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

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Bloated Slutbag

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The New Boyfriends – The New Boyfriends c40
Aprapat sure knows his way around his scrap metal. In January it was the textured junk-scrap epic of Ultimate Freedom. In March came the well-tempered steel and glass symphonics of Chamber Music. In May he teamed up with the latest boyfriend, Magao, to present this unstoppable exercise in harsh junk abuse & hot steam, not necessarily in that order. As long as I'm throwing dates around, it probably behooves me to mention the actual recording date, November 2019, quote in the grip of winter. (So that's what they're calling it now eh?) And just to round out the name dropping, a third partner in the name of Jaako Vanhala– aka His Royal Metal Whangedness– was commissioned to master the shit (no word on whether this too was "in the grip of winter").

As for the shit, or should I say the scrap, well, there's a lot of it, never for the moment stopping: whanging on, whanging hard, whanging, Whanging, WHANGING. All right, simmer down there. if you'll bear with me as I crib from comments elsewhere slobbered I confess that, back in May, I actually hesitated in copping this, mainly because I was then only familiar with Aprapat. Duly sample via bandcamp and– once that first metal-on-metal whang whangs home– instant wood. As to whether such supreme force can be maintained for the full forty-minute course, well. I don't think I can emphasize enough how much wood that initial whanging stirred up. Even during the intervals where interest might otherwise be inclined to flag, there's still that constant suspense that further wood-bestirring whangs are round the corner. Any moment now, any fucking moment. By the second or third time through it dawns on me I am a total, whanged-to-death, convert.

I suppose I've whanged on enough about the proper whanging in store for the righteous. Truth be told, it's not just about the metal-on-metal er crash-bash-gash-kersmash. There's all this other analog spittle and slobber steaming up the scene. Four scenes actually, seemingly culled direct from live-to-recording-device sessions. There's lots of space here, plenty of opportunity to feel things out, their contours and edges gleaming in the steamy backdrop. And no one seems terribly keen to ensure that the whangs drop in earnest. Drop they will, of that there can be no doubt, but meanwhile, stick around a while, grab a towel and an ice-covered chair– or whatever else grabs you– stretch out and bask in the languid sensuality of whang after whang after...

well, you get the picture.

Erotic Tundra is, of course, the one to light the passions. Bone-dry whittle-drone lead-in duly WHANGED into oblivion. A single solid whang, but it is a full flavored doozy, drawing with it an unsteady series of ker-blams and slams. Whittle-drone ups its amplifications, starting to sound as though some asshole is driving a motorbike through the fucking sauna, edged rubbers burning and squealing with the intense friction. At this point the junk scraps enter into unbalanced dialog with their analog piddle partner. Snatches of silence slip between the cracks before hefty whang-loads forcefully plow through the gaping spaces. Harsher washes of abbreviated scathe cut through the center, undercutting a now jerkily buckling junk dis-semblage, banging haphazard about a steady motoring of midrange flatulence. The final raspberry snorts out at around seven minutes, cueing up a scrappily manhandled orgy of purely acoustic, raw-razored, junk abuse, tastefully rusted screech-bleeds spicing steely-spiked percussive traumas in a way that could only be called SEXY AS FUCK.

Motor Yoga seems at first a more laid back affair, drawn out drone harmonics holding steady against pinprick stabs of piercing feedback and more physically intrusive acoustics of chirp, crackle, fart. Meanwhile at the perimeter the farts start to dissolve among wider-panned rust-scrapes, working in concert with some rudely overbearing duck-honking to set teeth on edge. Soon the rust-scrapes are chafing with renewed aggression, keen to drive proceedings from hard to harsh. It appears that someone finally got that motor running- or at least revving- fat flatulent chunks blowing out the tailpipe in meaty blurt clusters, ultimately spinning out of control, jerking around on the saddle, funneled into the filthiest fucking mess you may soon wish were not quite so easy to imagine.

Field Mirage is a decidedly atmospheric affair, exercising some caution in threading a path through dangerously sharp pieces of jagged metal and glass. This time the motor is content to rumble away in the background, not really getting in on the action. And frankly this is no place to be pulling donuts. The floor is iced, slick, one wrong step and, well it doesn't bear thinking. The raw acoustic materials seem to have been selected with some care for their non-elasticity, slender brittle lengths grinding, buckling and splintering under the firm but gentle pressure of sauna-sized trash compactor. Occasional slides of simmering white give it a cool glassy sheen, hooking up with some rumbly motor action in a suggestive push for hefty boy brutalities. Frankly, however, this is a field of almost purely acoustic hell, the tightly narrowed bands stabbing with deceptively piercing excruciations, sharp edges twisting snapping thwacking, to yield quite possibly the harshest cut of the set.

Analog Sauna dials the aggression right back up, delivering, as it say on the tin, raging purple-crowned beef injections of red-hot analog sphinct-rupture. At moments, motorheaded belching flatulescence rumbles through the thick, but more often than not loses its shit to the tune of rabid, white-flecked, slathering salivations. So shrill are moments of said salivations that one might wonder whether they are in fact junk-scrap driven, the result of a furious metal-on-metal thwack attack, savage testing of the metal via maximal impact pressures. Needless to say, the steely-spiked whangs are out in force, thrashing and bashing from every which wherever. But. The competition with the convulsed electronics is fierce. Here drops an angular mass of scrap, full-bodied full-spectrum L-R iterations submerged in deluge of brownest butt chunder. There swings hefty-armed hacking epilepsy of razor-sharp gleaming screech, whitewalled clusters swirling through the flaking, butchered, rust-flaps. For the most part, the gestures toward coherence are lost in the harsh moment, whitewashed feedback-flecked shriek-fits duly shredded raw in the pile-on of disparate convoluted rumple-blurt, rust-scrape, scathe-gristle. In the final minute or so, the acoustic scraps exact their vengeance, dynamic screeches and shrieks grinding through wide-panned moments of perfectly shattered gristle, in-delicate dances of unadorned junk-abuse reprized in the celebratory stench of rotted-through rust.

Digest spew
There's metal-on-metal whang and there's metal-on-metal whang. With Aprapat the metal-on-metal whang is the sort that just...whangs. It's epic, massive, screeching, grinding. A perfection of collapsible scrap-thwack whanging that you'd think by this stage would be de rigueur but in fact seldom is. At least, when it comes to this level of perv-vected junk abuse, the rivals are few and far between. On this occasion, Aprapat commissions the latest boyfriend, one Magao, to spice up the scraps with motorized clusters of analog rug-burn. It is acoustic, it is electronic, it is raw and it is brutal. It is, frankly, hot, raw acoustic materials screeching, grinding, plowing through the gaping spaces left in the wake of collapsible metal-on-metal dis-semblage. The contours and edges of the ruptured thwack-attack gleam bright in the steamy backdrop, their scrappily manhandled orgies of raw-razored junk abuse tastefully spicing steely-spiked percussive traumas in a way that could only be called SEXY AS FUCK.
Someone weaker than you should beat you and brag
And take you for a drag

Bloated Slutbag

I recently got on the Noise Now Playing fb group and have much enjoyed the many comments coming in. I've posted a few of my own (comparatively brief) comments and I think I'm going to repost them here too, just for fun or possibly for the sake of discussion. Slight alterations may ensue. So let's see, uh... how about...

PBK - Shadows Of Prophecy - In His Throes
Still among the all-time faves. I didn't think so back in the day, but sounds to the current earholes like some nicely textured, rrrrriiiiiiiiiiiiiiiping crunched-out harsh! At sufficient levels.

Back in the day I think I'd filed it carefully in with the ND roster- eg something to which to stroke the chin. And I suppose this would, still, register as somewhat less muscular than earlier brutes like Asesino or Vivisection. But, still, some nicely ripped-to-shit burnt electronics all the way through. There's a minimal quality I like, vaguely consistent with certain recent Rita or ZK moments- just recorded a couple decades and change prior. Still the chin-stroker but also inviting of all sorts of stroking. Has been a go-to for some time and I guess this afternoon I just had to go-to-it again (er, the disc, not the...uh...)

Get down and stroke it buddy boy.
Someone weaker than you should beat you and brag
And take you for a drag


Quote from: Bloated Slutbag on August 31, 2020, 12:41:47 PM
PBK - Shadows Of Prophecy - In His Throes
I should pick up some more PBK! I'm curious to hear this specific disc, as I've never considered anything by PBK to be even mildly "harsh" (not even Asesino to be honest). A bit rough, maybe, but that's it. His qualities lie elsewhere for me. Nevertheless, thanks for the reminder! Had to inka-dink between Die Brücke, Asesino! (both self-released, 1988) and the collab disc with AMK and Hands To (Pure, 1995) now. Die Brücke it is, and I never grow tired of it.
What strikes me about 1980's PBK is that some of the sounds are very outdated, but not in a bad cringy way. They can be appreciated in their context, and I would never want to be without them. But they're sounds noone would want to use today (and even if one were to remove those sounds, I still don't really hear anyone walking down the path PBK did in the mid-late eighties). As opposed to, say, Grey Wolves from that same period, a sound (I believe) many would kill for these days. There's industrial and there's industrial.


Toho Sara = 東方沙羅 - Toho Sara = 東方沙羅 2xLP - Black Editions - picked this up with the other two reissues Black Editions put out. They're doing wonderful work slowly reissuing albums from all over the PSF discography. Packaging always looks nice, has real heft and most importantly the records sound really good. I knew the players on this one but not the project. Instrumental, improvised drone made in part with traditional Asian instruments. It feels like something between the ritual ambient of Halo Manash and certain chambara scores. Best part is there is absolutely no feeling of synthetic or digital anything. it's human made music with real sweat and movement. While there are some more energetic moments, it leans heavily towards semi-spooky/semi-psychedelic dirges. it was easy for my head to synch up with it. If you're a Arktau Eos or Halo Manash fan I have to imagine you'd be able to easily enjoy it. of the 3 newest records out on Black Editions this is the easiest listen and an early favorite.


MERZBOW - Environmental Percussion Vol. 1 (Slowdown Records)
MERZBOW - Environmental Percussion Vol. 2 (Slowdown Records)
MERZBOW - Material H2 (Slowdown Records)

All material from 1986-88, mastered (and in the case of EP Vol. 1 also mixed) in 2018. More archival material from Merzbow brought to you by the Japanese Slowdown Records. As a Merzbow fanboy I have been very much interested in these tens of archival "treasures" released by Slowdown and apparently more is still coming. I have commented on a few of the earlier ones and I will keep commenting on the ones I buy just in case someone else is wondering if any of these are worth checking out.
These three records are very similar to each other and that's why I have grouped them together. They all have some of that "trying different things in a warehouse" feeling that many of the more "experimental" (cannot come up with a better word) records have. Distant klangs, distant bangs, instruments (at least a violin) plucked, rubbed, scraped, banged, some rhythmical elements (at times drums, at other times something else tapped/banged/knocked), screech of metals. It never gets out of hand or too hectic but instead is kinda mellow all the way through.
To me these sound too much alike (says a man who owns tens of Vomir releases) and I am not the biggest fan of the screechy "violin torment" but I'd assume people who love Merzbow releases like Ecobondage and Crocidura Dsi Nezumi would get a kick out of these.

Bloated Slutbag

Quote from: Baglady on August 31, 2020, 01:46:43 PM
Quote from: Bloated Slutbag on August 31, 2020, 12:41:47 PM
PBK - Shadows Of Prophecy - In His Throes
I should pick up some more PBK! I'm curious to hear this specific disc, as I've never considered anything by PBK to be even mildly "harsh"

I'm with you there. That's why I specified "at sufficient amplitude" (not actually specified in the original fb post I digress*). On that particular day I accidentally had the volume cranked way beyond acceptable levels and the results, as Dan Johansson might put it, were the sounds, literally, of the speakers being ripped apart. So okay, I turned it down a bit, to minimize the possibility of permanent damage- to speakers, earholes and neighborly relations. But kept it up at what I'd describe as sufficient amplitude. Very jagged sharp-edged sounds, the ripping meant literally, lots of ripping and tearing, the shit was doing all kinda crazy shit to the speakers. Not that I'd say this is the recommended way of listening. At the insane blasting rirrrpitude you're probably going to lose a lot of nuance, and the disc is plenty nuanced. (Perhaps to achieve new and exciting nuance I again digress.)

I get this too to an extent from some of the Asmus Tiechens Menge series. The extreme dynamics at extreme levels and the results are, simply, extreme. Truth be told I get this from a lot of things because I always seem to be dicking around with playback options and shit oftens blasts out, intended or not, at skull-destroying levels. Perhaps there's an adage to be re- the unintended awesomeness of the uh harsh moment.
Someone weaker than you should beat you and brag
And take you for a drag

Eigen Bast

Geography of Hell - Dacca 1971 Hospital Productions

At first this tape calls up Con-dom; a kind of field recorded power electronics. What sounds like jet engine field recordings layered with battlefield ambience, punctuated with looping historic dialogue clips. A harsh turn towards tribal drumming and shrieking elephant cries before settling into twinkling chimes and reverberating chants that gradually swell into a persistent drone that finally collapses into a massive industrial pulsing beat. Side A may be incoherent but hits hard. I would love to see this live. The low end is begging to be pumped through a heavy system. B side leans towards a sparse, subbass heavy desolation. Industrial clatter rattles, occasional gunshots ring out, subtly it builds towards a smoldering roar that quiets as a folk song swells. An abrupt transition to a crude industrial loop and martial music carry this to the end. An excellent, thoughtful release!

holy ghost

Kommando RJF - Sweet Slow Suicide CD: real Gristley low fi industrial, this was a blind buy for me and its absolutely great. Great layout, nice pacing, I saw it described as "power electronics" but it definitely reminded me more of Second Annual Report type TG. I've ordered the LP reissue of the first album, pretty stoked to grab that too.

FLESHLICKER - Mondo Flesh 2xC30 - great HNW from this very diverse project. Amazing huge poser that came with it as well!

Bacillus - From Voyeur to Victim tape. Really liked the Nightmare Bacteria tape and split with The Rita and have the split with Vomir on order. So far I'm really digging everything I've heard although I had not heard this project much before the pandemic.

Savage Gospel - S/T CD WCN: ordered this as I buy almost everything from WCN and visually this one just clicked with me, was not disappointed by the CD at all with some great textures, squiggly bloops and lots of feedback. Hoping for more from this project!!


INCAPACITANTS - D.D.D.D. C60 (Old Europa Café, 1995)
Finally laid my hands on this. I had read that this would be heavy on the low end, but I didn't expect THIS much low end. Seems like many who can't fully appreciate Incapacitants crave just that, the heavier frequencies. Heaviness ain't bad, but Incapacitants have never been about a literal heaviness to me. They're all heavy, their albums, no matter which frequencies they choose to place upfront. It's about the density, the brain-boiling pressure, the sensation of tectonic plates moving. Even when there's seemingly no bass to be heard, it's still felt. But when they literally do crank it out, I don't complain. D.D.D.D. comes across as an older sibling to Asset Without Liability in a way. A thick rich volcanic soup, with their more typical razor sharp screech daggers wallowing around in it, sometimes soaring above the surface, only to be swallowed yet again. The flipside is less agressive, yet no less massive. A more steady flow, and with the howls and shrieks of the two titans echoing from the depths. Cthulhu calling! A much needed half hour of zen-like downward sinking after the exhausting first side. Excellent cassette, easily worth the long search.


Raime - If Anywhere Was Here He Would Know Where We Are 12" + Hennail 12" + Quarter Turns Over A Living Line 2xLP - Blackest Ever Black 2010, 2011, 2012

I've brought up Raime more than a few times here and although they're outside of noise/industrial/whatever scene, they certainly felt adjacent for the first 4 years of the project. It's my understanding their first track, Retread on their first 12" is just a minimally remixed version of a Coil song. It's a fitting choice as their work has more in common with the genre shifting masters like Coil than any artist bound by genre confines. If Anywhere Was Here... and Hennail straddle the line between dark ambient, dub and drum & bass but sound like none of those things. It's more like film music but too active and complete to be that either. Downtempo in a literal sense is probably the most useless but oddly accurate tag? With hindsight I'd say they signaled and inspired the coming wave of minimal d'n'b producers like Overlook, Pessimist and Clarity more than anything else. The added crossover appeal with a top-tier remix by Regis adds to this notion because arguably Regis seems the largest techno influence on minimal d'n'b. All that being said, hearing Raime is the only way to understand the sound. Not that it's complicated, just mercurial. Maybe Demdike Stare share the most audio qualities at times?

If Anywhere Was Here He Would Know Where We Are is a perfect 12" The title track is mournful drones and bass swells, later manipulated choral bits topped with minimal but jittery percussion. I promise it's worth hearing even if you don't like programmed drums. This is a far cry from 4/4 techno or oily greysound. It feels open and largely empty in the best way. The b-side, Regis's remix This Foundry is arguably one of the most important tracks he's done to keep interest going post 2001. This is the kind of slow tempo broken beat murk perfected on In a Syrian Tongue a year later. It's a perfect remix, the kind that honors the original while adding the most complimentary aspects of the remixer's sound to create something neither would do on their own. Spooky stuff all around.

Hennail picks up where If Anywhere Was Here... leaves off. It plays like a soundtrack to Blade Runner 2049 with all of the color removed. Future grime and grit. Somehow it doesn't hit quite as hard as the last 12" but I've come to enjoy it more with each successive listen.

And then Raime delivered Quarter Turns Over A Living Line the next year which was truly the metamorphosis from bud to full blossom. I cannot stress enough how good these songs sound. The entire range of sound is used and they're mastered or produced in such a way that feel completely alive and untethered to any digital origin they might have. I believe each song is partially the product of extensive recording chopped into very fine samples. A variety of "normal" instruments and voice weaved into a tapestry of artificial drums and synths. This is the soundtrack for a movie by Denis Villeneuve that doesn't exist. Except on their later tour they made a film for each song and it still melts my mind to think about. Every damn song is good. No, better than good, excellent. I can only give this one the highest recommendation and it's still super available so why not buy a $10 CD and take a chance?


Quote from: holy ghost on September 01, 2020, 10:20:18 PM
FLESHLICKER - Mondo Flesh 2xC30 - great HNW from this very diverse project. Amazing huge poser that came with it as well!

Been curious to check out that project as well! Thanks for just reminding me.


Final Solution - Half/Dead 2018 cassette re-release by Der Bunker
Some bands have a mysterious yet intriguing aura around them. Maybe it's their incredible stories, hyped up write-ups or the overall nastiness that shines through their art. With FS, it's mostly the fascinating stories, and I can highly recommend their interview in the Nefarious Activities zine. I wonder how it was like to see them live, must have been a hell of a good time. So then you get excited and order the re-issue tape. Of course! Of course! Whitehouse-esqe minimal electronics with maniacal screams on top of it. Sometimes with engine sounds, sometimes only very minimal screeches and synth oscillations. And those screams! But when the tape was over, the only words form my mouth where a mere "meh". Some of the live recordings are okay and the screams are crazy, but I find the music quite lackluster and beyond those screams it's too minimal for me, not enough excitement.

Straight murkin' riddim blud, absolute vile gash

Bloated Slutbag

See bottom of this post for digest commentary

Kazumoto Endo And Kaori Komura ‎– In The Cave
The work of Kazumoto Endo often strikes these earholes as sharply percussive. Sharp kinetic chops, explosive bursts, biting stabs, punching in and out with pointed, piercing, precision and poise. This is especially notable on the 2011 release Switches & Knobs, for which the preeminent Endoist talents of Kazuma Kubota are enlisted in the delivery of kinetic chop after explosive burst after biting stab, a twice-pronged powerhouse of pointy-headed piercing percussives. Tell you what though, I'll do you one better. Howzabout enlisting the legit talents of a legit Samul nori percussionist in the name of one Kaori Komura. And then, like, just go bat-shit crazy with the sharp, kinetic chops, bursts, stabs, crashes, clangs, bangs, and whangs. Like, that would be rad.

No word on where these improv sessions took place‎– presumably a cave of some sort‎– but the sparsely collaged b/w photos there from are pretty goshdarn classy. What we get is a good eyeful of Ms Komura, done to the nines in trad Korean regalia, clearly having a blast with her four-part MO of traditional drums and gongs. Plus sexy poses of Endo's arm working away at the familiar souped-up springed washboard thingy, aka the Killer Bug. Skilled improvisers, these, you can tell just by looking. But the earholes second the motion. These are the sorts that seem to know instinctively just when space is required‎– and given the percussive proposition in play that would be more often than not‎– and just when to pile on in frenzies of ecstatic fever-bliss.

Those of the harshheaded inclination are advised to do two things: turn it up, bring the noise. In giving the percussionist her cave space to really shine, Endo drops it down a notch, or at least shall we say, the two performers are in perfect balance. No shrieking blasts of all-out noise to mercilessly overwhelm and crush the percussion. In fact, turn it up to the requisite levels and the harshest moments are delivered by the gongs. And make no mistake, at the requisite levels, these gongs are are daaaaamn harsh. Excruciating reams of bright, piercing, metal-on-metal jiiiiiinnnng, sharp enough to cut holes in the damn cave walls. I go on cuz, y'see, the first few sessions with the disc I had it up pretty loud. Pretty loud. And, despite the inability of the Endo noise to really cut through, it was all pretty impressive stuff. But on instinctively cranking to ridonkulous levels the shit just...comes ALIVE. Huge spiky smorgasboards of brilliant texture, leaping out from all corners of the cave, filling the space with orgiastic blisses of teaming life– or better, suggestive of whole new spaces and worlds to inhabit, with sound, color, flavor, fury.

The opening bangs are delivered, as is appropriate, by the pleasingly tangy rasp of straight-up Samul nori, sharply struck gongs glinting brightly along softly glowing cave-walls, slowly undulating electro-rumbles emerging from the attack. A second, more robust drum'n'gong banging-fit is underscored by full-up flatulent burble and then attack the third precipitates a properly buggered stab of classic, palate-cleansing, killer shriekage. Pregnant pause. Deep breath now. Ready, steady, on my ma- blammity-slammity-ker-screech! Plenty of nicely measured breaks for air, or for regrouping of energies, in the moment availing of temporarily scorched 'holes the opportunity to bask in the warm afterglow of furious heat. The tension in these moments is palpable, almost as though one is just daring the other to break the silence, a delicate dangerous dance, a contest of wills with no clear victor. (For what it's worth my money's on the one with the mona lisa smile. She seems to know something we don't.) The way and the how of the silences being navigated is where it all comes together, and falls apart, in aridly arrayed dis-arrray, as though the listener were tasked with scrying to divine the deafening nothings between the noise. And I'd get there, too, if someone would just cease with the unrelenting racket. Jeeez.

Aside from the silence and the screech, there are intervals too of more and less restrained tapping, bonking, ding-a-linging, sometimes brutally buggered to oblivion, other times freed to elaborate wild whims of whippity-whammed wiggout. All the while hastily goading the next 'hole-destroying faux silence irradiator.  It's all very spare, one might surmise, but in comes searing feedback, analog scorch riding the tailwinds, hammering gong-peaks duly maxing the smoking intensities. This is, pretty much how it all plays out, ancient and storied bum-boo-biddidy bee-bop clangily-bangily, necessarily amplified to the nth needn't I emphasize this enough indelicately wormholed through the presently spastic and frenzied 'hole rupturing fury of the Prime Bugger himself.

And yes, by the by, the word spastic is plainly in play. I couldn't speak for Ms Komura but far as Endo the word would not generally have entered the lexicon at least since the studiously studio'd Brick & Mortar, replaced in the more recent improvised incarnation by vocabulary more owed to discipline and deliberation. A delicate dance of two performers in perfect balance, but riddled with jarring rips, jagged screeches, metal bashings, jing-ling bells, lightly tapped excursions, sharp bites of piercing feedback, plentiful pure-bred percussive pounding, a colorful study in dynamic contrast, more than sufficient to keep the attention perfectly off-balance, and perfectly engrossed from bang to clang to bung-screecher-scritch-screee-bingily-booby-booby-ker-blong.

Digest spew:
This, is a banger. A binger. A bonger. A killer bum-boo-biddidy bee-bop-buggering BLAST from the past, ancient and storied Korean percussions hammered through the prime bugged-out wormhole to a presently spastic and frenzied 'hole rupturing fury. Turn it up, way up, bring the harsh, way harsh, at the requisite levels extracting from upper-edged gong-peaks excruciating reams of bright, piercing, metal-on-metal jiiiiiinnnng, sharp enough to cut holes in the damn cave walls. In the many and pregnant pauses, bask in the warm afterglow of furious heat. The tension is palpable, a delicate dangerous dance, a contest of wills with no clear victor. Scry in these cracks the divine deafening nothingness between the noise, then ride frenzied pile-ons to the prophesied ecstasies of scorched fever-bliss.
Someone weaker than you should beat you and brag
And take you for a drag

Soloman Tump

Quote from: ConcreteMascara on September 02, 2020, 07:00:06 PM
Raime - If Anywhere Was Here He Would Know Where We Are 12" + Hennail 12" + Quarter Turns Over A Living Line 2xLP - Blackest Ever Black 2010, 2011, 2012

interesting to see Raime mentioned here. I was quite disappointed with the album Quarter Turn but Hennail and If Anywhere are very good EPs. Agreed that it is hard to pinpoint their sound. I guess that's why Quarter Turn didn't live up to my expectations as it is very different to the EPs.  Demdike Stare / Andy Stott..... Damaged / distorted music. All good.


Temple of Tiermes master tape
Was going through endless piles of assorted crap and found tape of long lost session of Temple Of Tiermes. Back in 1995 I was member in first version of T o T with J.Toivoinen. This odd ethno industrial track that can be heard being listened never made it any of releases. It included also another Unholy member as guest. I recall only one short track of this material - probably half an hour recording only made to widely available releases. It was 2nd track on this tape. Wall of harsh bass noise and guitar shredding. Tracks were all different and often challenging to listen to. Digitizing it and lets see if something makes it to public eventially... Sessions were quite nasty, and evolved into Jarkko being kicked out from his apartment for blasting earsplittering noise for extended periods of time. Human skull percussion sessions emptied piles of skull content to floors and various others occupational hazards happened during sessions.
So after some talk, turns out the very debut ToT tape will be reissued now with 30 mins of unheard material of the sessions.

V/A Extremeties tape
Cloama "tool wars" tape
Squamata tape on Trash Ritual

Compilation, very very good 80's nastiness.
Then proceeding with some Finnish stuff. Planning for some online "content" for SI podcast, going through rare or/and unreleased Finnish material. Stuff like Squamata tape here, is really good harsh noise, but I have like 60 mins on unreleased stuff of probably even better stuff. Cloama, this 1997 first tape is brilliant example how harsh noise existed over here already in the 90's. Totally unlike later days Cloama.
There is tons of stuff in Finland, very few remember of know of, that could be good to revisit or even discover decade(s) later.

BLOODLUST! Did a lot of good stuff. Their old 7" series is such a classic, but huh... This series of ltd ed 50 copies tapes, what a great series it is. Con-Dom was re-issued, but... MSBR, DBL, SOLOTROFF, MANGLED CLIT, etc.. Should actually check what is the -complete- series of this? Who all were published in this similar packaging? I think these both series could demand topics of their own!
MSBR is really good. It may be almost heritic to say that I would have preferred something such as this tape being reissued and not the first LP!
DBL! Huh... If the lo-fi power carnage was that wanted now, this is pretty much same league and I guess mere 50 exists out there. Someone should try to change that as I feel there is not enough DBL available for lovers of brutal crunchy noise!

Bloodlust tapes just too much, so had to dig up more. Label boss tape is probably THE best done under his own name. Just fierce and solid noise taoe.
Dead Body Love tape on LOUD! Label (italy), is obviously not Bloodlust! Stuff, but equally brutal to best of this project stuff. Track 2 on side A, is like half DISCORDANCE half DBL. This utterly lacerating feedback dranched vocals on top of crunchy noise.... Oh yes. Any label who could lure these guys for CD reissue, I am sure population of this world would need more than 100 copies of these.

Emil Beaulieau "abusing the little ones" LPand Dieter Muh "stockholmmonsters" LP are as good as I recalled they were. Then returning to  some 90's industrial-noise from Poland. If there is era, and country you can trust nobody talks about, its this. Guy behind Desolation Zone "Sonixslaughter" tapeprobably got more attention with his involvement with Profanum, but this industrial noise stuff wouldn't ring a bell for most. Not absolute classic, but certainly nice stuff to listen to. Early Dead Rats label release, piles of corpses on cover, quite juvenile XXX rated song titles, so what not to like?!

V/A Kolari 2 cd is comp of great finn noise. Breaking The Will cd on New Forces even better than I thought it would be. Bow Gamelan Ensemble got reissued on cd by Cold Spring. Ends into fanfare of firecrackers in ... steel drum -kind of grande finale.
K2/ Incapacitants reissue, is flawless harsh attack. First song actually I felt that after Breaking The Will, it didn't start with brutal impact - but soon it developed to fierce and ripping sound.

First MNEM release Arkaeo CDR. Discogs says 1999, but release was actually 2000? 20 minutes of Mnem as we know them sound ever since. I think band did very solid discography all the way. Reel to reel noise before it was peaking again, and continued it after peak was over...
I recall I once requested demo from them for potential release, but somehow back then didn't "feel it" and release never happened. I wonder if material actually appeared in their later works or if session remains unreleased...

Mika Vainio, a.k.a. Ø "metri". First thing I ever heard from him back in the 90's. Crystal clear electronic signals. Odd beats (heh), but barely anything to dance to. Just cold and hard electronic signals. Soon to open Mika Vainio's posthumous exhibition in Helsinki modern art museum. Some stuff, I don't feel belongs to "museum", but in Mika Vainio, at this moment, seems very much something that should be there. Back in the day, Kiasma museum has even Merzbow, Sudden Infant and other such stuff doing live shows! While I would prefer scum venues for noise, some stuff can work in museum settings...

Wiese interview in latest Harsh Truths was probably best interview on the podcast, plus.. maybe best interview of Wiese?
I got quite many of his releases. Of course only by number. If you talk about % of his total output, I only got fraction!
If judging based on things I know, I'd say man is at the moment as strong, if not stronger that he has been? These two are the latest things I got. Skin Graft / wiese CD is absolutely neat harsh noise blast. It may not have the scummy and dirty elements what I would have expected a bit from SG but loud and crystal clear distortion & full frequency spectrum usage with tasty mix is something I would associate for Wiese. Lots of good physical sounds are ripped to shreds by utterly hight tech sounding methods.
50% moonshine with equally crystallic clarity is good companion to match strength & tastiness.

Been thinking of SI podcast episode of obscure anarchist noise. Listened all Shadowed Veil stuff I got. Some really good. Tape seen here had the released 1994 tape, but also unreleased split tape materials dubbed on otherwise blank b-side.

Macronympha is usually associated with long tapes. This Macronympha/Prurient tape on Hospital prod.. its c-10 I think? At least went so damn quick. Good murky noise in oversized packaging.

Forza Albino is one of those Danish projects that are regrettable dead and gone... At least I assume so. This double tape is their rarest stuff, ltd mere 12 copies! It has some exclusive stuff, but also alternative versions. I would say the original Pussyboy track is far more demented than the more widely available one. I was told vocalist though his performance was too... hmm.. odd or bizarre, and not enough brutal. I tend to like more bizarre and odd vocal performances that border the limit of laughable. Anyone can do the maximum brutal roar or highly effected aggro scream, but what really is remembered, are the demented and unusual, almost goofy vocals in industrial-noise!

I have been lazier to "report" recent listening, but playlist is HUGE. I guess from last few days there's like 30 cm tall pile of tapes that I should comment, but probably.. won't. A lot of good stuff, though. When people say where are the classics of current age... I tend to think... well... you just have to find them out. One can't really recommend everything, but there is so much good items that one just needs to discover them. If you discover after "hype", it may not be what you expected. If you discovered it by yourself, it may appear as pretty much  better than many older titles. All they are missing is the novelty of being first thing you heard. That should not be the problem. Noise deserves way more than novelty value. Not glory of the virginal first time experience, but the old man's unsatisfied thirst! More noise, yes please!

Latest listening from last night dark gutter drone noise from Hair Police "The Hells have eyes" LP. So good I think I'll give it another spin today.  Utterly primitive rawness from Hands To/Mental Anguish split LP. Industrial beats on the b-side by Mental Anguish have not aged so neatly as Hands To, that is as ageless now as it must have been when it came out!

E-mail: fanimal +a+ cfprod,com