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

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Quote from: accidental on August 20, 2020, 12:31:11 PM
Quote from: W.K. on August 20, 2020, 02:02:47 AM
Ryoji Ikeda ‎– dataplex

Was a long time since i listened to him. But i did so after the millennium. I liked +/-, Oc and one of the discs of Matrix. The disc without 'beats' and just frequency bliss (can't remember if it was the first or second disc? But love that disc). But op. was really boring to me. I've yet to find the beauty in those clean sterile tracks. I've owned dataplex since released but have yet to play after being disappointed by op.

Saw him live in 2012 and i didn't think it was much fun. Judging from the video projected i assume he played Test Pattern. But the venue was not the best. Haven't heard anything since. But i'll give dataplex a listen soon.

It's been 10+ years since I listened to Ryoji Ikeda but I remember Dataplex being one of my favorites, for whatever that's worth.


Let me say from the top, it's crazy to me the amount of good music/noise that's come out over the last year, both new stuff and reissues. Especially in the last few months. I don't know if it's covid or what but labels are just firing on all cylinders right now. I don't know what its like for the non-record collecting junkies, but as someone who needs to own it all, I can't even come close to keeping up. I feel like a dog chasing its tail.

So anyway...
New Direction Unit ‎– Axis/Another Revolable Thing 1 & 2 LP - Blank Forms Editions - so part of the reason I can't keep with the new shit is I keep buying reissues of the old shit. I was very interested to hear more Masayuki Takayanagi after getting his 1970 collaboration album with Abe Kaoru and then I found out about these reissues shortly after. I have limited exposure to free jazz and the like but I know what I like and I like this. I'd say almost more than the guitar abuse the percussion is just a joy to listen to. You'd think a track called "Fragment - III (Percussion Solo)" would be the one to skip but it's a fucking pleasure. There are so many different sounds and they're all recorded so well the whole thing feels like a playground for your brain to revel in. Reminds of me of the old "brain dance" descriptor for AFX. Yes, somehow a live recording of Japanese free jazz from 1975 and Aphex Twin share common ground.  I think I'm definitely hearing this album at the right time in my life to appreciate it. Special mention to the thicc slabs of vinyl and their incredible sound despite having 20+ minutes per side.

Heat Signature ‎– Disguised Human Presence CD - WCN - So I've heard nothing but good things about Heat Signature since last year but me being the person I am just picked up this album. All praise has been earned. The first word that comes to mind when listening is "sizzle". This album sizzles like a thick cut of beef in a cast iron skillet. There's all sorts of rumble and crumble and sirens and squeal and blow-torch power, but it always sizzles in an oil-cooking-meat kind of way. I also think it gets better with each track which is really effective way to get you to replay it.

Maskhead ‎– Scatchrist cassette - OFR - It's been many years since I listened to Maskhead's debut tape on F&V but I remember liking it quite a bit. In my memory it's nasty synth heavy noise but I'm starting to think I'm misremembering. Expecting more of that I gave Scatchrist a listen two nights ago and was a bit surprised. The sound was not as thick as I remembered [the tape was also dubbed pretty quite], nor was it as synth oriented. In fact the a-side is samples, some simple metal work, then the recording reversed partly, with some noise generators on top? At first I wasn't too impressed but I was able to fall into the groove towards the second half of the a-side. the b-side was closer to what I was expecting, probably a one-take recording of synth, sample, noise generator. At times the limited elements really made it a joy, but other parts felt a bit like a drag. I don't know if this is intentional or part of the concept but somehow I came away with a good impression, even if there were times I wanted to fast forward. I wanted more refinement or a thicker sound, but I was somehow pleased that I didn't get what I wanted too. I'm going to have to dig up that first tape on F&V soon.

Killer Bug / Maskhead - Shibari Dojo / Awakenings Of The Perverted Beast 7" - Hiisi - I know this may seem ridiculous but I'm somehow dissatisfied with the titties on the cover. The titties and ropes themselves are great but the stark, blue-hued torso is almost like an AI produced approximation of japanese bondage porn, all humanity stripped away. Which kinda makes it cool to me now but what I'm really saying is compare this: to this and explain to me how this modern, clean aesthetic is better. Champagne problems aside, Killer Bug fucking RIPS! The sound is crystal fucking clear and goes straight for the cock like snorting a line of viagra. [don't actually do that, just take the pill regularly]. If you like Killer Bug I don't know this could disappoint. I listened to this right after Scatchrist so I was interested to see how Maskhead's longform style would work out on a 7" and I'd say it's pretty good! Honestly I need more listens to his side to make a better opinion but I think it's always easier to make a good 4 minute noise track than 20 minute one.

Hijohkaidan ‎– The Hijohkaidan Tapes LP - Fantastique - everyone was so horny for the King of Noise reissue but it's been oddly quite about this one. I didn't even know about it until a few months ago. You know it's fitting that the record ends with a Hawkwind cover because these tracks are generally pretty damn spacey. This is especially true with long jams "The Beyond" and "Salem's Lot". But there's also some wild vocal attacks on the first two tracks and peppered in with the others as well. There's even saxophone on a song. And an old Incapacitants track too! For such a compilation spread across 7 years, it works really well. I think I actually like it more than King of Noise :D   It also slots in really well with all the Japanese psych music I've been listening to. Also, it's probably worth owning for the cover liner notes. So if you don't have this reissue, get this shit ASAP.


REMNANTS - Marred By Time LP (Chrisis Of Taste, 2018)
Not a name I was familiar with when this came out, and I still haven't heard anything else by him. A surprisingly accessible release (relatively speaking) for Chrisis Of Taste. Idea Fire Company, Vanity Of The Tongue (some sort of weirdo experimental punk) and Thomas' own field recording based stuff. And then REMNANTS, which to me feels like a rather anonymous crossing of Darksmith and early Altar Of Flies. Anonymous in this case isn't necessarily a bad thing though. Very competent faceless basement murk. I still return to this fairly regularly, and it struck me when I played this last night that I've sort of hummed parts of this in my head alot (to the extent that you can hum tape noise, but you know...). Solid LP.

ALTAR OF FLIES / MIRRORS ARE BLACK -Split LP (Tamed Records, 2012)
SO I wanted to hear some ALTAR OF FLIES as well, and pulled out this thing which I hadn't played in years. Much in line with his other recordings from this time (Female, The Violent Blow etc), though fairly quiet even by AOF standards, and probably best suited for headphones. A slow slow buildup of his usual mix of field recordings, maltreated tape and dead electronic tones, evolving into a nasty crumble and feedback climax before a slow regression back into the tunnels. There's more to it than that ofcourse, as always with AOF. Perhaps not as distinct as the albums mentioned, but very good nontheless.
MIRRORS ARE BLACK was the shortlived solo project of Peter Henning (Amph). More old time industrial than his other efforts (first track is fittingly entitled "Tesco days"), and at times I can't help but think of Alfarmania & Projekt Hat's Mardrömd Dödsström LP. Radioactive fallout, fog, strange colors, freaks, dying dogs and whatnot. All that combined with Henning's skills makes it stand out more than I remembered.


ALTAR OF FLIES - Eremiten C40 (Klorofyll, 2009)
The first side of this tape, recorded in early 2009, is to me where he started getting really really good. Just before that whole string of better and better albums (Let New Life Rise, The Violent Blow, Rabbit Hole etc). A breaking point maybe? Here's where the field recordings are claining more ground in his sound, blending in with the electronics. The flipside was recorded two years earlier, in 2007, and it shows. Less focused, a bit aimless at times. Still great and better than most though. Initially an almost death industrial gone tape noise vibe to it. I'm not a fan of Atrax Morgue, but I do come to think of his earlier work here (minus samples and vocals of course). Later on he goes on stranger excursions. Wet  swampy electronic gurgles, feedback, waves of ominous rumble... Not sure how Mattias feels about reissuing early material, but if any of these earlier tapes is worth reissuing it's this.

SEWER ELECTION - Blizzard Amplification 6xCS (White Centipede Noise, 2020)
Dan has always been on the move with Sewer Election, but this is a direction I didn't expect. The ripping textures and sharp frequencies are present as always, but there's not much of the air of piss-soaked noir I've grown fond of in pretty much all his previous harsh work. I can't say that's something I miss in this case though. Parts of the set sound more like Japan than America or Sweden. Names like Monde Bruits, C.C.C.C. and MSBR in particular come to mind more than once (and he's never even been a big fan of the latter). Hell, even a short splash of T.A.D.M. in the end of "Filterbank Waste Campaign"! All this while still sounding very much like (harsh) Sewer Election. It's a massive thing to take in, with several sub-directions and less harsh but more adventurous little detours. Despite the size and the variety it is very cohesive though. Impressive! I smell a future classic.


After the summer holiday I've decided to properly get into listening to some more Noise and related releases and start a new project called Polar Visions Amplitude with reviews as well as interviews later on. Listening to a week's worth of releases for every selection, so anyways here's my thoughts on the first selection:

Daniel Menche: Desiccation (Daniel Menche) (Download)
This is a pretty lengthy album to start the selection with at around 1 hour 41 minutes but it's a very rewarding listen. Consisting of 4 20+ minute droning pieces Menche does quite literally create the kind of drying out type of sounds you can expect from the title and cover but varies his textures quite a lot throughout the 4 pieces. The Industrial tinged drones are quite heavily layered and rumbling in low frequencies, featuring metallic screeches, high pitched tones and percussive clanging metal container sounds. Quite hypnotic and especially the last track features some great surges of metallic containers rising up in the centre of the stereo image. These drones are definitely more Industrial like than I expected actually.

Daniel Menche: Soundtrack for the book "D'entre les morts" (Daniel Menche) (Download)
Moving to the second Daniel Menche I listened to, this 20 minute soundtrack to a curious French novel is definitely more minimalistic in nature. Menche's clearly structured the composition in a more circular manner, featuring repetitive low-pitched metal tones, train sounds, liquid squelchy noise and more Industrial elements, the elements pretty much fade in and out of each other over the 20 minute length. It's still a great listen however as again the metallic and resonant elements are a nice recognisable texture and it retains the hypnotic element from Desiccation. From what I got in these two releases so far, this period of Menche's work is definitely focused a lot around Drone but with a very resonant Industrial edge to it. Good stuff.

Kleistwahr: Over Your Heads Forever (Fourth Dimension Records) (CD)
Now this is an album that based on the description at Old Europa Cafe (8 kaleidoscopic Noise pieces) would be more noisy but in fact this album is more atmospheric than I thought. Consisting of 8 pieces sequenced and mixed into each other on a single 50 minute track the album's sound ranging from quite Psychedelic dissonant droning guitars mixed with Noise edges to Industrial tinged sections of Noise blasts in what sounds a bit like an 80s style of collaging with speech recordings and eerie distorted vocals. Based off the album's artwork which appears to show a rather depressing looking neighbourhood I definitely got some kind of narrative of oppression through the music and noise on this album as the tracks vary from atmospheric to metallic Noise. Definitely a curious journey of an album, I'll dig into Gary Mundy's Kleistwahr discography as well as Ramleh some more for sure, to see how which direction of sound he's explored over the years.

Rudolf Brainnectar (Schimpfluch Associates) (2 CD)
This one's definitely an album that really requires headphones to get the full experience of it, but I still did listen to it on speakers at first and it did showcase the nicely intense low rumbles in here. A lot of field recordings of water, crackling fire, crickets, drilling sounds, body squelching make up two different sequences of at times quite scary abstract textures. has amplified the water and crackling field recordings quite a lot, creating these rhythmic loops that are quite nice and Junko Hiroshige's vocals are appropriately harsh mixed with the resonant spaces and forest rituals mixes them with. The second CD is a bit more immediate and radical in approach than CD 1 as throws more rapidly cut bursts of Noise, gunshot like sounds and dark ambiences created out of the field recordings mixed with low rumbles, noise, obscured vocals into the track sequencing making for less quiet moments overall. Quite a dynamic and varied listening experience on this one and the Noise bits are nicely overwhelming.

Sissy Spacek: Slow Move (Troniks) (CD)
Ah now this one's quite a blast, the whole time too. Pretty much 25 minutes of Harsh Noise mayhem with the 5 tracks forming a continuous hazy wall of harsh sound. Starting off quite static as a singular wall the group quickly afterwards starts to shift the layers, bringing out strangely melodic fuzzy sound, clattering stuff being thrown around between the left and right channels and fuzzy screeches erupting from the centre. I was quite amazed at how much details can be heard even through the loudness and density of the raging storm of Noise and there are some slight dynamics in the pieces too with the group at times switching from screechy high end noise to lower distorted scraping and shifting from full on stereo haze to panned screeches. A great listen, left me wanting for more right after it ended.

Luasa Raelon: Consumed Within The Years Of Lead (PACrec) (CD)
This one's not quite as intense as some of the other releases, falling more into a field in between Industrial and Noise elements mixed with Dark Ambient like melodic droning. The first couple of tracks from this 5 track album are a bit harsh with some not very distorted but piercing screeching appearing in the left channel, but other than that feature these quite sharp and vibrant synth tones and low pitched synth drone. Trippy bitcrushed noises also appear in these first tracks but later on these get replaced by more classic styled metallic Industrial rubble. In terms of textures Luasa Raelon has got quite a nice personal aesthetic but the compositions themselves are quite idle at times with the music not changing much in terms of tonal development or shifting layers or new sounds popping up so it does leaves them hanging a bit in the air like that. But Luasa Raelon definitely did create some nice combinations of sounds in here in the end.
Insomnia Index is my Ambient Noise project. The Nocturnal Library an upcoming Noise archive and writing project.

Bloated Slutbag

See bottom of this post for digest commentary

Aprapat – Chamber Music c20
Aprapat – Ultimate Freedom c32

Aprapat popped up on Special Interests earlier this year via a smattering of enthused if pithy plaudits from a few fellow Fins. Sufficient to spark interest in duly sampling the sonics but insufficient, in my case, to prepare the earholes for the primo penetrations so persuasively pummeled home. The project manages to project a sound that– at peak saturation– is immediate, dense, complex, while tightly reigning in the scope of materials in play. Of the materials, metal scraps a'plenty, emphasis on plenty, and therefore, as far as I'm concerned already automatic win. But also ranging wide by way of burnt-to-shit textural blow-out, particularly via the principle worldwide debut, Ultimate Freedom.

Before getting to the principle worldwide debute, a few words on the follow-up. If bandcamp is anything to go by, Chamber Music debuted in March of this year, a good three months after Ultimate Freedom. The title is a good clue, and given that Aprapat remains relatively obscure– though I'd sincerely expect not for long!– I'd like to draw comparison to a couple of similarly obscure entries.

First, Violent Shogun's memorably noisome study in scrap, Taste Our Japanese Steel. When they say chamber music, they mean it. Per TOJS, the baroque sensibility is there, twisted deep, excruciatingly so, in gut. Dynamically layered deliberation to introduce the instrumentation in play. Thematic movement working in counterpoint to carefully arrayed assemblage. Progressive builds to mighty eye-watering crescendo. Harsh FUCKING Noise, yes, but elaborated in a way that is downright conversational. Second, the live T. Mikawa track from FUCK MY ASS: Live at Binspark. On the FUCK MY ASS occasion, T. Mikawa memorably fucks with initial expectation by backdropping his molestations of a small, manipulable, square of scrap metal with looped mournful dirge. Aprapat similarly backdrops his scraps with a modulated loop of depressed gregorians on lithium. In both cases, The Mikawa and the Aprapat, the backdrop is almost completely forgotten in the ensuing pile-on of harsh pointy-ness, and both cases are similarly served by quite pointy-edged thwacking of collapsible scrap impact.

Pointy-edged thwacking of collapsible scrap impact is pretty much all you get in the opening track, Chants Of Steel, building steadily toward massed mangled messes of scrappily thwacked chaos. First the muffled, lithium-blessed, gregorian dirge. Then the incremental introduction of various acoustic scraps. For the opening minute, the scrap edges are plainly visible, broken shards clanking and clattering inauspiciously in the corner, the occasional heftier impact hinting at the jumbled cantanker-mess to come. Soon we're deep in the mess of it, a quite robust and raging working-over of the channel pan, amplified scraps smashing and bashing together with forceful physical exuberance. At this point the gregorian dirge is reduced to a dull, recurring drone, but. As the dirge amplifies the field starts to distort under the pressure of meatier bass textures. Some smashings now past the midway mark, the whole scrapping horde drops out, leaving in its wake a low oscillating throb to underscore the final recapitulation, Stained Glass. Again by increments subtle scraps of steel– or glass– are introduced, soon to explode confetti-like among more pointed, sharp-edged glitters and shards. The explosive exercise is short-lived– short-lived but lip-smackingly nasty!– biting and tearing with a ferocity that appears hell-bent on inflicting upon the remaining scraps a maximum of physical damage. Damage done, the movement ducks back into looped throb before dissolving completely in a closing medley of quietly muffled scrapes and prickly static spittle.

Side B takes its sweet old time leading up to the inevitable hot mess of harsh, four solid minutes worth of mild mannered restraint entitled Courtyard Shadows. Dull mechanical scrapes loop against austere clanking tests of the metal, indistinct wobbles and pings sounding vaguely waterlogged in the smudged corner of an unseen antechamber. The harsh drops without warning, tightly compressed acoustics of Stained Glass II thwacking with the collapsible scrap impact of strangulated metal-fused-glass in heat. This is by far the most pointedly vicious movement of the tape, fixing its brutalities on skull central, making no effort to gently round out the stereophonic scope. After two minutes, the brutalities abruptly cut out, perhaps concerned about the damages being wrought. In their place a brief stretch of amplified bass hum ushers in a second slide into scrap, Wind Of Chains. This time the scraps are noticeably spare, widely panned about whining drawls of low key feedback. Hefty low-end rumble lurches into the field as the scraps start again to gain weight, and dimension, crafting in their comparatively mellow concatenations a decidedly cinematic depth, shattered shards tumbling and pirouetting about the stage: The Dance Of The Sugar Plum Scrap Heaps! At last it is but the naked scraps in their singular glory, tumbling completely out of the picture as a dull mechanical loop ascends to abbreviated tape-burnt finish.

In contrast to the intensively scrap-focused investigations of the more recent Chamber Music, Ultimate Freedom is gifted a relatively broad palate of textures over which to range, unhindered in the event by the limitations of track titles. As such, this feels more like a proper statement of intent, a full accounting of the project's not inconsiderable powers in potentia. Crudely bedraggled crunch-gristle, sputtering crud-motors, mangled tape abuse, concrete dirt-pile snuffling– and, of course, masses upon masses of metal-junk scraps in variously hammered states of continuous collapse.

One commonality between the two tapes, the shit is raw as fuck. But where the brute rawness of Chamber Music is finessed in the measured inter-leavening of dynamic scrap impact, Ultimate Freedom seems more inclined to revel in the brutality of the moment. The moments stretch out, clearly in no hurry to disturb their revelry, easily accommodating each successive shift in terrain, smoothly mingling with the disheveled textural non-congruities as they lurch into play. In other words, the work flows, the need for track titles forgotten in their drawn-out rambling elaborations.

Side A immediately establishes the essential grubby underbelly. Thick blurty electronic grumbling underscores more wrinkled granite-tinged crumbling, the barest hint of metal scrap poking through crowded surface. Half-second intermission and then the main event: metal-scrap monstrosities collapsing en masse. Quite the robust range of metal-on-metal abuse, legitimately symphonic in scope. The first movement drives deep into the heat of a very physical scraping assault, twisted steel canisters forcibly wrenched through rusted screeching apertures. Two minutes of this and whole comes banging together in a spot of looped hammering as a nasty interval of surprisingly harsh analog shriekery briefly intrudes. Then. Metal scrap-piles pitch headlong into deep-sunk clang-o-dungeon as disembodied collisions of low-pitched clunk and clonk ker-blooOOOoonng in the gloom. Motors suddenly sputter to life, stubborn metal gears screech in protest, passionate friction heats up, distorts– and, quite abruptly, surrenders its fleeting furies to a miserablist medley of whinnying hinge-squeak and close-mic'd sandpaper scrinching, dry scritches and needlepoint scratches setting off the hoarse hack and wheeze of downpitched mic freely dangling in some poor bastard's sorely abused windpipe.

Side B is given more latitude to drift away from the already loosed moorings, engaging a diverse and often quite abrasive indulgence in ill-tethered incandescence. To culminate, classic-style, in raging full-metal rackets of purest HARSH. The opening lines are delivered by a lithium-voiced announcer over the muted warbling of spare piano keys, evidently sourced from recycled tape that has seen better days, the barest smidgen of metals tinkling in the background. A rather more foregrounded series of THWACKS aggressively unsettles the mood and suddenly it's as though mangled tape ribbon were being roughly yanked through a rotten wooded frame. Huge chunks splinter in the ensuing collapse, large glass pieces fracturing and ringing shrill as the edges ascend to quite rabid frictions of badly abraded dry-shred clusters. As though to close out the opening section, the lithium-voiced announcer is back, this time grounded in wrinkled grubbings of dragged-in-dirt snuffling. The voice drops out and the dirt-snuffling is augmented with the brittle chiseling scavenges of dull-edged screwdrivers, hands worked raw at the unyielding soot-blackened surface. Soon the familiar metal-scrap assemblage rolls onto the scene, filling the field with faintly echoed scrapes and bonks, setting up the five-minute finale. Five minute finale: sudden drop to full-barreled mass of muffled thunder-bulge and then the incoming peaks of screeching high-end. Pointed percussive penetrations busy themselves in the frantic thwacking fury of full-in-body metal-on-metal whang. This is it, the harsh proper, ultimate freedom ultimately stoked in the eternal moment, wild-eyed blisses enraptured in steely-scorched fire.

Digest spew:
No ironies to be had in the finessed inter-leavening of Chamber Music's dynamic scrap impact. The baroque sensibility is hard to deny, the thematic movement working in measured counterpoint to carefully arrayed assemblage. Harsh fucking noise, but elaborated in a way that is downright conversational. History lesson: In May of the previous year, a fifteen minute tape entitled Nude Scraps dropped, with picture perfect self-descriptor bare junk metal scraping. Well this time, the junk metal scraping has got its clothes on. It's got heft. It's got density. Full bodied. Robust. Massed textures spanning the stereophonic scope. What it may also have is the collapsible scrap impacts of twisted and broken shards, of glass, and of steel, fusing together in a voltron moment of perfectly dis-ordered elaboration. 

The name Aprapat may go back some ways, but as of this writing the only remaining online traces go back to May of 2019. Ultimate Freedom is dated January 2020 and could be said to represent a decisive statement of intent. The intent, as I see it: deliver raw as fuck sound of pure and unfettered brutality. But to deliver, I would add, in supreme and seldom to be rivaled fashion. The intent, as the earholes record it: crudely bedraggled crunch-gristle, sputtering crud-motors, mangled tape abuse, concrete dirt-pile snuffling. And, first and foremost, masses upon masses of metal-junk scraps in variously hammered states of continuous collapse. Evidently, then, a good number of moments, every one of them an invitation to revel in the brutality of the moment. The moments stretch out, clearly in no hurry to disturb their revelry, easily accommodating of each successive shift in terrain, smoothly mingling with the disheveled textural non-congruities lurched into play. There is so much to love in these thirty-one plus minutes, culminating in the ultimate freedom of wild-eyed bliss singularly suffused in steely saturations of scorched-earth fire.
Someone weaker than you should beat you and brag
And take you for a drag


I've been actively trying to listen stuff from my collection that hasn't been played in years, while also pulling old favorites from the shelves and trying to stay on top of new purchases too. I guess that's what most people do, but I've really been trying to focus on my least listened to items.

Inspired by WK's review, I put on Prurient's Black Post Society from 2008 [Cold Spring] yesterday. I remembered this one suffering from being mastered/recorded overly loud and that impression stands true. On all of the loud , short songs it can be unpleasant in the wrong way but there's a nice three song stretch from "Rose Coment" to "Mask of the Boys" in which quiet menace is the tool instead of blown out sonics. I didn't listen to this album much when I got it compared to the other Prurient releases I worshiped, but it must have still made a large enough subconscious impact because I can't help but think many of the oldest Concrete Mascara songs were just attempts at "Mask of the Boys". The simple bass synth, the vocals going from whispers to scream, the repetition of the lyrics. Yeah I've done all that more than once :P  I don't think I'd heard this one in maybe 10 years so it was definitely an interesting listen after all this time.

EgoProblem - Exit Tape Kill CD [Industrial Recollections, 2010] - another pull from the past. I remember liking this when I first bought it but it's been shelved for a long time. Coincidentally, the first 3 tracks remind me a lot of the types of droning but crunchy bass synths that are found on History of Aids and Baron's Chamber by Prurient [and some other Prurient releases]. It's this specific sound that's part of the reason why those albums are my favorite Prurient albums. Not that EgoProblem or Prurient are the only ones to ever use sounds like this. I like them when they show up anywhere! On "Part 3" rapid metal clanging phases in and out and I've got a big dumb grin on my face. Eventually we lose the bass and get clanging and crunch and panning all over. It's not a high-energy type of harsh noise, but it's quality textures and tight focus. Absolutely an old gem worth reissue. Definitely recommended picking it up and it's easy to find for cheap too.

Blod - Starbright CDr [Electronic Ejaculation 1998] - it's kind of a shame that the early Blod releases are pretty difficult to find and expensive too, but then there's a part of me that appreciates having a "collector's item" or whatever. I must revisit each Blod album 2 or 3 each year at the very least. I can't really explain why he's become such a favorite but I think the single-mindedness in subject and sound is part of it. Even though this is blasting harsh noise, it somehow doesn't feel harsh to listen to. It's the difference between being trampled against smooth river stones versus porous volcanic rock. There's some squall and crumble but it all feels funneled. The tracks on this album are more distinct from one another compared to the material reissued by Segerhuva, which isn't better or worse, just noticeably different. Is there any way to contact Jesper?because I would reissue these early albums on tape in a heartbeat.


Collaboration between Crank Sturgeon and Humectant Interruption, obviously. Blown out radios crackling away in boiling soup pots, rumbling and screeching, feedback, junk, voices... It's just a great slightly odd 90's american noise tape, basically. Side A is slightly more overloaded, more typical anericanoise if you will. Side B has a... weirder air to it. Still ripping noise, but gradually falling apart, as if the soup from the mentioned pots has vaporized and what's left is electronics getting burnt to crisp on the stove. Very strange artwork too. Yeah.
While I love finding old rarities from the bigger names (who doesn't..), little finds like this, with rather known yet probably not as sought after artists, sometimes makes me just as excited. Not having to plunder the savings account and still getting superb old noise. I think I paid 7€ for this a few years ago, and I've returned to it many many times since. Rather cheap compared to some other old Spite titles.

SMELL & QUIM - Jesus Christ LP (Stinky Horse Fuck, 1991)
Along with Runzelstirn - Asshole / Snail Dilemma, this might be the most annoying record I own. But where that LP is downright panic inducing, this is just plainly annoying. Shouting englishmen, guitars riffing and feedbacking, junk clatter... Feels like living in a small crowded commune with drug crazed sideshow lunatics. I love this LP though, and the fact that Visit these freaks for 45 minutes from the safety of my armchair whenever I please.


JARL - Tunnel Vision Mind Reaper 2xCassette - Autarkeia 2008
I haven't kept up with Jarl output after 2014 but I have nearly everything before that. I'm always impressed how he manages to create new things in familiar ways, meaning each Jarl album is clearly a Jarl album but each one stands on its own. I love the wild and willy Vertigo trilogy but this double cassette is one I return to frequently. Much less spiky, way more abandoned and forgotten subway tunnel ambiance. Hard and unnecessary to pick a favorite tape from the two but I'd probably lean towards Mind Reaper. Also worth noting the difference the medium makes. Jarl on tape is a softer affair by nature of the medium, even if the songs are no loss prickly at times. Exceptionally good music for late night meditation with the lights off or even reading.


Quote from: Baglady on August 28, 2020, 12:09:34 AM
Feels like living in a small crowded commune with drug crazed sideshow lunatics.

The Young Ones: a noise album


(The Cherry Point, Mania, The Rita, Sewer Election, Treriksröset) - Total Slitting of Throats
Harsh Noise Wall to end all Harsh Noise Walls

Kovana: Fluids of Chimera
This tape is really, REALLY great. I'm the worst fucking reviewer ever, but I'm absolutely amazed about the great amount of new (Kovana, Nuori Veri,...) and 'old' noise (BU, Grunt, etc.) coming out of Finland recently.


Quote from: cr on August 28, 2020, 09:28:31 PM
(The Cherry Point, Mania, The Rita, Sewer Election, Treriksröset) - Total Slitting of Throats
Harsh Noise Wall to end all Harsh Noise Walls

Out of curiosity, are you able to differentiate the contributions of each project to this?  Or does it all just blend together?


Quote from: Balor/SS1535 on August 28, 2020, 09:58:34 PM
Quote from: cr on August 28, 2020, 09:28:31 PM
(The Cherry Point, Mania, The Rita, Sewer Election, Treriksröset) - Total Slitting of Throats
Harsh Noise Wall to end all Harsh Noise Walls

Out of curiosity, are you able to differentiate the contributions of each project to this?
not at all


Quote from: aububs on August 28, 2020, 10:35:26 PM
Quote from: Balor/SS1535 on August 28, 2020, 09:58:34 PM
Quote from: cr on August 28, 2020, 09:28:31 PM
(The Cherry Point, Mania, The Rita, Sewer Election, Treriksröset) - Total Slitting of Throats
Harsh Noise Wall to end all Harsh Noise Walls

Out of curiosity, are you able to differentiate the contributions of each project to this?
not at all

That's pretty much what I expected.  HNW has never been my thing, but the names on this got my hopes up a little.


i don't really listen to hnw either but that is probably one of my most listened to noise releases