse or some of the shorter Vast Glory tapes. Moving on from there, more reverb comes into play as well as background drones while the static changes shape into eerie chirping tones not unlike Ultra's "Kiddie Litter." The industrial direction develops further, leaving the noise behind, to some excellent acousting bumping/banging amidst slow, menacing synth swells with a gritty tone. Some killer little details (bassy crust n' crunch) in there suggest the looping technique, but fuck if I know how it's actually done. Piece then moves back to noisier territory with the high-end scratchy textures again, but this time with an atmospheric "sci-fi" synth note in background. Maybe I could be forgiven for making my usual Maurizio Bianchi comparison, but I think that's fair here in that we have an update and/or extension on atmospheric walls of sound that he did in the mid '80s. Next section again reinstates the high-end chirp but moves forward necessarily and includes a more menacing, traditionally-dark synth backdrop, sounding kinda like Grey Wolves in their more ambient-ish moments, before a more rythmic section with some nice drilling high-end squeal against a throbbing loop of mid-range tones, which concludes the A-side.
B-side seems to continue where A left off, opening to much louder drilling high-end whine against distant, reverberated metal pounding. Anyone into that "factory atmosphere" kind of vibe would do well to get this. I'm not confident that Mr. Dazet would appreciate the comparison, but there are many moments which remind me of Graustich – "deathcamp synthwank" is how a pen-pal described that, and said description also applies here. Brittle, buzzing static tones not unlike Mauthausen Orchestra open the next section, accompanied by more reverberated background rhythm loops, creating an atmosphere not dissimilar to "Conflict" and similar titles. Sort of a Broken Flag/Kleistwahr/early Total thing going on here, I guess. Next, more sexy buzzing high-end tones over a busier rhythm loop with the same reverb setting. In many ways, this is actual music, in the sense that there are composed, deliberate elements which reoccur like say classical or rock music does, introducing enough new elements per track to justify each moment. Not only that, each track is more interesting than the one that preceded it, without devaluing the previous. At this point, what I'm hearing is more like some kind of ambient-ish musique concrete, that has somehow retained a logical evolution from the rest of the pieces. If this guy was influenced by me to do this project, he's without any doubt surpassed what I'm capable of by a significant measure. Jesus. Someone needs to offer him a label release, as soon as possible!
S.T.A.B. Electronics "Finland 2015" CS (Filth & Violence)
Received this in a trade possibly as early as January of this year and have finally gotten around to listening to both sides in entirety. Right away, I'm disappointed in myself for not having the studio recordings, because the unintelligible nature of the vocals renders me unable to recognize "hit songs" readily, in that I'm assuming the electronics aren't exactly like on the albums. Otherwise, there's still a clear, strong, dynamic sound which the heavily-effected vocals never overpower nor are overpowered by. One thing that's struck me is that this project isn't nearly as aggressive or oppressive in volume as I'd expected, instead opting for a "slow torture" style kinda like more recent Bizarre Uproar – heavy with less grit, lots of throbbing bass loops, etc. Obviously, having actually been there and having seen the backing videos would have connected the elements fully, but that's not to say this isn't engaging power electronics. Nevertheless, Mr. S.T.A.B. has a great, powerful voice that has character and style as well as rage and precision even if I can't make out the modern-day classic lines such as "I will non-align," the bitterly insightful ranting, and so on.
The guy who traded me said tape made the comparison to later Whitehouse, which is fair considering the bitter, hyper-critical, fed-up nature of the lyrics, but sound-wise, this is much more in the camp of Genocide Organ, Anenzephalia, and the like – heavy and atmospheric with little to zero reliance on pummeling and blasting. I figure an aversion to the attitude and subject matter is likely the only thing stopping many folks from stepping into the world of S.T.A.B., being that it's fucking hard to dislike things done this well with this much genuine enthusiasm and dedication. Ah well, it's not for sensitive types anyway.
Oh, and I've heard rumors of an upcoming collaboration with a well-known New York project which would fit in perfectly in terms of attitude, approach, and actual sound. Would love to hear that if and when it's realized. For now, I'll just track down the tape reissues from Unrest when I have extra cash and otherwise hope for the best. Last note – side A features a track intro that's a looped sample from a scene in Hitchcock's "Frenzy." I guess it was just a matter of time before this was included in some power electronics recording, because Mr. S.T.A.B. fucking beat me to it!
