Its about 10:30pm and I have to get up at 3:00am for work tomorrow and I decided not to do a "end of a year" list, but to make a "bands I'm looking forward to hearing more from" list instead.
In no order whatsoever:
Awen
Belong
Black Marble
Croatian Amor
Epee Du Bois
Frank (Just Frank)
The Frozen Autumn
Innergaze
Irrelevant
Jessie Ware
Keluar
Lorenzo Abattoir
Lust For Youth (if you go back to Breaking Silence/Chasing the Light)
Nihilarch
Ortrotasce
The Present Moment
((Pressures))
Prurient
Riff Raff
She Past Away
Soren
Taramis
Tollund Men
Trust
Vanessa Amara
Age Coin
Bedr00m Eyes
Black Leather Jesus
Boris
Boy Friend
Consumer Electronics
Contraktor
Deep Pill
Devin The Dude
Flesh Vomit
The Flesh, Full Of Black Sand
Force Publique Congo
Garbage Mask
Granite Mask
The Hague (please!)
IRM
Jason Crumer
Jock Club
La Misma
Lace & Collar
Mushy
NASA Space Universe
Nocturnal Poisoning
Portal
Pure Ground
Rome
Rose Alliance
RU-486
Sad Boys
Sete Star Sept
Sewn Leather
Streicher
Sun Kil Moon
Sunn O)))
Tanner Garza
//Tense// (back back to texas!)
Tobias Burnstrup
Torturing Nurse
Trae THA Truth
Violet Poison
Virgin Blood
Waves Crashing Piano Chords
Xenophobic Ejaculation
Z-Ro
Sorry if I left anything out.
What I want see less of:
1. Power Electronics with effects on vocals. I want to hear what you have to say. Until then, you're just another harsh noise project to me.
2. Projects being offensive for the sake of being offensive. If you're angry, let the world know why. The world sucks and I want to hear your perspective. Please.
3. People being PC with experimental music. If something offends you with what is coming into your ears, take comfort in the awareness of the subject material. Don't be scared/biased to listen to anything. People are racist. Rape is a real thing. Women are treated like shit. Everyone is a cash slave. You're going to die and there is nothing on the other side. Get over it or change it by speaking out.
3. Less opportunists. Everyone who knows me has probably received a "Thanks for the add. Whats up?" phrase from me one way or another. I want to get to know you and maybe exchange ideas with you. I don't want to split with you. That is if you're willing to be a real person and get to know me.
4. Less clicks and less beef. This isn't high school (unless you're in it then I apologize) or this isn't a Eazy E record (so much beef on his 2nd and 3rd records). Cut the shit, flush the toilet, and lets all get along.
With that being said, I am intrigued how next year will turn out.
With me, there are numerous releases coming out with both projects, no confirmed shows, will start working on Dumpster City 2, and may even be starting my own solo label.
More importantly, I am currently looking for a better job so that I can finally catch up on my life being a grown ass man and being a better person/father to my daughter (miss you).
Take warmth in these words and look forward to more reviews next year.
Josh
Saturday, December 20, 2014
Monday, December 15, 2014
Purity Ball - Rope Of Flesh
For those who did not make it to Houston's annual Eyes Behind the Wall Fest, chances are you missed out on a ton of new and old static artists who played 10 minute sets of almost unchanging wall noise. Not only did everyone have completely different setups and different ways of making HNW, but everyone had their own compositions that separated from others, which was my immediate concern (everyone sounding the same).
Anyway, before the fest came to a close, I was handed his new tape by the very nice man named J. Tallis (A Young Innocent Throat Cutter) and we exchanged kind words and ended up doing a trade. The tape was actually the only one I was interested in receiving that night so it was much more rewarding to be handed one!
Purity Ball - Rope Of Flesh (Dead Audio Tapes) has a very minimal cover which shows a woman screaming in pain. I wonder where the picture originated from. There is an inner flap with credits that show all of the song titles and what not while completely covering a white cassette tape with the labels "1" and "2" differentiating the sides.
Side A starts with a woman crying that seems to have come from an old horror film. That is until a man says "Hannah~" and the woman screams and the wall of sound begins and is also the first track name of this side. This project's compositions from the start are marginally different from others. The static is not only low, but Tallis goes with a much more hollow sound than a thick bass-laden one. This has the sound of a deep struggle for sure. The texture changes are not patient at all and it keeps the listener involved with what is coming out of the speakers until the track comes to an abrupt end.
More hollow wall sinks in to what appears to be track two of this installment, "In the Basement". This has a lot more high-pitched frequencies than the first track and sounds exactly like an empty basement with noise would sound. Sounds from the acoustics in the room bouncing back and forth and creating its own sound. To me that is the beauty of wall noise.
"Asphalt Bride" drops in with more bassy wall noise and in an almost slow paced pitch. This reminds me of driving alone with no radio on and all you can hear is the low hiss of the tread of tired riding on pavement for a long drive to somewhere when I would drive long distances to work construction.
Side B starts the listener off with "Witness" which begins with a brief sound clip and some super minimal static. This is very low and murky, but almost brittle. I an digging this fragile crackle.
"VVV" is the next track and the textures give off a field recording vibe and, again, a wall of sound much different that the tracks before.
"The Preacher's Knives" is a very atmospheric track to say anything. I had to crank the volume up and let the airy vibe fill the room. This track comes off very intimate for me. Perhaps it is due to me listening to this tape alone.
The final track "Gutter Life" comes out like a haunting sound coming from something like a wind tunnel and you're all alone and you feel like you're being followed. Definitely one of the more stress-inducing tracks.
Honestly, HNW doesn't appeal to me much. Before you diehards crucify me, I say this only because HNW is the most common submission i receive in my mailbox (at one point was two packages a day) and I am seriously burned out on it and with everything sounding the same, the piles and piles of submissions are still awaiting to be reviewed.
Fortunately for this tape and the wall fest, I feel completely revitalized by this genre and am excited to delve back into static experimentation.
Thanks Mr. Tallis. This is easily the best wall release I own.
I recommend this to anyone into wall noise or experimentation.
The only site I can think of that would have this would either be www.deadaudiotapes.blogspot.com or maybe discogs.
Anyway, before the fest came to a close, I was handed his new tape by the very nice man named J. Tallis (A Young Innocent Throat Cutter) and we exchanged kind words and ended up doing a trade. The tape was actually the only one I was interested in receiving that night so it was much more rewarding to be handed one!
Purity Ball - Rope Of Flesh (Dead Audio Tapes) has a very minimal cover which shows a woman screaming in pain. I wonder where the picture originated from. There is an inner flap with credits that show all of the song titles and what not while completely covering a white cassette tape with the labels "1" and "2" differentiating the sides.
Side A starts with a woman crying that seems to have come from an old horror film. That is until a man says "Hannah~" and the woman screams and the wall of sound begins and is also the first track name of this side. This project's compositions from the start are marginally different from others. The static is not only low, but Tallis goes with a much more hollow sound than a thick bass-laden one. This has the sound of a deep struggle for sure. The texture changes are not patient at all and it keeps the listener involved with what is coming out of the speakers until the track comes to an abrupt end.
More hollow wall sinks in to what appears to be track two of this installment, "In the Basement". This has a lot more high-pitched frequencies than the first track and sounds exactly like an empty basement with noise would sound. Sounds from the acoustics in the room bouncing back and forth and creating its own sound. To me that is the beauty of wall noise.
"Asphalt Bride" drops in with more bassy wall noise and in an almost slow paced pitch. This reminds me of driving alone with no radio on and all you can hear is the low hiss of the tread of tired riding on pavement for a long drive to somewhere when I would drive long distances to work construction.
Side B starts the listener off with "Witness" which begins with a brief sound clip and some super minimal static. This is very low and murky, but almost brittle. I an digging this fragile crackle.
"VVV" is the next track and the textures give off a field recording vibe and, again, a wall of sound much different that the tracks before.
"The Preacher's Knives" is a very atmospheric track to say anything. I had to crank the volume up and let the airy vibe fill the room. This track comes off very intimate for me. Perhaps it is due to me listening to this tape alone.
The final track "Gutter Life" comes out like a haunting sound coming from something like a wind tunnel and you're all alone and you feel like you're being followed. Definitely one of the more stress-inducing tracks.
Honestly, HNW doesn't appeal to me much. Before you diehards crucify me, I say this only because HNW is the most common submission i receive in my mailbox (at one point was two packages a day) and I am seriously burned out on it and with everything sounding the same, the piles and piles of submissions are still awaiting to be reviewed.
Fortunately for this tape and the wall fest, I feel completely revitalized by this genre and am excited to delve back into static experimentation.
Thanks Mr. Tallis. This is easily the best wall release I own.
I recommend this to anyone into wall noise or experimentation.
The only site I can think of that would have this would either be www.deadaudiotapes.blogspot.com or maybe discogs.
Sunday, December 14, 2014
Infirmary / Willowbrook split
I received this tape though a label trade (very beneficial if youre looking for new artists to release/stay away from) from owner of the Crud Archives label, who has been putting some intense midwest noise out this year.
I've worked with Willowbrook, but have no clue who Infirmary is so this will be an interesting review.
The artwork is very collage-y? And stripped down to black and white (49/50) that hides the all black tape.
Infirmary is on side A and its track is entitled "Makes Me Sick". The tape takes a while to begin and as I assume its blank (you'd be surprised how often that happens), the burst of static surprises me and brings me back to earth.
Im hearing a lot of conflicting textures in almost a sheet metal/trash noise sense, but almost rythmatic (may be the tape or the way it was dubbed...who knows with tapes). Its not taking much to show this is a blatant harsh noise project that sounds very crisp with static compositions and is almost refreshing. This side of the split has done its job (making me curious for more material).
Side B is Willowbrook and his track is called "Nothing Can Live Here". For those who have not listened to this project yet, this entails super thick static walls. Its nice to have something from this project. If one listens carefully, you can hear super slight changes in the static, but that is only because I'm listening with the intent to listen. Normally, wall noise will be background sounds for me. If you're into some wall with a nice story to the name of it, check him out.
The tape suited both needs for a slit. 1. Listening to some new project and 2. Emphasizing an interest for a project I know.
This tape deserved to be the first in the Crud Archives catalog and it will only grow from there.
Also, be on the lookout for the Funeral Parlor // Contraktor split next year through the same label.
This and all other C.A. tapes are available and in stock at www.crudarchives.storenvy.com.
I've worked with Willowbrook, but have no clue who Infirmary is so this will be an interesting review.
The artwork is very collage-y? And stripped down to black and white (49/50) that hides the all black tape.
Infirmary is on side A and its track is entitled "Makes Me Sick". The tape takes a while to begin and as I assume its blank (you'd be surprised how often that happens), the burst of static surprises me and brings me back to earth.
Im hearing a lot of conflicting textures in almost a sheet metal/trash noise sense, but almost rythmatic (may be the tape or the way it was dubbed...who knows with tapes). Its not taking much to show this is a blatant harsh noise project that sounds very crisp with static compositions and is almost refreshing. This side of the split has done its job (making me curious for more material).
Side B is Willowbrook and his track is called "Nothing Can Live Here". For those who have not listened to this project yet, this entails super thick static walls. Its nice to have something from this project. If one listens carefully, you can hear super slight changes in the static, but that is only because I'm listening with the intent to listen. Normally, wall noise will be background sounds for me. If you're into some wall with a nice story to the name of it, check him out.
The tape suited both needs for a slit. 1. Listening to some new project and 2. Emphasizing an interest for a project I know.
This tape deserved to be the first in the Crud Archives catalog and it will only grow from there.
Also, be on the lookout for the Funeral Parlor // Contraktor split next year through the same label.
This and all other C.A. tapes are available and in stock at www.crudarchives.storenvy.com.
Bast - Align
Since reviewing Vanessa's Phoenix Diamond, and receiving this through trade via Vulnavia Edition's label owner Joseph Gates (Black Leather Jesus/Reptillian Sexual Predator/Vargrwulf), I was greatly excited and intrigued what Bast would sound like even though I have seen her perform live as this project.
The cover looks like some off-color temple with ancient artwork along the flap that wraps around a clear cassette and looks like will be a c60.
Side A begins with a moderate amount if noisy field recordings. The sounds come off as very busy and almost gives off and industrial/factory like vibe. Even so, the sounds come off very ambient and find myself closing my eyes. The field recordings fade out while the almost saturated static fades in and out equally taking turns. All the sounds eventually become one wall of sound that would go perfectly with an old grainy silent film until this side is finished.
Side B seems to pick up where side A left off with the wall of sound until the side ends.
I like this tape in particular due to the sound accentuating the artwork perfectly. I am also a fan of noise on the softer side if that makes sense.
Vanessa puts out a lot of great material exclusively through Vulnavia Editions. Samples can be heard at www.inhumanignorance.blogspot.com.
The cover looks like some off-color temple with ancient artwork along the flap that wraps around a clear cassette and looks like will be a c60.
Side A begins with a moderate amount if noisy field recordings. The sounds come off as very busy and almost gives off and industrial/factory like vibe. Even so, the sounds come off very ambient and find myself closing my eyes. The field recordings fade out while the almost saturated static fades in and out equally taking turns. All the sounds eventually become one wall of sound that would go perfectly with an old grainy silent film until this side is finished.
Side B seems to pick up where side A left off with the wall of sound until the side ends.
I like this tape in particular due to the sound accentuating the artwork perfectly. I am also a fan of noise on the softer side if that makes sense.
Vanessa puts out a lot of great material exclusively through Vulnavia Editions. Samples can be heard at www.inhumanignorance.blogspot.com.
Trash Sceptre
I received this copy along with many others in september and remember enjoying this a lot so I decided to review this tape.
Tom Tindall's (Aqua Eroticum) harsh noise project Trash Sceptre is gross sounding as well as looking. On a gray shell wrapped in a jcard with a pregnant woman smoking on the cover (5/50).
Side A starts off with "Pregnant Teen" which seems to accentuate the artwork well. Then "White Trash" along with "Methamphetamine And Heroine" finishing off side A. This side pops in and out as if it were cut up into bits and pasted all over the place. This is complete garbage and I say that as a compliment and as far as I know is void of vocals. Its hard to decipher which track is from the next, but unless its in mp3 format, that doesn't really matter to me.
Side B starts choppy and abruptly with the only track on this side entitled, "Waiting For The Bus". Shortly afterward, bursts of filth run over you like a bus or a lack of better words. There is a ton of experimentation and pedal play with the apparent sounds coming out of my tape player.
If there is anything bad about this tape, it would be considered a good thing. This tape is a real good personification of the midwest I grew up in (Farmington, MO) and I actually like this than Tom's more known stuff. It goes to show that even filth can have structure or craft.
Also, happy to announce this project will be included in next years Dumpster City compilation.
This can be found on the Crud Archives bandcamp at www.crudarchives.bandcamp.com
Tom Tindall's (Aqua Eroticum) harsh noise project Trash Sceptre is gross sounding as well as looking. On a gray shell wrapped in a jcard with a pregnant woman smoking on the cover (5/50).
Side A starts off with "Pregnant Teen" which seems to accentuate the artwork well. Then "White Trash" along with "Methamphetamine And Heroine" finishing off side A. This side pops in and out as if it were cut up into bits and pasted all over the place. This is complete garbage and I say that as a compliment and as far as I know is void of vocals. Its hard to decipher which track is from the next, but unless its in mp3 format, that doesn't really matter to me.
Side B starts choppy and abruptly with the only track on this side entitled, "Waiting For The Bus". Shortly afterward, bursts of filth run over you like a bus or a lack of better words. There is a ton of experimentation and pedal play with the apparent sounds coming out of my tape player.
If there is anything bad about this tape, it would be considered a good thing. This tape is a real good personification of the midwest I grew up in (Farmington, MO) and I actually like this than Tom's more known stuff. It goes to show that even filth can have structure or craft.
Also, happy to announce this project will be included in next years Dumpster City compilation.
This can be found on the Crud Archives bandcamp at www.crudarchives.bandcamp.com
Friday, December 12, 2014
Foul / She Walks Crooked split
I enjoy splits. With these, a listener can check out a new project along with a familiar or perhaps two new projects at once. I personally prefer two different sounding projects on splits, but sometimes two of the same works as well.
I received this split from from the owner of Unlimited Drift at a local show. Unfortunately, my first copy was blank and now that I have a dubbed copy (kindly from the same man), I will finally knock this cassette out.
The packaging is a red tape encased in a plastic bag that closes with colored tape. I enjoy the artwork of the girl on the cover who is obviously deep in thought or somewhat concerned.
Side is begins with Foul with the track "Cement". Such a fitting title for a wall project. The wall bursts into the listener's ears and will get the feeling of being pinned (this is at full blast volume by the way). This track is interesting because I can hear some faint high pitched static but does not overpower the actual wall that some projects succumb to. I look forward to hearing more from this project.
Side B is Oregon-based She Walks Crooked with the track called, "Breaking Hours Out Of Change". Its great hearing more of this project and delivers exactly what you would expect and that is great wall. This is a rather interesting track honestly and has a lot going on with it. It sounds like the wall was made with field recordings with massive distortion. Maybe Im just hearing things, but there is a definite structure even though the genre literally brags on "lack of structure". The track ends abruptly and the tape leaves me hungry for more.
Short wall noise tapes are perfect to take it the entire time and even better that its a split. A perfect way for artists to market themselves to more people with the notorious limited runs noise labels tend to do.
If you're feeling some great wall noise, dabble in this if its still available. Buy from the respective artists or go straight to the source at www.unlimiteddrift.blogspot.com
Also, with Black Friday and the holidays closing in, please buy music from starving artists/labels. Tapes make great stocking gifts and are low in price. Maybe even an experimental secret santa is in order!
Maybe next year...
I received this split from from the owner of Unlimited Drift at a local show. Unfortunately, my first copy was blank and now that I have a dubbed copy (kindly from the same man), I will finally knock this cassette out.
The packaging is a red tape encased in a plastic bag that closes with colored tape. I enjoy the artwork of the girl on the cover who is obviously deep in thought or somewhat concerned.
Side is begins with Foul with the track "Cement". Such a fitting title for a wall project. The wall bursts into the listener's ears and will get the feeling of being pinned (this is at full blast volume by the way). This track is interesting because I can hear some faint high pitched static but does not overpower the actual wall that some projects succumb to. I look forward to hearing more from this project.
Side B is Oregon-based She Walks Crooked with the track called, "Breaking Hours Out Of Change". Its great hearing more of this project and delivers exactly what you would expect and that is great wall. This is a rather interesting track honestly and has a lot going on with it. It sounds like the wall was made with field recordings with massive distortion. Maybe Im just hearing things, but there is a definite structure even though the genre literally brags on "lack of structure". The track ends abruptly and the tape leaves me hungry for more.
Short wall noise tapes are perfect to take it the entire time and even better that its a split. A perfect way for artists to market themselves to more people with the notorious limited runs noise labels tend to do.
If you're feeling some great wall noise, dabble in this if its still available. Buy from the respective artists or go straight to the source at www.unlimiteddrift.blogspot.com
Also, with Black Friday and the holidays closing in, please buy music from starving artists/labels. Tapes make great stocking gifts and are low in price. Maybe even an experimental secret santa is in order!
Maybe next year...
Wednesday, December 10, 2014
Within
I have been meaning to review this tape for a long time. Midwest wall noise project Within is wall static incarnate. I remember hearing this for the first time driving to Houston while raining and really wanted to get a physical copy. I finally nabbed a copy from Jeff (Distorted Visions/Fecal Dam/Within) while on his Occult Perversions tour.
The physical release has side A of the clear cassette spray-painted a cloudy white that looks pretty damn cool. The tape is encased in a black norelco case with a jcard with art looking something like the inside of a church.
Side A (Damned By the Living) is exactly what you would expect. Complete static. While staying true to its texture the entire way of the track and not coming off weak or brittle like a lot of acts can do. This track lacks any sort if beef or bass, which is refreshing as I don't want to be pummeled to death for an hour of wall (well not on tapes at least). The static may be loud, but you can often forget what you're listening to and not in a negative way.
Side B (As I Seal My Tomb) is a much more beefy track. The track almost sounds like the previous one, but with perhaps more mids and lows or just more layers. Aside from that, you got much more static and a ton on both sides.
This tape is great while doing something else. Sitting here reviewing this to has been almost painful, but has been one of my favorite wall noise releases I have received this year (believe me...this is the most common sub genre I get in the mail).
Google "Distorted Visions" for more info on this tape and others, but I am pretty sure this tape is out of print.
Sorry guys.
The physical release has side A of the clear cassette spray-painted a cloudy white that looks pretty damn cool. The tape is encased in a black norelco case with a jcard with art looking something like the inside of a church.
Side A (Damned By the Living) is exactly what you would expect. Complete static. While staying true to its texture the entire way of the track and not coming off weak or brittle like a lot of acts can do. This track lacks any sort if beef or bass, which is refreshing as I don't want to be pummeled to death for an hour of wall (well not on tapes at least). The static may be loud, but you can often forget what you're listening to and not in a negative way.
Side B (As I Seal My Tomb) is a much more beefy track. The track almost sounds like the previous one, but with perhaps more mids and lows or just more layers. Aside from that, you got much more static and a ton on both sides.
This tape is great while doing something else. Sitting here reviewing this to has been almost painful, but has been one of my favorite wall noise releases I have received this year (believe me...this is the most common sub genre I get in the mail).
Google "Distorted Visions" for more info on this tape and others, but I am pretty sure this tape is out of print.
Sorry guys.
Tuesday, December 9, 2014
Achromaticist - Expanses
I know nothing of this project. The story goes is I posted my blog on a social network and was contacted by the guy asking if a flash drive would be considered a physical release. I said yes as I could physically hold the music in my hands. If you think about it, its basically just like a cdr.
We lost contact for a while and I had given him my old address (parents house) and since I needed to come back and pick up some clothes/records, I found the package with this item.
The flash drive itself is metal with a lot of scratches and was very cold since there is no heater in the room I am forcing myself to sleep in. Popping this drive into my disc drive-less laptop, it shows 5 long tracks.
The first track of this project is called "Expanse I" and is by far the longest track I have listened to in a long time spanning at an hour and 38 minutes. Right off the bat, this track is very hollow and airy. Im getting an ambient vibe big time and even some drone as the changes (so far) at little to none. A subtle deepening changes occurs around the 6 minute mark, which fades in an out of obscurity. Some severe and daunting synths come in around the 13 minute mark and the indifferent nothingness grows. At the 27 minute mark, the track almost becomes overwhelming. Its like looking at the stars and feeling extremely useless. At the 40 minute mark, there are so super windy atmospheres playing into the black hole of a mix. At the hour mark, the track dies down dramatically.
I have unfortunately misplaced the flash drive to complete the review, but I believe this will be more than enough to give a passerby a hint of what this massive project is like.
Again, I will review any format mailed to me in my first post.
For more of this project, go here: http://achromaticist.bandcamp.com
We lost contact for a while and I had given him my old address (parents house) and since I needed to come back and pick up some clothes/records, I found the package with this item.
The flash drive itself is metal with a lot of scratches and was very cold since there is no heater in the room I am forcing myself to sleep in. Popping this drive into my disc drive-less laptop, it shows 5 long tracks.
The first track of this project is called "Expanse I" and is by far the longest track I have listened to in a long time spanning at an hour and 38 minutes. Right off the bat, this track is very hollow and airy. Im getting an ambient vibe big time and even some drone as the changes (so far) at little to none. A subtle deepening changes occurs around the 6 minute mark, which fades in an out of obscurity. Some severe and daunting synths come in around the 13 minute mark and the indifferent nothingness grows. At the 27 minute mark, the track almost becomes overwhelming. Its like looking at the stars and feeling extremely useless. At the 40 minute mark, there are so super windy atmospheres playing into the black hole of a mix. At the hour mark, the track dies down dramatically.
I have unfortunately misplaced the flash drive to complete the review, but I believe this will be more than enough to give a passerby a hint of what this massive project is like.
Again, I will review any format mailed to me in my first post.
For more of this project, go here: http://achromaticist.bandcamp.com
Tuesday, November 25, 2014
Flesh Vomit - Eradicate
I am not sure where I came across this project, but I know this has been an act I have steadily been following. I got this tape specifically for a review and my computer is dead so I will go ahead and do this while I can.
"Eradicate" is on cassette tape format and is J's first physical release. Speaking of the actual release, the tape has red spots akin to blood that looks spattered on a black shell encased in a black norelco case. The cover shows a lofi pic of a home on fire, which I find very cool. Also, the tape comes with a piece of paper that allows the listener to contact the man behind this compelling noise project.
Side B is "Our Eradication" starts of really slow and atmospheric. The wall of sound literally sounds like a wind tunnel, which comes off very peaceful to me. Soon enough there are different wavelengths going up and down. Hints of static breathes its way into the mix that gives me goosebumps. I believe I am hearing some low end synths. I could be wrong. They overall sound goes from wind tunnel to waves splashing (almost said crashing). What I like about this track is every sound that sinks into the mix comes in and out as if the pieces are taking turns while going along with each other if that makes sense. I also like how steady the static is. This is not loud and in your face and not at all harsh to me. I like it.
Side A is "Cadaver King". This begins with creepy sound clip until you are blasted with an astoundingly harsh track. Based on the textures, there appears to be many layers and can be noticed if listening carefully. I wonder what is actually under all of the noise. This track may be more prominent, but I feel has a lot less going in than its predecessor.
I like this tape because it looks great for a debut release and the noise made is already on par with many established acts. Not only will I be looking forward to more from this project, I am happy to announce of a collab I will be doing with this project under my wall noise project. Expect some dynamic noise.
Im unsure if there are any copies left (/50), but you can contact Mr. Perez at fleshvomit760@gmail.com and can hear more material at www.fleshvomit.bandcamp.com.
Too lazy to put sides in order. I reviewed the tape as it was. Enjoy.
"Eradicate" is on cassette tape format and is J's first physical release. Speaking of the actual release, the tape has red spots akin to blood that looks spattered on a black shell encased in a black norelco case. The cover shows a lofi pic of a home on fire, which I find very cool. Also, the tape comes with a piece of paper that allows the listener to contact the man behind this compelling noise project.
Side B is "Our Eradication" starts of really slow and atmospheric. The wall of sound literally sounds like a wind tunnel, which comes off very peaceful to me. Soon enough there are different wavelengths going up and down. Hints of static breathes its way into the mix that gives me goosebumps. I believe I am hearing some low end synths. I could be wrong. They overall sound goes from wind tunnel to waves splashing (almost said crashing). What I like about this track is every sound that sinks into the mix comes in and out as if the pieces are taking turns while going along with each other if that makes sense. I also like how steady the static is. This is not loud and in your face and not at all harsh to me. I like it.
Side A is "Cadaver King". This begins with creepy sound clip until you are blasted with an astoundingly harsh track. Based on the textures, there appears to be many layers and can be noticed if listening carefully. I wonder what is actually under all of the noise. This track may be more prominent, but I feel has a lot less going in than its predecessor.
I like this tape because it looks great for a debut release and the noise made is already on par with many established acts. Not only will I be looking forward to more from this project, I am happy to announce of a collab I will be doing with this project under my wall noise project. Expect some dynamic noise.
Im unsure if there are any copies left (/50), but you can contact Mr. Perez at fleshvomit760@gmail.com and can hear more material at www.fleshvomit.bandcamp.com.
Too lazy to put sides in order. I reviewed the tape as it was. Enjoy.
Friday, November 7, 2014
Jock Club / Søren split
My first recollection of the label Ascetic House was seeing Marshstepper for the first time. Little did I know that the project stated just now would be pretty much odd man out so to speak.
Jock Club and Soren are both similar projects playing very catchy house and techno-esc music. I purchased this at Austin's End Of An Ear (wonder of they still have that Blood Axis record..) before going to a fest. I actually put one of my Funeral Parlor tapes in its place and think Matt (Aunts Analog) nabbed it.
Anyways, I do enjoy both projects, but do not remember much from this tape in particular and both sides are 21 minutes each.
The physical release is on a black tape wrapped in weird paper with simplistic artwork the label seems to do a lot.
Side A begins with Jock Club. A very interesting name. The tape begins with simplistic bass kicks and high hats similar to a club beat. More sounds drop in from a synth with a lot of reverb. One can feel the fog rolling in and their buzz from their last drink. More progressions sink in and out perfectly throughout this side keep the listener interested and wanting to nod to the beat. There appears to be more than one track listening to this a second time but no track listings. Another one comes and another one goes. Listening to this with the lights off and with sunglasses on along with a nice subwoofer will make this side a memorable one. One thing in particular about this side I like is how cold everything sounds without coming off as a coldwave revivalist. This is very refreshing indeed.
Soren finishes side B off and I have been following the project almost as much as the A side project. One thing the listener will notice is how massive the tracks from Soren are. There are tons of different progressions and build ups to make your heart race like crazy. What I like about this side is the ever constant beats but the sounds are lushly sequenced together. You can hear a lot of analog synths on this side.
This tape suits its purpose very well. Making your neck hurt from nodding to the beat. The only intermission you have is to flip the cassette over. I recommend this to anyone for the love of dance music. These guys do it well.
You can buy a copy directly from me at http://www.discogs.com/buy/Cassette/Jock-Club-Søren-Split/196231437 because as much as I love reviewing physical copies, I must make some extra money for the holidays.
Time for work. Hope all is well.
Jock Club and Soren are both similar projects playing very catchy house and techno-esc music. I purchased this at Austin's End Of An Ear (wonder of they still have that Blood Axis record..) before going to a fest. I actually put one of my Funeral Parlor tapes in its place and think Matt (Aunts Analog) nabbed it.
Anyways, I do enjoy both projects, but do not remember much from this tape in particular and both sides are 21 minutes each.
The physical release is on a black tape wrapped in weird paper with simplistic artwork the label seems to do a lot.
Side A begins with Jock Club. A very interesting name. The tape begins with simplistic bass kicks and high hats similar to a club beat. More sounds drop in from a synth with a lot of reverb. One can feel the fog rolling in and their buzz from their last drink. More progressions sink in and out perfectly throughout this side keep the listener interested and wanting to nod to the beat. There appears to be more than one track listening to this a second time but no track listings. Another one comes and another one goes. Listening to this with the lights off and with sunglasses on along with a nice subwoofer will make this side a memorable one. One thing in particular about this side I like is how cold everything sounds without coming off as a coldwave revivalist. This is very refreshing indeed.
Soren finishes side B off and I have been following the project almost as much as the A side project. One thing the listener will notice is how massive the tracks from Soren are. There are tons of different progressions and build ups to make your heart race like crazy. What I like about this side is the ever constant beats but the sounds are lushly sequenced together. You can hear a lot of analog synths on this side.
This tape suits its purpose very well. Making your neck hurt from nodding to the beat. The only intermission you have is to flip the cassette over. I recommend this to anyone for the love of dance music. These guys do it well.
You can buy a copy directly from me at http://www.discogs.com/buy/Cassette/Jock-Club-Søren-Split/196231437 because as much as I love reviewing physical copies, I must make some extra money for the holidays.
Time for work. Hope all is well.
Tuesday, November 4, 2014
Occult Perversions Southern Tour 2014 tape
This tour tape I received from Jeff of Distorted Visions on his (Fecal Dam) tour with Aqua-Eroticum and Black Pillar. Ive listened to the Cdr version plenty of times in my car, but decided to review the tape since I have it on me right now.
The tape is a clear shell with a black case and had a jcard with the projects and their track titles. Lets see how this sounds with tape hiss.
The tape begins with Aqua-Eroticum, and power electronics project I previously reviewed in support of this tour. The track fades in with "I Dont Listen, I just Stare" and is some of the most solid material from this project. Very memorable and the vocals are high in the mix (higher than normal which is neat). The track gets louder and louder as well.
"Fucked By Drugs, Fucked By Disease" is the second/final track of this project and bursts inside your ear canals as soon as it starts along with heavy static. Definitely one of this project's more harsh and dense tracks.
Black Pillar, a death industrial (i believe), is next and is my first listen from this project. "Ritual Insufflation" begins with synths the drums blow up in your face in a mechanical fashion. Honestly, my favorite track on this release. Vocals can be heard faintly as well (may be due to the tape format). I really like how the track begins and ends the same.
"Ritual Fucking" is the last track of this project and starts off side B. This track is has thick-murky synths right from the get go with sporadic sparks of static. I believe I hear vocals, but could be wrong. There is a lot going on in the track, but is much less dynamic that its predecessor. I am going to keep my eye on this project for sure.
The last project is Fecal Dam and is straight harsh noise and its loud as fuck. The track "Milkshake Party" begins with a bit of static, until you are bombarded with heavy (for a lack of better words) and blistering noise. There is so much going on, but doesn't sound like an improvisation that many tend to do. Everything falls into place like the pieces were meant to mesh/collide into each other.
"Morning Sickness" is not only the last track for the project, but ends the tape as well. This track begins with soft static that reminds of of a waterfall. This track is not as IN YOUR FACE and the previous one, but still noteworthy as this relies heavily on atmosphere and shows, to me, that this isn't some random "pedal pusher". Again, everything from beginning to end seems rehearsed and that is what I am enjoying the most out of it.
I love this tape mainly for nostalgic purposes as there seemed to be something wrong with 2/3rds of the dubbing, but that is just how tape dubbing works sometimes as Ive had similar issues myself.
With that being said, I love every track on this tape and have heard this on two different mediums.
Another perk of this is the positioning of the tracks. Listening all the way through, the tape gets louder and louder and more involving with each track.
Definitely recommend multiple listens and hope to see these guys again. Go midwest.
You can actually purchase/listen here: https://distortedvisions.bandcamp.com/album/occult-perversions-southern-tour-2014
The tape is a clear shell with a black case and had a jcard with the projects and their track titles. Lets see how this sounds with tape hiss.
The tape begins with Aqua-Eroticum, and power electronics project I previously reviewed in support of this tour. The track fades in with "I Dont Listen, I just Stare" and is some of the most solid material from this project. Very memorable and the vocals are high in the mix (higher than normal which is neat). The track gets louder and louder as well.
"Fucked By Drugs, Fucked By Disease" is the second/final track of this project and bursts inside your ear canals as soon as it starts along with heavy static. Definitely one of this project's more harsh and dense tracks.
Black Pillar, a death industrial (i believe), is next and is my first listen from this project. "Ritual Insufflation" begins with synths the drums blow up in your face in a mechanical fashion. Honestly, my favorite track on this release. Vocals can be heard faintly as well (may be due to the tape format). I really like how the track begins and ends the same.
"Ritual Fucking" is the last track of this project and starts off side B. This track is has thick-murky synths right from the get go with sporadic sparks of static. I believe I hear vocals, but could be wrong. There is a lot going on in the track, but is much less dynamic that its predecessor. I am going to keep my eye on this project for sure.
The last project is Fecal Dam and is straight harsh noise and its loud as fuck. The track "Milkshake Party" begins with a bit of static, until you are bombarded with heavy (for a lack of better words) and blistering noise. There is so much going on, but doesn't sound like an improvisation that many tend to do. Everything falls into place like the pieces were meant to mesh/collide into each other.
"Morning Sickness" is not only the last track for the project, but ends the tape as well. This track begins with soft static that reminds of of a waterfall. This track is not as IN YOUR FACE and the previous one, but still noteworthy as this relies heavily on atmosphere and shows, to me, that this isn't some random "pedal pusher". Again, everything from beginning to end seems rehearsed and that is what I am enjoying the most out of it.
I love this tape mainly for nostalgic purposes as there seemed to be something wrong with 2/3rds of the dubbing, but that is just how tape dubbing works sometimes as Ive had similar issues myself.
With that being said, I love every track on this tape and have heard this on two different mediums.
Another perk of this is the positioning of the tracks. Listening all the way through, the tape gets louder and louder and more involving with each track.
Definitely recommend multiple listens and hope to see these guys again. Go midwest.
You can actually purchase/listen here: https://distortedvisions.bandcamp.com/album/occult-perversions-southern-tour-2014
Thursday, October 30, 2014
The Siamese Pearl - Death-Darting Eye
Living the city life has limited my time for reviews (all my tapes aren't with me either) so I will do reviews when I can from now on.
Today, I will look at The Siamese Pearl, which happens to be Carlos from Opus Finis' experimental project.
I received this from Dillan of Ferveur Noire's distro and mainly bought this tape due to my interest in his minimal synth project stated above.
I've listened to this one time and didn't give the tape much attention. Now seems like a good time more than ever.
The physical tape comes in a hand-designed jewel case with the tape and booklet with lyrics/credits. Whoever buys this will not get two copies exactly the same and that is pretty neat in my book.
Side A begins with heavy synths and atmosphere not like Carlos' more known (if following the genre he/people put his project in). Grunts with a lot of delay come in before the first song is over.
The next track of what appears to be "Hermetic Hermit" sounds very minimal with reverb-drenched vocals.
"Night Scepter" comes in patiently with many layers of analog textures. A synth progression sinks in along with some thumps from a drum machine and the track builds of that. Little-but obvious structure forms and the vocals come through with lyrical content that is very bleak and dark.
"Chimera" drops in with many different noise textures that is unlike anything Carlos has done to my knowledge and is refreshing to hear. No lyrics in this track.
"Odepidus of the Black Oriface" is the last track for side A and one of the shortest, which brings the listener back to the overall creepy vibe of this tape.
Side B starts with "Attributable Decay" jumps in with many synth-laden layers and signature vocals sacked on top of each other. The track itself is very entrancing.
"Turnip Blood" reminds me of an death industrial track, but less obvious. Very minimal and extremely to the point. "lead in veins" can be heard over and over until the dam breaks and the track is dead.
"Axe" is the most memorable track on this tape mainly due to the militant drumming on the track. I'll go ahead and say this has a much more martial industrial vibe to it. Vocals key in and out at appropriate moments and resonates throughout the composition. A personal fave.
The last track "He's Not Kind To Other Wraiths" is not only an odd name, but is the final track on the cassette. To me, this could be intentional noise/atmosphere or could be filler to complete this side of the track. Either way, the track is listenable and not forgettable.
Listening to this tape now, I kind of wish I could have the mp3 files to jan on my ipod. This album had great potential for much play-throughs. I enjoyed the overall aspect of the tape and I really liked how every track was different.
I am not sure if you can check this out anywhere, but can be found on discogs much for a much higher price than I paid it for:
Tuesday, September 30, 2014
MPHIAT - Existential Crisis
MPHIAT is an acronym for Mr Potato Head Is A Tranny and the music behind the name is just as weird.
I received this and other items (tank top from his dad's job and a rad jazz cd) from Zack Dion who is behind the project and figured that its finally time to review this tape.
The tape shell is multicolored but mainly red and the case is pink (25/50) with cover that has a name-tag stating, "Hello my name is MPHIAT".
There is no track listing or sides so Ill work with what I got.
The first side begins with a kick drum along with cymbals. Vocals come in along with noises and super high pitched screams. Drums start clanging in and the track is over.
The next track is more dumming and fades out before I can write about it.
The third track sounds live and very noisy with a lot of harsh feedback. There is a clanging sound that Zack must be hitting something. The banging and clanging comes faster and the the overall sounds is very trippy.
The last track on this side is a spoken word bit i assume is from Zack and is my favorite part of the release.
The next side begins with a track comparable to WCPC regarding super high frequencies but with some of the most high pitched male screaming I've ever heard. Truly a track to turn the volume down on.
The next track comes in with a lot of atmosphere and almost sounds like low end guitar drone. The rest of the track relies on feedback and a wall of sound.
This is a perfect tape to check out this project with. Im happy to have received this and is my personal favorite material.
Also, be sure to look out for MPHIAT on the next Dumpster City compilation next year!
More trans starch can be found at: dion808.bandcamp.com
I received this and other items (tank top from his dad's job and a rad jazz cd) from Zack Dion who is behind the project and figured that its finally time to review this tape.
The tape shell is multicolored but mainly red and the case is pink (25/50) with cover that has a name-tag stating, "Hello my name is MPHIAT".
There is no track listing or sides so Ill work with what I got.
The first side begins with a kick drum along with cymbals. Vocals come in along with noises and super high pitched screams. Drums start clanging in and the track is over.
The next track is more dumming and fades out before I can write about it.
The third track sounds live and very noisy with a lot of harsh feedback. There is a clanging sound that Zack must be hitting something. The banging and clanging comes faster and the the overall sounds is very trippy.
The last track on this side is a spoken word bit i assume is from Zack and is my favorite part of the release.
The next side begins with a track comparable to WCPC regarding super high frequencies but with some of the most high pitched male screaming I've ever heard. Truly a track to turn the volume down on.
The next track comes in with a lot of atmosphere and almost sounds like low end guitar drone. The rest of the track relies on feedback and a wall of sound.
This is a perfect tape to check out this project with. Im happy to have received this and is my personal favorite material.
Also, be sure to look out for MPHIAT on the next Dumpster City compilation next year!
More trans starch can be found at: dion808.bandcamp.com
Sunday, September 28, 2014
Jason Crumer - Disqualifier
For those keeping up with modern experimental music has heard of Jason Crumer and his album "Ottoman Black". I will be reviewing (before i move without bringing my record player) his latest effort I received from a friend (thanks Jonathan Spencer!)
I was actually fortunate enough to watch J Crumer do a collab set with Joseph Hammer. Aside from everyone being on drugs and hindering a lot of comfort from the two playing, it was an amazing set.
Looking at this record, everything is black from the vinyl to the sleeve and the cover. The cover has the name, title, and credits while the back has nothing. Very interesting. I personally like the packaging.
Side A begins with "Mom Pix" which, judging by the grooves is one of the longest tracks on this side. The album begins with some sort of drone with light static (either from the record itself or the music). If you pay very close attention, the drone shifts and changes vey slowly. This is best taken in with the eyes closed or under some sort of inebriation. The volume appears to pick up as well.
"Clijo's Arrival" meshes into the previous track but there appears to be another layer of sound that really accentuates the main drone. Weird sounds come in that would come from an old horror movie. Its am almost stressful listening to this as is sounds like at any moment, something will jump out in front of you.
"Rendezvous At Big Gulch" begins with different sounds if static and clopping from what appears to be the sound horse hooves. This track really begins to pick the album up. The track becomes more harsh as it "trots" on by.
"Wellsley's Philosophy" is an altogether track from the previous ones. I hear soundclips and numerous different sounds. Everything on this track is very precise and has its own separate part. The track ends ominously and fades away.
"Most Dangerous Man" is the last track on this side and partially live based on the credits of the release. There are random bits of noise with a constant beeping sounds. Im very intrigued on where a lot of these textures come from. There is a definite submerged vibe to this track.
Side B begins with "Functional Dance" and starts out super harsh. The beeping continues from the last track but is accentuated with clanging and reeling sounds along with others until more bursts of noise becomes relevant.
"Eaten, Not Awed" comes in immediately afterwards and is one of the harshest tracks yet along with some obvious ambience in the mix. Faint bits of feedback as well.
A minute bit of silence cues the next track for "Clio And Wessley" which has more apparent ambient sounds tied in with static lower in the mix. The static fades and so do most other sounds and we are taken on another suspenseful journey musically until all sounds fade.
"Start Again" appears to be one of the longer tracks as well and starts off very quiet. To me, this sounds like minute feedback manipulation mixed in with ambient sounds. A listener can easily be driven into a self-assessment until the trumpets and horns come in. More instruments key in as the track progresses and has a nice jazz vibe to boot. I begin to hear a sort of rattling sounding akin to bones. Also some faint drumming near the end.
The title track and the final track continues with drumming, rattling, and overall ambience, but much more daunting than before. The listener can feel small listening to this track as it id very indifferent and vast. Sounds build and build and bend and appear and disappear and intertwine until the album is over.
Even though I really enjoyed this album, this review unfortunately does not do its justice. There is so much more to this album than what I can come up with words.
Jason Crumer is truly a master in the craft and as I know how much time and money it takes to press vinyl, I strongly urge you to buy a copy instead of "file share" on soulseek or whatever you use. You can't enjoy watching a spinning guillotine from side B on mp3 format.
This and more can be found at: http://norentrecords.bigcartel.com
I was actually fortunate enough to watch J Crumer do a collab set with Joseph Hammer. Aside from everyone being on drugs and hindering a lot of comfort from the two playing, it was an amazing set.
Looking at this record, everything is black from the vinyl to the sleeve and the cover. The cover has the name, title, and credits while the back has nothing. Very interesting. I personally like the packaging.
Side A begins with "Mom Pix" which, judging by the grooves is one of the longest tracks on this side. The album begins with some sort of drone with light static (either from the record itself or the music). If you pay very close attention, the drone shifts and changes vey slowly. This is best taken in with the eyes closed or under some sort of inebriation. The volume appears to pick up as well.
"Clijo's Arrival" meshes into the previous track but there appears to be another layer of sound that really accentuates the main drone. Weird sounds come in that would come from an old horror movie. Its am almost stressful listening to this as is sounds like at any moment, something will jump out in front of you.
"Rendezvous At Big Gulch" begins with different sounds if static and clopping from what appears to be the sound horse hooves. This track really begins to pick the album up. The track becomes more harsh as it "trots" on by.
"Wellsley's Philosophy" is an altogether track from the previous ones. I hear soundclips and numerous different sounds. Everything on this track is very precise and has its own separate part. The track ends ominously and fades away.
"Most Dangerous Man" is the last track on this side and partially live based on the credits of the release. There are random bits of noise with a constant beeping sounds. Im very intrigued on where a lot of these textures come from. There is a definite submerged vibe to this track.
Side B begins with "Functional Dance" and starts out super harsh. The beeping continues from the last track but is accentuated with clanging and reeling sounds along with others until more bursts of noise becomes relevant.
"Eaten, Not Awed" comes in immediately afterwards and is one of the harshest tracks yet along with some obvious ambience in the mix. Faint bits of feedback as well.
A minute bit of silence cues the next track for "Clio And Wessley" which has more apparent ambient sounds tied in with static lower in the mix. The static fades and so do most other sounds and we are taken on another suspenseful journey musically until all sounds fade.
"Start Again" appears to be one of the longer tracks as well and starts off very quiet. To me, this sounds like minute feedback manipulation mixed in with ambient sounds. A listener can easily be driven into a self-assessment until the trumpets and horns come in. More instruments key in as the track progresses and has a nice jazz vibe to boot. I begin to hear a sort of rattling sounding akin to bones. Also some faint drumming near the end.
The title track and the final track continues with drumming, rattling, and overall ambience, but much more daunting than before. The listener can feel small listening to this track as it id very indifferent and vast. Sounds build and build and bend and appear and disappear and intertwine until the album is over.
Even though I really enjoyed this album, this review unfortunately does not do its justice. There is so much more to this album than what I can come up with words.
Jason Crumer is truly a master in the craft and as I know how much time and money it takes to press vinyl, I strongly urge you to buy a copy instead of "file share" on soulseek or whatever you use. You can't enjoy watching a spinning guillotine from side B on mp3 format.
This and more can be found at: http://norentrecords.bigcartel.com
Friday, September 26, 2014
Contraktor - Just Die Already
First of all, sorry for the lack of reviews. The good news is that I am moving in the Houston area. Basically, I am in the middle of moving so bear with me.
Now, about Contraktor.
There isnt too much I know about this project except that I now have two releases on 8-trk and that it is a extremely gritty power electronics effort.
My first recollection of this was randomly browsing H8-Track Stereo and buying one. I jammed it and was sold. After seeing "Just Die Already" I had to nab one.
The cartridge I have personally is on black (some cream white,grey, blue, etc) with minimal indiscernible artwork. I popped this badboy in my player (Get one. Theyre super cheap) relaxed for what was about to come.
The album starts with "Godpussy [Intro]" which zooms into your eardrums fairly quick. More sounds drop in patiently with low frequencies. Hearing a lot of bass, which I enjoy a lot. Definitely some good delay usage.
"Fucking Die Already" is the next track and has a prominent distorted sound with vocals really low in the mix. Another short track like the first.
"Side A" is the next track is the second longest one. Feedback brings the listener back to life and the person behind this project twists the textures to his liking throughout the track. Near the end, vocals drop in and im intrigued to hear what he has to say.
"Side B" sounds like a continuation of "A" but is much more beefy sounding. Full of lows and mids with ample feedback. Desperate vocals end this one.
"Side C" comes with more feedback almost as if the man had his thumb on the end of a guitar cord and held it. Other noises fade in until it is overcome by this. More sounds rush in like a dam breaking and with vocals to boot. This is a perfect storm of a track.
"Side D" is a short track which reminds me of a transition to the next track as is just mainly feedback until the track is mainly over. A nice intermission track.
"Untitled" comes in with monolithic textures akin to HNW. The sounds bend and twist underneath the gales of sound. To me, this sounds like the closest thing to a tornado hitting a house. Unforgiving and unrelenting. No vocals can be heard here.
"Suicide Note" starts of really quiet. The patience one must have reading a suicide note. The anxiety and adrenaline one must feel while reading one. The track title goes with this very well. There are constant waves of sound similar to a heart beat and gets your blood pumping. Heavily distorted vocals are at the end of the track and startled me. Very nice.
"Side E" brings the listener back to reality from the extremely involving track to this next feedback induction of a track. I hear sounds that would come from a synth pedal which, normally, people tend to go crazy with, but not here. Im getting an obvious industrial vibe near the halfway point as well.
"Side F" makes the listener want to turn the volume down with the piercing feedback. The track gets lower and lower with different sounds. I almost hear vocals at some point but not audible to make out words.
The last track "Undercover Fag Cop" is an interesting title and offensive if words offend you. Right from the beginning, there is a structure a listener can bang your head to. This is the album's longest song (8 minutes). This would be perfect for the end of the first Terminator movie where Sarah Connor is running away from Rob-Swartz. The same beat goes on and on under it is overtaken by saturated feedback until nothing is left. The end.
I enjoyed the entire release. Given that a lot of 8-trks are less than 30 minutes, one can easily listen to this with no issue. I enjoyed this material as there is an apparent patience to the man's compositions. Starts off thin and ends really strong. I can see why people are taking heed of this project and would recommend to anyone.
In other news, I (Funeral Parlor) will be working on a few projects with Contraktor so keep an eye out for that!
Contraktor's material can be found at: contraktor.bandcamp.com
Now, about Contraktor.
There isnt too much I know about this project except that I now have two releases on 8-trk and that it is a extremely gritty power electronics effort.
My first recollection of this was randomly browsing H8-Track Stereo and buying one. I jammed it and was sold. After seeing "Just Die Already" I had to nab one.
The cartridge I have personally is on black (some cream white,grey, blue, etc) with minimal indiscernible artwork. I popped this badboy in my player (Get one. Theyre super cheap) relaxed for what was about to come.
The album starts with "Godpussy [Intro]" which zooms into your eardrums fairly quick. More sounds drop in patiently with low frequencies. Hearing a lot of bass, which I enjoy a lot. Definitely some good delay usage.
"Fucking Die Already" is the next track and has a prominent distorted sound with vocals really low in the mix. Another short track like the first.
"Side A" is the next track is the second longest one. Feedback brings the listener back to life and the person behind this project twists the textures to his liking throughout the track. Near the end, vocals drop in and im intrigued to hear what he has to say.
"Side B" sounds like a continuation of "A" but is much more beefy sounding. Full of lows and mids with ample feedback. Desperate vocals end this one.
"Side C" comes with more feedback almost as if the man had his thumb on the end of a guitar cord and held it. Other noises fade in until it is overcome by this. More sounds rush in like a dam breaking and with vocals to boot. This is a perfect storm of a track.
"Side D" is a short track which reminds me of a transition to the next track as is just mainly feedback until the track is mainly over. A nice intermission track.
"Untitled" comes in with monolithic textures akin to HNW. The sounds bend and twist underneath the gales of sound. To me, this sounds like the closest thing to a tornado hitting a house. Unforgiving and unrelenting. No vocals can be heard here.
"Suicide Note" starts of really quiet. The patience one must have reading a suicide note. The anxiety and adrenaline one must feel while reading one. The track title goes with this very well. There are constant waves of sound similar to a heart beat and gets your blood pumping. Heavily distorted vocals are at the end of the track and startled me. Very nice.
"Side E" brings the listener back to reality from the extremely involving track to this next feedback induction of a track. I hear sounds that would come from a synth pedal which, normally, people tend to go crazy with, but not here. Im getting an obvious industrial vibe near the halfway point as well.
"Side F" makes the listener want to turn the volume down with the piercing feedback. The track gets lower and lower with different sounds. I almost hear vocals at some point but not audible to make out words.
The last track "Undercover Fag Cop" is an interesting title and offensive if words offend you. Right from the beginning, there is a structure a listener can bang your head to. This is the album's longest song (8 minutes). This would be perfect for the end of the first Terminator movie where Sarah Connor is running away from Rob-Swartz. The same beat goes on and on under it is overtaken by saturated feedback until nothing is left. The end.
I enjoyed the entire release. Given that a lot of 8-trks are less than 30 minutes, one can easily listen to this with no issue. I enjoyed this material as there is an apparent patience to the man's compositions. Starts off thin and ends really strong. I can see why people are taking heed of this project and would recommend to anyone.
In other news, I (Funeral Parlor) will be working on a few projects with Contraktor so keep an eye out for that!
Contraktor's material can be found at: contraktor.bandcamp.com
Sunday, September 21, 2014
Future Blondes - Feather 17
Along with the Houston noise scene, there are more dance-laden experimental music as well.
I met Domokos (Black Leather Jesus // Rusted Shut) at the same show Styrofoam Sanchez played, but I missed his live performance. Why? Probably because I was drunk, but he was also hanging outside with us too. It turns out he was hanging outside while his music barraged the few listeners in the club on a Wednesday night. Even though I missed his set, I was fortunate to exchange a few words with the nice fellow and somehow obtained this album and a Texas comp tape (may review later on the future) for free. The least I could do is review the damn thing!
The packaging is really nice. There seems to be some sort of leopard print with the album name and artist title on the front while with his signature bars on the back. The sleeve has the credits and song listings and inside this lies a digital download for the record and a gorgeous white vinyl.
Side A starts with "Synth 1" that is a 5 minute track of what you would expect-synth. The track starts off very warm but dives downward and back up. Listening to this for the first time, I am not sure what lies ahead. Subtle noise appears as well along the way.
The title track "Feather 17" is a 16 minute track that completes side A. This is where I really enjoy the record as the kick drum beats its way in and then the hi-hat and snare which results in a wonderful track to sway around to. Vocals seep in and out with many different effects as well. The song builds and builds like any club jam should until its over.
Side B will be only one track that is entitled, "Fehe'r A Tuz" which spans over 20 minutes long. This begins with looped sounds while a catch drum beat slowly, but surely fades in. The synths are very atmospheric and peaceful, which reminds me of the ending credits after a triumphant win or a happy ending. At some point, there is a transition that sounds like the music is spiraling out of control. The drugs have taken the listener too far and is experiencing a bad trip. I hear faint voices as well as well as more erie synths, but the dance beat never ceases. The track fades into obscurity and faint jingling can be heard. This reminds me of an empty bar after hours when everyone working is throwing empty bear bottles away (me trying to sober up that night).
This record is the best thing I have never heard from the city I'm moving to in a few weeks. I recommend this to anyone who is interested in the more dancy type music coming out of the city.
I recommend playing this to strangers to get the full experience. Because that is exactly what you do at a nightclub. Meeting strangers.
I met Domokos (Black Leather Jesus // Rusted Shut) at the same show Styrofoam Sanchez played, but I missed his live performance. Why? Probably because I was drunk, but he was also hanging outside with us too. It turns out he was hanging outside while his music barraged the few listeners in the club on a Wednesday night. Even though I missed his set, I was fortunate to exchange a few words with the nice fellow and somehow obtained this album and a Texas comp tape (may review later on the future) for free. The least I could do is review the damn thing!
The packaging is really nice. There seems to be some sort of leopard print with the album name and artist title on the front while with his signature bars on the back. The sleeve has the credits and song listings and inside this lies a digital download for the record and a gorgeous white vinyl.
Side A starts with "Synth 1" that is a 5 minute track of what you would expect-synth. The track starts off very warm but dives downward and back up. Listening to this for the first time, I am not sure what lies ahead. Subtle noise appears as well along the way.
The title track "Feather 17" is a 16 minute track that completes side A. This is where I really enjoy the record as the kick drum beats its way in and then the hi-hat and snare which results in a wonderful track to sway around to. Vocals seep in and out with many different effects as well. The song builds and builds like any club jam should until its over.
Side B will be only one track that is entitled, "Fehe'r A Tuz" which spans over 20 minutes long. This begins with looped sounds while a catch drum beat slowly, but surely fades in. The synths are very atmospheric and peaceful, which reminds me of the ending credits after a triumphant win or a happy ending. At some point, there is a transition that sounds like the music is spiraling out of control. The drugs have taken the listener too far and is experiencing a bad trip. I hear faint voices as well as well as more erie synths, but the dance beat never ceases. The track fades into obscurity and faint jingling can be heard. This reminds me of an empty bar after hours when everyone working is throwing empty bear bottles away (me trying to sober up that night).
This record is the best thing I have never heard from the city I'm moving to in a few weeks. I recommend this to anyone who is interested in the more dancy type music coming out of the city.
I recommend playing this to strangers to get the full experience. Because that is exactly what you do at a nightclub. Meeting strangers.
Friday, September 19, 2014
Styrofoam Sanchez Bundle Pack
Im a fan of gimmicks, but this project takes the cake. Styrofoam Sanchez are a 3-piece from California who play really nasty-post apocalyptic industrial music while donning styrofoam masks that resemble icebergs.
I was able to see this group perform at the Mangos show the other day with the Aqua-Eroticum tour bill, RU-486, and Future Blondes. Theyre set was the most overbearing and relentless set of the night. I met one of the members after their set (pretty drunk) and bought their dvd/lp/book bundle and gave him my info for future trades.
I am finally back home to review some shit so i decided to start with this.
Since I hardly watch dvds, I decided to start here. This is called "Macular Edema/Occular Oilpool"
The artwork is nothing but black and white icebergs. "Macular Edema" is nothing but clips of different icebergs and mountains with the group walking around or perhaps even performing. I get a very gross feeling watching this.
"Occular Oilpool" is a performance only clip of what the group is like live. With everything in black and white, the performance looks ominous and downright spooky. Every member has a specific role and everything meshes (or doesn't) really well. Oh, and they also wear suits when playing. This is perfect for someone who cannot see the 3-piece live themselves. There are also clips of the group walking around in public with others donning similar masks.
The booklet is a cross between an oversized lyric booklet and comic book. There are hand-drawn pics with lyrics that almost tells a story that revolves around an underwater world. A lot of the artwork/lyrics have social political undertones as well.
And finally, the the LP entitled "Empire Underwater".
Again, the imagery holds true to the overall package which are distorted black and white photos of glaciers in an almost-collage fashion. The insert inside has the credits for the vinyl material on one side and the dvd on the opposite.
Side A begins with murky recycled sounds such as feedback and screeching sounds that makes the listener recoil. This side pics up momentarily and very clear vocals can be heard if listening carefully. I am almost certain the words in the booklet can go along with the music. Just when the listener gets used to a specific composition, one is shoved into another over and over. There are a lot of drum beats giving the sound a much more industrial vibe. This is most definitely a soundtrack to the end of the world or perhaps a daily event at Trash Island (where album was recorded).
Side B sounds like something straight out of John Carpenter's worst nightmare. There appears to be much more structure on this side (even though it may be submerged). There are many dirges throughout the random piercing sounds and distorted vocals. It They Live was remade and needed a soundtrack, this would be perfect.
While this bundle is amazing, I do not recommend taking everything in all at once. I have a problem doing that myself, but its safe to say I will be keeping a close eye on further releases.
I recommend this to anyone into the gross and disgusting or to any industrial fan.
For more info on their upcoming shows and for releases, visit www.ratskin.org.
I was able to see this group perform at the Mangos show the other day with the Aqua-Eroticum tour bill, RU-486, and Future Blondes. Theyre set was the most overbearing and relentless set of the night. I met one of the members after their set (pretty drunk) and bought their dvd/lp/book bundle and gave him my info for future trades.
I am finally back home to review some shit so i decided to start with this.
Since I hardly watch dvds, I decided to start here. This is called "Macular Edema/Occular Oilpool"
The artwork is nothing but black and white icebergs. "Macular Edema" is nothing but clips of different icebergs and mountains with the group walking around or perhaps even performing. I get a very gross feeling watching this.
"Occular Oilpool" is a performance only clip of what the group is like live. With everything in black and white, the performance looks ominous and downright spooky. Every member has a specific role and everything meshes (or doesn't) really well. Oh, and they also wear suits when playing. This is perfect for someone who cannot see the 3-piece live themselves. There are also clips of the group walking around in public with others donning similar masks.
The booklet is a cross between an oversized lyric booklet and comic book. There are hand-drawn pics with lyrics that almost tells a story that revolves around an underwater world. A lot of the artwork/lyrics have social political undertones as well.
And finally, the the LP entitled "Empire Underwater".
Again, the imagery holds true to the overall package which are distorted black and white photos of glaciers in an almost-collage fashion. The insert inside has the credits for the vinyl material on one side and the dvd on the opposite.
Side A begins with murky recycled sounds such as feedback and screeching sounds that makes the listener recoil. This side pics up momentarily and very clear vocals can be heard if listening carefully. I am almost certain the words in the booklet can go along with the music. Just when the listener gets used to a specific composition, one is shoved into another over and over. There are a lot of drum beats giving the sound a much more industrial vibe. This is most definitely a soundtrack to the end of the world or perhaps a daily event at Trash Island (where album was recorded).
Side B sounds like something straight out of John Carpenter's worst nightmare. There appears to be much more structure on this side (even though it may be submerged). There are many dirges throughout the random piercing sounds and distorted vocals. It They Live was remade and needed a soundtrack, this would be perfect.
While this bundle is amazing, I do not recommend taking everything in all at once. I have a problem doing that myself, but its safe to say I will be keeping a close eye on further releases.
I recommend this to anyone into the gross and disgusting or to any industrial fan.
For more info on their upcoming shows and for releases, visit www.ratskin.org.
Wednesday, September 17, 2014
Tangerine Dream - Rubycon
This is one of my favorite records I own. Its hard to coin a genre to this act as they have dabbled into so many. Tangerine Dream is a Moog lover's dream and Rubycon is ambience complete.
I found this at a local record store and was baffled I was not referred to this previously. I recommend purchasing albums before downloading them. You will get a very similar vibe like I have with this gem.
This record is packaged as a gatefold and released in 1975 (13 years before I was fucking born!) and the artwork appears to be the aftermath of a drop of water falling into water (if that makes sense)
This album is one song split onto two sides.
Side A slowly comes to life with gorgeous synths. You can feel the warmth coming from them. There are so many ambient textures zoning in and out. About 1/4th of the way in, a synth progression begins while others fade in as well preparing the listener for a musical journey.
Side B starts off really creepy with many different drones seeping into your ears. They become louder and louder until other sounds come in. Choir effects seep into the textures and you feel cold and overwhelmed. Afterwards, the track really picks up where side A leaves off and sounds really submerged, but safe.
This record is really influential to me. This record is way beyond its time even today. I would recommend this to anyone who is curious or has no clue what the project sounds like.
I wont post a link as their material can easily be accessed through google or any other search engine. The records are super cheap too. Maybe find one at a local record shop like I did!
I found this at a local record store and was baffled I was not referred to this previously. I recommend purchasing albums before downloading them. You will get a very similar vibe like I have with this gem.
This record is packaged as a gatefold and released in 1975 (13 years before I was fucking born!) and the artwork appears to be the aftermath of a drop of water falling into water (if that makes sense)
This album is one song split onto two sides.
Side A slowly comes to life with gorgeous synths. You can feel the warmth coming from them. There are so many ambient textures zoning in and out. About 1/4th of the way in, a synth progression begins while others fade in as well preparing the listener for a musical journey.
Side B starts off really creepy with many different drones seeping into your ears. They become louder and louder until other sounds come in. Choir effects seep into the textures and you feel cold and overwhelmed. Afterwards, the track really picks up where side A leaves off and sounds really submerged, but safe.
This record is really influential to me. This record is way beyond its time even today. I would recommend this to anyone who is curious or has no clue what the project sounds like.
I wont post a link as their material can easily be accessed through google or any other search engine. The records are super cheap too. Maybe find one at a local record shop like I did!
Monday, September 15, 2014
Phoenix Diamond - Life Urge
Another Houston act, but not quite like the more noisy contemporaries. Phoenix Diamond is a very interesting project to say the least.
I was fortunate to play with this act at Funeral Parlor's first show. A woman with a veil over face with blowing bubbles. Very beautiful set indeed and stuck with me all night. I made sure I nabbed a copy to listen to the tape version.
Listening to this now, I am really happy I picked this up.
Like most Vulvania Editions releases I own, this comes on a black tape with what appears to be whiteout with the project name, title, and label written on both sides wrapped in a pastel colored j-card.
Side A is very interesting. There appears to a lot of different industrial style progressions from track to track (no song titles to be found). While some songs are beautiful, some aren't and that's okay with me.
Side B is much more entrancing that the previous side. Listening bow reminds me of an old movie soundtrack. Another track reminds me of chimes blowing in the wind. Could these be field recordings? Either way, I'm infatuated with the sound on this side. I think I heard some drumming in the background on one of the tracks as well.
I enjoy this tape because the music is not adhering to any sort of norm genre wise. The project is doing what it enjoys. Maybe I enjoy it personally because of the synths, drones, and other neat sounds.
I would recommend listening to the on the front porch early in the morning while the birds are chirping loud.
Not sure if there are any more copies but check out http://inhumanignorance.blogspot.com/?m=1 for more releases that are available.
I was fortunate to play with this act at Funeral Parlor's first show. A woman with a veil over face with blowing bubbles. Very beautiful set indeed and stuck with me all night. I made sure I nabbed a copy to listen to the tape version.
Listening to this now, I am really happy I picked this up.
Like most Vulvania Editions releases I own, this comes on a black tape with what appears to be whiteout with the project name, title, and label written on both sides wrapped in a pastel colored j-card.
Side A is very interesting. There appears to a lot of different industrial style progressions from track to track (no song titles to be found). While some songs are beautiful, some aren't and that's okay with me.
Side B is much more entrancing that the previous side. Listening bow reminds me of an old movie soundtrack. Another track reminds me of chimes blowing in the wind. Could these be field recordings? Either way, I'm infatuated with the sound on this side. I think I heard some drumming in the background on one of the tracks as well.
I enjoy this tape because the music is not adhering to any sort of norm genre wise. The project is doing what it enjoys. Maybe I enjoy it personally because of the synths, drones, and other neat sounds.
I would recommend listening to the on the front porch early in the morning while the birds are chirping loud.
Not sure if there are any more copies but check out http://inhumanignorance.blogspot.com/?m=1 for more releases that are available.
Saturday, September 13, 2014
Xeno & Oaklander - Vigils
A minimal wave outlet stationed in New York and have been following closely since I listened to this release. I personally think their music has gone downhill since this release, but they're doing what they love and I cannot hate on that.
I remember first hearing this album on my computer while napping and this album sucked me into the void of this genre.
I was lucky to see the duo play in a dark club in Austin at Chaos in Tejas full of bass and fog. Although They didn't play my favorite songs, it nabbed this LP and the last shirt (that happens to me more often than not).
Having this record for two years now, I feel its time I review it.
The LP comes on a maroon sleeve with insert that has lyrics on one side and a gorgeous picture of the two walking down some steps. Everything about the package looks nice (and expensive).
Both sides have 4 tracks each.
Side A starts with "An Introduction" which is what sold me on the act from the start. Spooky synths with tight snare beats. Seans McBride (Martial Canterel) does vocals on this track.
"Départ" is the next track and sang by Liz Wendelbo and is very fast paced and minimal. Most of the lyrics sang by her are not in english which adds a nice touch to the overall album that brings the listener to the 80s french coldwave days whether you experienced it personally or not.
"Zurück" as you may have guess is not in english. A more steady-paced track full of synth and icy drums behind a woman's voice enshrouded in reverb.
"Blue Flower" is X & E's more popular song with great reason. The track starts with great reason. Electronic drums start the track, then synths that submerge the listener under water. The song is very beautiful and desperate. Sang in english and whispering "the stranger".
Side B picks up the pace with another popular track from the duo called "Non Senti". This track is techno lovers dream. Very danceable and creepy. I remember this track beating the life out of me. A definite minimal assault.
The title track "Vigils" is one of my favorite tracks on this record. Maybe its because I am a sucker for female vocals. He listener can hear the extent of her vocal capabilities on this one. The singing meshes perfectly with the compositions if synths and drums. Very simplistic and short the way I love it.
"Two Eyes" has Sean back on vocals but the lyrics are missing from the insert. Oh well. This track is very cold nonetheless. Very lo-fi and dark.
"Ransack" is a track I do not remember ever listening to in the past. A very unconventional track apparently recorded two years before most of these songs. High end synths with Liz on vocals. Sounds like something coming out of an NES game drenched in reverb.
The cd version has my favorite song of theirs (frostbite) but you guys can check that out yourselves.
I enjoy this release as this album is the closest thing to Asylum Party (all time favorite band) I can find that is actively around. I enjoy this record out of their discography because of the lo-fi production. Everything else is much too poppy and upbeat for me. This is a very depressing record.
Recommend to every sad lad/lass out there.
More can be found at www.xenoandoaklander.com
I remember first hearing this album on my computer while napping and this album sucked me into the void of this genre.
I was lucky to see the duo play in a dark club in Austin at Chaos in Tejas full of bass and fog. Although They didn't play my favorite songs, it nabbed this LP and the last shirt (that happens to me more often than not).
Having this record for two years now, I feel its time I review it.
The LP comes on a maroon sleeve with insert that has lyrics on one side and a gorgeous picture of the two walking down some steps. Everything about the package looks nice (and expensive).
Both sides have 4 tracks each.
Side A starts with "An Introduction" which is what sold me on the act from the start. Spooky synths with tight snare beats. Seans McBride (Martial Canterel) does vocals on this track.
"Départ" is the next track and sang by Liz Wendelbo and is very fast paced and minimal. Most of the lyrics sang by her are not in english which adds a nice touch to the overall album that brings the listener to the 80s french coldwave days whether you experienced it personally or not.
"Zurück" as you may have guess is not in english. A more steady-paced track full of synth and icy drums behind a woman's voice enshrouded in reverb.
"Blue Flower" is X & E's more popular song with great reason. The track starts with great reason. Electronic drums start the track, then synths that submerge the listener under water. The song is very beautiful and desperate. Sang in english and whispering "the stranger".
Side B picks up the pace with another popular track from the duo called "Non Senti". This track is techno lovers dream. Very danceable and creepy. I remember this track beating the life out of me. A definite minimal assault.
The title track "Vigils" is one of my favorite tracks on this record. Maybe its because I am a sucker for female vocals. He listener can hear the extent of her vocal capabilities on this one. The singing meshes perfectly with the compositions if synths and drums. Very simplistic and short the way I love it.
"Two Eyes" has Sean back on vocals but the lyrics are missing from the insert. Oh well. This track is very cold nonetheless. Very lo-fi and dark.
"Ransack" is a track I do not remember ever listening to in the past. A very unconventional track apparently recorded two years before most of these songs. High end synths with Liz on vocals. Sounds like something coming out of an NES game drenched in reverb.
The cd version has my favorite song of theirs (frostbite) but you guys can check that out yourselves.
I enjoy this release as this album is the closest thing to Asylum Party (all time favorite band) I can find that is actively around. I enjoy this record out of their discography because of the lo-fi production. Everything else is much too poppy and upbeat for me. This is a very depressing record.
Recommend to every sad lad/lass out there.
More can be found at www.xenoandoaklander.com
Thursday, September 11, 2014
Ferveur Noire
Noise. Noise. Noise. Cannot get enough noise. Today, I'm reviewing Austin-based (or was) noise project Ferveur Noire.
I met the man behind this project unfortunately at his last show at Austin's Sux By Sux West fest. I gave him my first Funeral Parlor release (I wish I still had some copies) and found out the guy used to reside in the same town I am located (Nacogdoches). His last show was great and full of noise.
I ordered this tape a week or so after on discogs and received rather quickly
The tape itself is very appealing to look at with a nice insert along with artwork on each side of the tape.
Side A starts with "Saboteur" and it is quite a track. The track starts with some drone until the onslaught of noise attacks the ear drums. There are so many different sounds and textures coming at the listener, which really keeps one involved in listening unlike hnw.
Side B is "Distant" and is much more dirty that the other side. A much more patient track. The listener hear frequencies hit high and low points throughout the track. This track, if compared to anything, is like a vacuum. Being sucked into something until there is nothing left. The end of the track has somber piano playing until the track fades away.
This tape is short, sweet, and requires a lot of attention. One of many tapes I would recommend listening to while dubbing tapes in real time (me right now..)
This and other tapes can be found at www.monorailtrespassing.com.
I met the man behind this project unfortunately at his last show at Austin's Sux By Sux West fest. I gave him my first Funeral Parlor release (I wish I still had some copies) and found out the guy used to reside in the same town I am located (Nacogdoches). His last show was great and full of noise.
I ordered this tape a week or so after on discogs and received rather quickly
The tape itself is very appealing to look at with a nice insert along with artwork on each side of the tape.
Side A starts with "Saboteur" and it is quite a track. The track starts with some drone until the onslaught of noise attacks the ear drums. There are so many different sounds and textures coming at the listener, which really keeps one involved in listening unlike hnw.
Side B is "Distant" and is much more dirty that the other side. A much more patient track. The listener hear frequencies hit high and low points throughout the track. This track, if compared to anything, is like a vacuum. Being sucked into something until there is nothing left. The end of the track has somber piano playing until the track fades away.
This tape is short, sweet, and requires a lot of attention. One of many tapes I would recommend listening to while dubbing tapes in real time (me right now..)
This and other tapes can be found at www.monorailtrespassing.com.
Tuesday, September 9, 2014
((Pressures)) - Casting Shadows
I do like noise a lot, but my favorite style of electronic music is synth pop hands down.
Maybe it was due to all the video games I played as a child and many of Eurythmics and Whitney Houston singles that flooded the radio in my mom's truck. Regardless, ((Pressures)) is some of the best synth pop / minimal wave (whatever) I almost never knew from New Orleans.
I remember going to Austin's last Chaos In Tejas with a new pair of doc martins. Long story short, my feet were fucked up by the time I reached the third venue for the third act I wanted to see (along with spontaneously vomitting on the side of a street. I was coerced into seeing this duo play at Austin's Mohawk (inside) and their set was one of my favorite sets of the weekend. Very dark, cold, and minimal.
I picked up this limited tape and have listened to it many times. I figured its time for a review.
The tape itself is professionally made with print on each side of the cream white shell along with a minimal insert.
The first track is "Casting Shadows" and is a perfect track to be introduced to the act. This track is very danceable and you can almost find yourself moving to the music. The vocals have a vocoder effect like what Kraftwerk does at times. This track sounds something straight out of The Never-ending Story. Very dreamy.
"Vanishing" ends side A with a very minimal track. Electronic snares beating to the electronic sounds and synths. There doesn't appear to be vocals whatsoever on this track, but the beat goes on and on with subtle changes to boot.
Side B starts with "Bizarre Times" and is the most involving track. The song starts with a specific synth progression and snare with some reverb on it. This track is a song to bop your head to in some fog at a night club. The vocals are much more audible and has much other effects going on in the sidelines.
The last track "Abnormal" is my favorite track and the last one on this tape. The percussion on this track is perfect. The song is very slow. Like droplets of water sliding of ice sickles falling into a puddle of water. Very catchy and to the point.
This tape is perfect to be introduced to the duo. I try to keep tabs on their live events, but haven't seen anything personally close to me to see them. I recommend this to anyone into dark electronic pop music.
For more items from this act and similar endeavors, check out http://diskoobscura.com.
Maybe it was due to all the video games I played as a child and many of Eurythmics and Whitney Houston singles that flooded the radio in my mom's truck. Regardless, ((Pressures)) is some of the best synth pop / minimal wave (whatever) I almost never knew from New Orleans.
I remember going to Austin's last Chaos In Tejas with a new pair of doc martins. Long story short, my feet were fucked up by the time I reached the third venue for the third act I wanted to see (along with spontaneously vomitting on the side of a street. I was coerced into seeing this duo play at Austin's Mohawk (inside) and their set was one of my favorite sets of the weekend. Very dark, cold, and minimal.
I picked up this limited tape and have listened to it many times. I figured its time for a review.
The tape itself is professionally made with print on each side of the cream white shell along with a minimal insert.
The first track is "Casting Shadows" and is a perfect track to be introduced to the act. This track is very danceable and you can almost find yourself moving to the music. The vocals have a vocoder effect like what Kraftwerk does at times. This track sounds something straight out of The Never-ending Story. Very dreamy.
"Vanishing" ends side A with a very minimal track. Electronic snares beating to the electronic sounds and synths. There doesn't appear to be vocals whatsoever on this track, but the beat goes on and on with subtle changes to boot.
Side B starts with "Bizarre Times" and is the most involving track. The song starts with a specific synth progression and snare with some reverb on it. This track is a song to bop your head to in some fog at a night club. The vocals are much more audible and has much other effects going on in the sidelines.
The last track "Abnormal" is my favorite track and the last one on this tape. The percussion on this track is perfect. The song is very slow. Like droplets of water sliding of ice sickles falling into a puddle of water. Very catchy and to the point.
This tape is perfect to be introduced to the duo. I try to keep tabs on their live events, but haven't seen anything personally close to me to see them. I recommend this to anyone into dark electronic pop music.
For more items from this act and similar endeavors, check out http://diskoobscura.com.
Sunday, September 7, 2014
Sacro e Profano - I
Anonymity. Many try this and fail. How far does one go to be heard, but not seen?
This cassette tape I received in the mail was through the blog actually. The person emailed me asking for my address and when I began to ask questions, I only received links to the material and shortly no response whatsoever.
I had completely forgotten about this transaction until I held it in my hands today.
The cassette and packaging is just as anonymous as the person behind it. Black ink on pink paper (out of 5) with a picture of a man who appears to be undressing a woman. There is another flap that has a contact email (who you would have a 50/50 chance of reaching) and the title of the album "I". This j-card is wrapped around a solid black tape with a black case.
There are no track titles or no way of determining which side is which so I will start with whichever side I can play first.
The first side starts very loud and very deep. This is HNW more up my alley to be honest. Very full and does not sound like radio interference (turn on AM radio for yourself next time you get a chance). I feel confused and trapped on this side. The volume is great too.
The second side seems to be more bass-laden that the previous side. This is pure wall and I have no clue who did this. This side sounds very buried. Like listening to this in another room.
I personally like this tape because this is the style of HNW i enjoy most. This tape is very massive and not super long. Also, its great to finally have a physical release mailed to me.
I would totally recommend getting this tape while its available at https://sacroeprofano.bandcamp.com/releases.
**four flies were killed during this review**
This cassette tape I received in the mail was through the blog actually. The person emailed me asking for my address and when I began to ask questions, I only received links to the material and shortly no response whatsoever.
I had completely forgotten about this transaction until I held it in my hands today.
The cassette and packaging is just as anonymous as the person behind it. Black ink on pink paper (out of 5) with a picture of a man who appears to be undressing a woman. There is another flap that has a contact email (who you would have a 50/50 chance of reaching) and the title of the album "I". This j-card is wrapped around a solid black tape with a black case.
There are no track titles or no way of determining which side is which so I will start with whichever side I can play first.
The first side starts very loud and very deep. This is HNW more up my alley to be honest. Very full and does not sound like radio interference (turn on AM radio for yourself next time you get a chance). I feel confused and trapped on this side. The volume is great too.
The second side seems to be more bass-laden that the previous side. This is pure wall and I have no clue who did this. This side sounds very buried. Like listening to this in another room.
I personally like this tape because this is the style of HNW i enjoy most. This tape is very massive and not super long. Also, its great to finally have a physical release mailed to me.
I would totally recommend getting this tape while its available at https://sacroeprofano.bandcamp.com/releases.
**four flies were killed during this review**
Friday, August 29, 2014
Wold - L.O.T.M.P.
I am pretty picky when it comes to black metal. Like most genre's there tends to be over-saturation along with rehashed ideas. Wold was given to me by a friend and I became hooked.
As far as I know, this noisy black metal act is from Canada and has unleashed some of the most simplistic and black metal that stands on its own.
I ordered a tape version from discogs earlier this year and remember this item taking forever to reach me. When i received it, I was very impressed.
The tape version comes in a dvd style case with artwork much different than the original cd copy. There appears to only be 100 of these made (received 26/100).
The album starts with drums and synths on "Invocation Of Fire" until noise and some guitar riffs playing really low in the mix. Around 2:30, vocals and audible guitar comes in and is very primitive. No tremolo picking, but just basic bar chords until the track fades away.
"Invocation Of Water" starts with an erratic drum beat and the onslaught continues. More slow chords along with fast drums and static. There doesn't seem to be any synths in this one.
"Invocation of Earth" starts with feedback and now with much more intricate riffing. More audible vocals as well. I can hear a lot of bass in this track as well. A definite much faster paced song with some memorable riffage at the end.
"Invocation of Air" starts with vocals and the music fades in to the listeners ear. There is a constant drone of synth in the background while more primitive guitar plays. This track has really one chord progression and goes on and on until the song is over.
"Tending Thy Grounds" is one of my more favorable tracks from the synths that sound like something from a choir and stays with the song until its over. Fast picking, fast drumming. Raw black metal. Everything about this track is great.
The title track "L.O.T.M.P." is an almost 7 minute track is industrial drumming with minimal synths seething through your speakers. Reminds me of a marching beat. Simple and and to the point.
"Be It On Be It Within" is more of what you'd expect if you made it this far. Hypnotic synths loud in the mix with noisy drums and slow guitar riffs and raspy vocals.
"The Lost Speech" has some of the fastest snare drumming on this album. Synths sneak is quietly but the vocals do not. More catchy riffs to remind you that this is black metal and not something else.
"Lug-Dunum" is a harshly mixed track with everything we have talked about already.
"Invocation of the Eye" is a more desperate track. I am getting a lot of Judas Iscariot vibes here. Very bleak and continues for 3 minutes.
"Children of the Proud Fields" is my all time favorite track on this. Its really what sold me on this act. Chorus synths and drumming for almost 10 minutes with no vocals or noise. Very atmospheric and all the sounds mess together well over and over. I get myself lost in this track.
"Irminions" sounds like something the Posh Isolation label would put out. Gritty synths with other instruments for 10 minutes. Very abrasive yet beautiful.
"Weeping Goddess" is the most black metal song on this album and the last. Haunting synths with noise, vocals and drums. Another jammer.
I have mixed feelings with this album listening to it now. As you can see, I easily ran out of things to say without coming off redundant. There appears to be a lot of fillers and some songs almost sound exactly the same. However, the songs I do like are much better than a lot of contemporary acts out there and can hang with most second wave black metal easily.
I would recommend getting this if you are looking for some refreshing black metal that's not in Norway or France.
I enjoy this more on tape than on mp3 format as the dubbing gave the tracks more hiss and the songs were slightly slower. Another reason I wont review releases not on physical format. Someone else can do that.
Check out their releases on: http://www.discogs.com/artist/540398-Wold
I am pretty picky when it comes to black metal. Like most genre's there tends to be over-saturation along with rehashed ideas. Wold was given to me by a friend and I became hooked.
As far as I know, this noisy black metal act is from Canada and has unleashed some of the most simplistic and black metal that stands on its own.
I ordered a tape version from discogs earlier this year and remember this item taking forever to reach me. When i received it, I was very impressed.
The tape version comes in a dvd style case with artwork much different than the original cd copy. There appears to only be 100 of these made (received 26/100).
The album starts with drums and synths on "Invocation Of Fire" until noise and some guitar riffs playing really low in the mix. Around 2:30, vocals and audible guitar comes in and is very primitive. No tremolo picking, but just basic bar chords until the track fades away.
"Invocation Of Water" starts with an erratic drum beat and the onslaught continues. More slow chords along with fast drums and static. There doesn't seem to be any synths in this one.
"Invocation of Earth" starts with feedback and now with much more intricate riffing. More audible vocals as well. I can hear a lot of bass in this track as well. A definite much faster paced song with some memorable riffage at the end.
"Invocation of Air" starts with vocals and the music fades in to the listeners ear. There is a constant drone of synth in the background while more primitive guitar plays. This track has really one chord progression and goes on and on until the song is over.
"Tending Thy Grounds" is one of my more favorable tracks from the synths that sound like something from a choir and stays with the song until its over. Fast picking, fast drumming. Raw black metal. Everything about this track is great.
The title track "L.O.T.M.P." is an almost 7 minute track is industrial drumming with minimal synths seething through your speakers. Reminds me of a marching beat. Simple and and to the point.
"Be It On Be It Within" is more of what you'd expect if you made it this far. Hypnotic synths loud in the mix with noisy drums and slow guitar riffs and raspy vocals.
"The Lost Speech" has some of the fastest snare drumming on this album. Synths sneak is quietly but the vocals do not. More catchy riffs to remind you that this is black metal and not something else.
"Lug-Dunum" is a harshly mixed track with everything we have talked about already.
"Invocation of the Eye" is a more desperate track. I am getting a lot of Judas Iscariot vibes here. Very bleak and continues for 3 minutes.
"Children of the Proud Fields" is my all time favorite track on this. Its really what sold me on this act. Chorus synths and drumming for almost 10 minutes with no vocals or noise. Very atmospheric and all the sounds mess together well over and over. I get myself lost in this track.
"Irminions" sounds like something the Posh Isolation label would put out. Gritty synths with other instruments for 10 minutes. Very abrasive yet beautiful.
"Weeping Goddess" is the most black metal song on this album and the last. Haunting synths with noise, vocals and drums. Another jammer.
I have mixed feelings with this album listening to it now. As you can see, I easily ran out of things to say without coming off redundant. There appears to be a lot of fillers and some songs almost sound exactly the same. However, the songs I do like are much better than a lot of contemporary acts out there and can hang with most second wave black metal easily.
I would recommend getting this if you are looking for some refreshing black metal that's not in Norway or France.
I enjoy this more on tape than on mp3 format as the dubbing gave the tracks more hiss and the songs were slightly slower. Another reason I wont review releases not on physical format. Someone else can do that.
Check out their releases on: http://www.discogs.com/artist/540398-Wold
Wednesday, August 27, 2014
Spider Labyrinth - Il Nido del Ragno
Houston's experimental scene is a rather large one. One can easily get lost in the city's constant rise of new (and ever current old) projects. That's a good thing.
Spider Labyrinth is a collaborative effort of Monica Isabel Sanchez (Tissa Mawsrtyassary), Sean E. Matzus (The Whitehorse), and Richard Ramirez (Black Leather Jesus). I was fortunate to be able to see this act play at Sound Exchange in Houston up close and personal. For those who haven't heard, this project is a force to be reckoned with!
After the set, I nabbed a few tapes including the one I am about to review!
Looking at the physical copy, there is a grey tape with some painted colors one the white sticker for each side, which I like a lot. The tape is hidden in a small ziplock bag with the black and white artwork that include spiders.
The track listing shows as "A: Part One" and "B: Part Two".
"Part One" shoves you right into the the Houston based wall noise I believe everyone should take heed of. I sense no mixture of textures. Just an unforgiving-numbingly static that presses against the listener. I recommend listening with all the lights off in the middle of the night.
Side A ends abruptly and I flip to Side B to continue the wall of sound filling my room with "Part Two". I recall hearing faint sounds, but it was probably just a tv that was turned on in the next room. I even remember sweating during this track. Am I in the labyrinth as I write this?
This release is loud and also long. I think I dubbed two c-60s during the span of this listen (maybe one and a half). I enjoyed this release a lot. I recommend playing this at a reasonable volume while reading a book. I find myself very much at ease listening to this release.
For more information on this release and others, check out: http://hseries.blogspot.com
Spider Labyrinth is a collaborative effort of Monica Isabel Sanchez (Tissa Mawsrtyassary), Sean E. Matzus (The Whitehorse), and Richard Ramirez (Black Leather Jesus). I was fortunate to be able to see this act play at Sound Exchange in Houston up close and personal. For those who haven't heard, this project is a force to be reckoned with!
After the set, I nabbed a few tapes including the one I am about to review!
Looking at the physical copy, there is a grey tape with some painted colors one the white sticker for each side, which I like a lot. The tape is hidden in a small ziplock bag with the black and white artwork that include spiders.
The track listing shows as "A: Part One" and "B: Part Two".
"Part One" shoves you right into the the Houston based wall noise I believe everyone should take heed of. I sense no mixture of textures. Just an unforgiving-numbingly static that presses against the listener. I recommend listening with all the lights off in the middle of the night.
Side A ends abruptly and I flip to Side B to continue the wall of sound filling my room with "Part Two". I recall hearing faint sounds, but it was probably just a tv that was turned on in the next room. I even remember sweating during this track. Am I in the labyrinth as I write this?
This release is loud and also long. I think I dubbed two c-60s during the span of this listen (maybe one and a half). I enjoyed this release a lot. I recommend playing this at a reasonable volume while reading a book. I find myself very much at ease listening to this release.
For more information on this release and others, check out: http://hseries.blogspot.com
Monday, August 25, 2014
Croatian Amor - Mermaids Of Jadransko | Vagina Sword
I am going to be honest. I do not know much about Croatian Amor aside from the fact that I like the music and that I saw Loke play in Lust For Youth at Chaos In Tejas who actually started the set with one of my favorite songs "Strike Gently".
Anyways, even though I am still waiting on my "The Wild Palms" tape, I was listening to "Mermaids Of Jadransko | Vagina Sword" yesterday while getting a bunch of packages ready to ship and decided to review this.
Looking at the LP itself, it overall looks very simple and to the point. The front has two women along with the album title and the back has a picture of 1 EURO along with the track listing and credits (Croatian Amor is 1989). There is nothing inside aside from the record.
Side A starts with multiple field recording sounds on track 1, "Mermaids of Jadransko." Sounds as running water splashing on the bottom of the sink and some crunching metal sounds. At 1:43, synths squeeze its way into the mix that sound very somber. A minute or two has a recording of a woman explaining what happens when "she doesn't get fucked". I remember stopping what I was doing at this point to let everything sink in. The song builds and builds until the 6 minute mark where its nothing but synths.
"Blue Skin" is the shortest but most haunting track on the album. The synths remind me of an old NES dungeon theme. There seems to be rustling sounds as well. I couldn't tell you what this could actually interpret.
"Weapons Of Paradise" starts with some noisy tape loops and warm synths in the background. The synths begin to get louder and there feedback jumps into your earbuds (or mine) to snap you out of your daydream this record can so easily put you in. This continues until the track fades out.
"Song of the Mermaids" is a much more uplifting track with the poppy synths. I want to say there are sounds of waves in this track. Some other recordings of a man's voice too.
Side B starts with a brooding "Comecon Dancer". Low end synths until something smashes and brings more textures to the ears. Around the minute mark there are indiscernible sounds such as drum rolls and what would be a woman whimpering. Synths come in saturating the entire track with some vocals in the background. The track ends with nothing but feedback.
"Liberation (Vagina Sword)" sounds like someone sitting outside with a tape recording in their lap while the sound of a monotonous drum beat comes in. More field recordings key in and so do the synths. The music goes perfectly with the title.
"Truth (The World Grew With Every Hill They Passed)" sounds like something straight out of an old grainy foreign film. One of the catchiest synth progressions on the entire album. Feedback and other effects accentuate this track as well.
The final track "Begin (Twin Sex)" starts with what sounds like an interview with a woman talking about a relationship. A lot of clanging sounds fall into place along with warm keys. A perfect ending that will put you at rest until the song is over.
This is definitely not my favorite release from this overseas project, but is definitely a record to play on your portable record player if you were to go to a beach or a picnic.
The only link that should be up for this album is where you can best find a copy: http://www.discogs.com/search/?q=Croatian+Amor&type=all
However, browse your closest record shop. I found my copy at Vinal Edge in Houston!
Anyways, even though I am still waiting on my "The Wild Palms" tape, I was listening to "Mermaids Of Jadransko | Vagina Sword" yesterday while getting a bunch of packages ready to ship and decided to review this.
Looking at the LP itself, it overall looks very simple and to the point. The front has two women along with the album title and the back has a picture of 1 EURO along with the track listing and credits (Croatian Amor is 1989). There is nothing inside aside from the record.
Side A starts with multiple field recording sounds on track 1, "Mermaids of Jadransko." Sounds as running water splashing on the bottom of the sink and some crunching metal sounds. At 1:43, synths squeeze its way into the mix that sound very somber. A minute or two has a recording of a woman explaining what happens when "she doesn't get fucked". I remember stopping what I was doing at this point to let everything sink in. The song builds and builds until the 6 minute mark where its nothing but synths.
"Blue Skin" is the shortest but most haunting track on the album. The synths remind me of an old NES dungeon theme. There seems to be rustling sounds as well. I couldn't tell you what this could actually interpret.
"Weapons Of Paradise" starts with some noisy tape loops and warm synths in the background. The synths begin to get louder and there feedback jumps into your earbuds (or mine) to snap you out of your daydream this record can so easily put you in. This continues until the track fades out.
"Song of the Mermaids" is a much more uplifting track with the poppy synths. I want to say there are sounds of waves in this track. Some other recordings of a man's voice too.
Side B starts with a brooding "Comecon Dancer". Low end synths until something smashes and brings more textures to the ears. Around the minute mark there are indiscernible sounds such as drum rolls and what would be a woman whimpering. Synths come in saturating the entire track with some vocals in the background. The track ends with nothing but feedback.
"Liberation (Vagina Sword)" sounds like someone sitting outside with a tape recording in their lap while the sound of a monotonous drum beat comes in. More field recordings key in and so do the synths. The music goes perfectly with the title.
"Truth (The World Grew With Every Hill They Passed)" sounds like something straight out of an old grainy foreign film. One of the catchiest synth progressions on the entire album. Feedback and other effects accentuate this track as well.
The final track "Begin (Twin Sex)" starts with what sounds like an interview with a woman talking about a relationship. A lot of clanging sounds fall into place along with warm keys. A perfect ending that will put you at rest until the song is over.
This is definitely not my favorite release from this overseas project, but is definitely a record to play on your portable record player if you were to go to a beach or a picnic.
The only link that should be up for this album is where you can best find a copy: http://www.discogs.com/search/?q=Croatian+Amor&type=all
However, browse your closest record shop. I found my copy at Vinal Edge in Houston!
Saturday, August 23, 2014
Aqua-Eroticum - Satisfaction
Aqua-Eroticum, a pervert electronics act from Nebraska, is a great almost unheard of gem that released "Satisfaction" exclusively on 8-track through Hate-Track Stereo.
The man behind the project was selling a lot of his material through a storenvy for an upcoming tour that reaches TX next month. I bought this along with other material in hopes to meet him and the supporting acts on tour.
I received the package and what stood out to me the most was the super limited (long since sold out) 8-track. A creamy white cartridge with a purple sticker (artwork) full of BDSM pictures.
I had bought myself an 8-track player as I have also been released on the medium and I must say, the pros outweigh the cons when listening to an 8-track, but that is something a listener would need to check out themselves.
The man takes no time in taking the listener through the depths of dusty porn shops and overall bleakness in "We All Have It". Definite synths and dark atmosphere that almost feels like the person forgot the safe word and now has to accept pain. Around the 2 minute mark, the distorted vocals come in followed by high frequencies that pierce your ears. And it only gets worse and worse.
The title track "Satisfaction" sneaks its way in with feedback and hypnotic synths that reminds me of someone being water boarded. Like the first track, you are bound and cant move. Just accept it and continue. Vocals are much more prominent and although they aren't audible, Im sure they are equally as nasty as the imagery and sounds.
"I Cant Take This" sounds like a boutique pedal being used and without consent. This is rape for your ears. This is the shortest song on the album.
"The Difference" is a more static than the predecessors and much more patient. So many different textures fading in and out and coming back. Like wearing a gimp mask, you don't know what is about to happen or how its going to feel until it has already passed. There are definite bursts of sounds on the latter side of the track.
"None Of This Is Real". A perfect track title to someone stuck in a situation they cannot break themselves away from. A rude awakening that you are not going to see the light at the end of the tunnel. There are prominent low end walls of sound with some light atmosphere and static. There are definitely a lot if thoughts crossing my mind through this track. There is no hope found here.
"The End" an electronic end to the assault your ears have just succumbed to. The blindfold is off and you can see is an empty room. Perhaps much more frightening is not knowing. The frequencies go high and low throughout this track along with the now recognizable vocals. This track could very well be the credits to an end of a film.
What I like most about this album is that when the music is over, it leaves the listener unsatisfied akin to a climax denial. You want it so bad but you're left with what you had in the beginning. Nothing.
I definitely recommend this to anyone looking into some gross modern power electronics.
For material: http://aqua-eroticum.bandcamp.com/album/satisfaction
For tour dates: https://www.facebook.com/events/331238453712393/
https://www.facebook.com/events/331238453712393/
The man behind the project was selling a lot of his material through a storenvy for an upcoming tour that reaches TX next month. I bought this along with other material in hopes to meet him and the supporting acts on tour.
I received the package and what stood out to me the most was the super limited (long since sold out) 8-track. A creamy white cartridge with a purple sticker (artwork) full of BDSM pictures.
I had bought myself an 8-track player as I have also been released on the medium and I must say, the pros outweigh the cons when listening to an 8-track, but that is something a listener would need to check out themselves.
The man takes no time in taking the listener through the depths of dusty porn shops and overall bleakness in "We All Have It". Definite synths and dark atmosphere that almost feels like the person forgot the safe word and now has to accept pain. Around the 2 minute mark, the distorted vocals come in followed by high frequencies that pierce your ears. And it only gets worse and worse.
The title track "Satisfaction" sneaks its way in with feedback and hypnotic synths that reminds me of someone being water boarded. Like the first track, you are bound and cant move. Just accept it and continue. Vocals are much more prominent and although they aren't audible, Im sure they are equally as nasty as the imagery and sounds.
"I Cant Take This" sounds like a boutique pedal being used and without consent. This is rape for your ears. This is the shortest song on the album.
"The Difference" is a more static than the predecessors and much more patient. So many different textures fading in and out and coming back. Like wearing a gimp mask, you don't know what is about to happen or how its going to feel until it has already passed. There are definite bursts of sounds on the latter side of the track.
"None Of This Is Real". A perfect track title to someone stuck in a situation they cannot break themselves away from. A rude awakening that you are not going to see the light at the end of the tunnel. There are prominent low end walls of sound with some light atmosphere and static. There are definitely a lot if thoughts crossing my mind through this track. There is no hope found here.
"The End" an electronic end to the assault your ears have just succumbed to. The blindfold is off and you can see is an empty room. Perhaps much more frightening is not knowing. The frequencies go high and low throughout this track along with the now recognizable vocals. This track could very well be the credits to an end of a film.
What I like most about this album is that when the music is over, it leaves the listener unsatisfied akin to a climax denial. You want it so bad but you're left with what you had in the beginning. Nothing.
I definitely recommend this to anyone looking into some gross modern power electronics.
For material: http://aqua-eroticum.bandcamp.com/album/satisfaction
For tour dates: https://www.facebook.com/events/331238453712393/
https://www.facebook.com/events/331238453712393/
Thursday, August 21, 2014
Tanner Garza - Silver Eyes
Everything I have reviewed up until now has been pretty aggressive, but I also enjoy the more ambient side of experimental music.
Tanner Garza is an ambient project from Houston Texas and has some of my favorite music for this particular genre.
I received Silver Eyes from the man himself at a show a few weeks ago when he was playing under his wall noise project Servant Girl Annihilator, but let's not digress any further.
At first glance, the packaging is top notch. A professionally done cd with a case that, when opened, a cd pops out like a pop-up book. Along with the cd, there are also two photos that Tanner Garza took as well.
I listened to this album on the way home and have to say I almost wrecked my car listening to it. Why? Because the ambience was droning me to sleep. I say this as a compliment for sure.
Let's look further into the music itself.
The first track "Seven" eases its way into your ears and prepares you for the rest of the album. Throughout this track (and the entire album) you can hear snaps which add to the overall vibe.
"Horse In Berlin" fades in patiently and is has much higher frequencies than the first track. Other sounds collide with one another and is very meditating. Around the 5 minute mark, you will hear a much lower ambiance for a minute so the second longest track doesn't completely take you away from consciousness.
"The Missing Eleven Days" is my personal favorite track on this album. Right from the beginning, there is an almost-tangible structure that goes on throughout the track. I find myself closing my eyes listening to this one.
"Lovejoy" is the next track and is one of the deeper sounding tracks. To me, this song sounds like something that would come out of a cathedral or any large room with a lot of acoustics. There is almost feedback at the halfway point of this track and there is a noticeable change near the end.
The shortest track "Shinji In The Last Episode" has a rush of different waves of sounds coming at you preparing you for the final track.
"Nine Tales" is a lengthy 14 minute track that finishes the listener off if they have stayed along the path thus far. More ghostly waves of sound and almost an airy background sound that reminds me of driving with the windows down. Around the 9 minute mark, a difference in sound occurs and is one of my favorite parts of the album.
I love this album for how patient the music is from one track to the next. This album can definitely put you in a different state if mind so do not operate heavy machinery while listening.
If you are looking for great contemporary ambient music with exquisite packaging, check this out and more at www.tannergarza.bandcamp.com.
Perfect to listen to with a significant other or alone over and over.
Tanner Garza is an ambient project from Houston Texas and has some of my favorite music for this particular genre.
I received Silver Eyes from the man himself at a show a few weeks ago when he was playing under his wall noise project Servant Girl Annihilator, but let's not digress any further.
At first glance, the packaging is top notch. A professionally done cd with a case that, when opened, a cd pops out like a pop-up book. Along with the cd, there are also two photos that Tanner Garza took as well.
I listened to this album on the way home and have to say I almost wrecked my car listening to it. Why? Because the ambience was droning me to sleep. I say this as a compliment for sure.
Let's look further into the music itself.
The first track "Seven" eases its way into your ears and prepares you for the rest of the album. Throughout this track (and the entire album) you can hear snaps which add to the overall vibe.
"Horse In Berlin" fades in patiently and is has much higher frequencies than the first track. Other sounds collide with one another and is very meditating. Around the 5 minute mark, you will hear a much lower ambiance for a minute so the second longest track doesn't completely take you away from consciousness.
"The Missing Eleven Days" is my personal favorite track on this album. Right from the beginning, there is an almost-tangible structure that goes on throughout the track. I find myself closing my eyes listening to this one.
"Lovejoy" is the next track and is one of the deeper sounding tracks. To me, this song sounds like something that would come out of a cathedral or any large room with a lot of acoustics. There is almost feedback at the halfway point of this track and there is a noticeable change near the end.
The shortest track "Shinji In The Last Episode" has a rush of different waves of sounds coming at you preparing you for the final track.
"Nine Tales" is a lengthy 14 minute track that finishes the listener off if they have stayed along the path thus far. More ghostly waves of sound and almost an airy background sound that reminds me of driving with the windows down. Around the 9 minute mark, a difference in sound occurs and is one of my favorite parts of the album.
I love this album for how patient the music is from one track to the next. This album can definitely put you in a different state if mind so do not operate heavy machinery while listening.
If you are looking for great contemporary ambient music with exquisite packaging, check this out and more at www.tannergarza.bandcamp.com.
Perfect to listen to with a significant other or alone over and over.
Tuesday, August 19, 2014
Waves Crashing Piano Chords - Young Mouth/It Wasn't Even Worth My Back Seat
In case you ran into this blog by accident, Waves Crashing Piano Chords (WCPC) is a Juggalo power electronics act from Rochester, New York.
When this 7inch came out, I ordered one of the limited Lavender pressings immediately ($4). I didn't wait very long to receive this record and when looking the physical copy, this is the act's most professional looking album. The sleeves have lyrics to both songs along with credits. The vinyl itself can be played with a 45 adapter (or without at your own risk) and is single-sided.
For those who do not know anything about this particular project, WCPC uses only a mic and fender guitar amp for piercing feedback along with vocals.
Playing the record personally, since I am world's away from experiencing this live, allows me (or the listener) to get a feel of what a typical live performance would be.
When the record starts, "Young Mouth" begins with people talking and what would appear to be inside jokes before you hear the sudden feedback and vocal barrage of some of the most un-passive noise out to date. The lyrical content as well.
"It Wasn't Even Worth My Back Seat" starts immediately after with in-your-face(paint) vocals and can even hear some distress from the crowd. The lyrical content may come off pretentious when he says "STOP GIVING YOUR SHITTY NOISE TAPES TO ME" (also etched around the 45 hole) but I am sure most acts in this particular style of music have thought the same. You can even hear some "ehhs" and "ughs" from the crowd when the high frequencies come rushing in your ears.
At 3:55, the record is over before you can let what just happened sink in.
This record is nice for more reasons than one. The short record makes for much more playability instead of the forced 60 minute sessions many artists seem to follow. Also, since being playable at 45rpm, I thoroughly enjoyed playing it at 33rpm. Lastly, this material is the best that captures WCPC's live set to its full extent.
For more music from this act, got to www.wavescrashingpianochords.bandcamp.com
Maybe send some tapes to him!
When this 7inch came out, I ordered one of the limited Lavender pressings immediately ($4). I didn't wait very long to receive this record and when looking the physical copy, this is the act's most professional looking album. The sleeves have lyrics to both songs along with credits. The vinyl itself can be played with a 45 adapter (or without at your own risk) and is single-sided.
For those who do not know anything about this particular project, WCPC uses only a mic and fender guitar amp for piercing feedback along with vocals.
Playing the record personally, since I am world's away from experiencing this live, allows me (or the listener) to get a feel of what a typical live performance would be.
When the record starts, "Young Mouth" begins with people talking and what would appear to be inside jokes before you hear the sudden feedback and vocal barrage of some of the most un-passive noise out to date. The lyrical content as well.
"It Wasn't Even Worth My Back Seat" starts immediately after with in-your-face(paint) vocals and can even hear some distress from the crowd. The lyrical content may come off pretentious when he says "STOP GIVING YOUR SHITTY NOISE TAPES TO ME" (also etched around the 45 hole) but I am sure most acts in this particular style of music have thought the same. You can even hear some "ehhs" and "ughs" from the crowd when the high frequencies come rushing in your ears.
At 3:55, the record is over before you can let what just happened sink in.
This record is nice for more reasons than one. The short record makes for much more playability instead of the forced 60 minute sessions many artists seem to follow. Also, since being playable at 45rpm, I thoroughly enjoyed playing it at 33rpm. Lastly, this material is the best that captures WCPC's live set to its full extent.
For more music from this act, got to www.wavescrashingpianochords.bandcamp.com
Maybe send some tapes to him!
Sunday, August 17, 2014
RU-486 - Romanian Abattoirs
Named after the morning-after pill, Thomas Mortigan's RU-486 is a power electronics/industrial act stationed out of Houston, TX.
I played my first show as Funeral Parlor with this act and received a copy of this album through a friendly swap the morning after (get it?) the show.
At first look, this is a professionally made cd through Fusty Cunt Tapes and Destructive Industries. The cover has an old-concerned woman, which may have more of a backstory than the name of the act.
There are a slew of other artists who help make this album the way it came to be such as Houston legend Richard Ramirez, Dallas-bound Awen, Lussuria, and Slogun.
I remember driving back home listening to this and my ears were bombarded by refreshing new sounds.
The album starts off with "The Humble Hempen Cord" and starts off with electronic noises and other sounds such as clanging. Near the end of the track, Erin Powell comes in with his signature voice setting the stage for the rest of the album.
"Hook And Barb Pt. II" is the track that stood out to me the most with children singing together, but was short lived with an mantra style drumming zooming in shortly after. Thomas' vocals finally come in with a sort of vocal effect to boot.
"Live To Make War" is an industrial beautiful mess. This track was made for war. The album's shortest track, but not a weak one by far.
Slogun joins Mortigan in "A Perennial End" and gives a vocal-dominant assault with clever written lyrics (credit to John Balistreri).
A sound clip starts off "The Moldavian Csango's" which is followed by synthesizers and light static. Easily the most somber and thought-provoking track on the album.
Another industrial track comes with "The Antioch Recon". Aside from the electronic drums and buzzes, there is an apparent mantra throughout the longest track on the album. Around the four minute mark, Mortigan comes back to your ears with lyrics regarding religion.
The album closes with "A Symphony Of Sinews" who is joined by Richard Ramirez. Synth come in and then vocals. The later half of the track goes on into a continuous drone until the album is no more.
I love this album and would recommend it to anyone into genres such as industrial, noise, and even neo-folk.
A cd that will stay in my car for long Texas drives to come.
I played my first show as Funeral Parlor with this act and received a copy of this album through a friendly swap the morning after (get it?) the show.
At first look, this is a professionally made cd through Fusty Cunt Tapes and Destructive Industries. The cover has an old-concerned woman, which may have more of a backstory than the name of the act.
There are a slew of other artists who help make this album the way it came to be such as Houston legend Richard Ramirez, Dallas-bound Awen, Lussuria, and Slogun.
I remember driving back home listening to this and my ears were bombarded by refreshing new sounds.
The album starts off with "The Humble Hempen Cord" and starts off with electronic noises and other sounds such as clanging. Near the end of the track, Erin Powell comes in with his signature voice setting the stage for the rest of the album.
"Hook And Barb Pt. II" is the track that stood out to me the most with children singing together, but was short lived with an mantra style drumming zooming in shortly after. Thomas' vocals finally come in with a sort of vocal effect to boot.
"Live To Make War" is an industrial beautiful mess. This track was made for war. The album's shortest track, but not a weak one by far.
Slogun joins Mortigan in "A Perennial End" and gives a vocal-dominant assault with clever written lyrics (credit to John Balistreri).
A sound clip starts off "The Moldavian Csango's" which is followed by synthesizers and light static. Easily the most somber and thought-provoking track on the album.
Another industrial track comes with "The Antioch Recon". Aside from the electronic drums and buzzes, there is an apparent mantra throughout the longest track on the album. Around the four minute mark, Mortigan comes back to your ears with lyrics regarding religion.
The album closes with "A Symphony Of Sinews" who is joined by Richard Ramirez. Synth come in and then vocals. The later half of the track goes on into a continuous drone until the album is no more.
I love this album and would recommend it to anyone into genres such as industrial, noise, and even neo-folk.
A cd that will stay in my car for long Texas drives to come.
Friday, August 15, 2014
Hatespeech - Save Our Land
A year ago tomorrow, Adam Larbet, a devout klansman and apparent noise artist from New York, committed suicide. This is what was left from the man.
I came across this release on the infamous H8 Track Stereo bigcartel and decided to purchase this super limited (out of 5) white lathe.
I remember this package being stuck in transit for a while, but when I finally received the package, what I saw was a white lathe along with a clear insert of a klansman wielding a a flaming torch while riding a horse.
Before I continue any further, I will say that I am by no regards racist of any fashion. I enjoy offensive music and perhaps after this review, you will realize that there are much more offensive releases than this.
There were no credits to the dead clansman or track titles so I popped this heavy-thick album on my player and was extremely surprised as to what I heard.
The first side I listened to is over 10 minutes of wall static and what appears to be a faucet running in the background. Nothing racist here. The track zoned me out and reminds me of sitting out on a porch while it would rain.
Okay, lets go to the other side
This track is much more abrasive and harsh than the first one. I could almost hear metal scraping in the midst of heavy static. Again, no racist sound clips or anything.
In all actuality, the only offensive part of this release is the insert.
I really enjoyed the release personally and I really do not see the issue with what others have said about this guy and/or his project. If anything, it would be the same sort of ignorance a racist would have to judge this before even listening to it.
Judge a book by its cover if you wish. Enjoy offensive music for what it is and leave it at that.
The only link I could find was the man's discography : http://www.discogs.com/artist/3404231-HATE-SPEECH
A year ago tomorrow, Adam Larbet, a devout klansman and apparent noise artist from New York, committed suicide. This is what was left from the man.
I came across this release on the infamous H8 Track Stereo bigcartel and decided to purchase this super limited (out of 5) white lathe.
I remember this package being stuck in transit for a while, but when I finally received the package, what I saw was a white lathe along with a clear insert of a klansman wielding a a flaming torch while riding a horse.
Before I continue any further, I will say that I am by no regards racist of any fashion. I enjoy offensive music and perhaps after this review, you will realize that there are much more offensive releases than this.
There were no credits to the dead clansman or track titles so I popped this heavy-thick album on my player and was extremely surprised as to what I heard.
The first side I listened to is over 10 minutes of wall static and what appears to be a faucet running in the background. Nothing racist here. The track zoned me out and reminds me of sitting out on a porch while it would rain.
Okay, lets go to the other side
This track is much more abrasive and harsh than the first one. I could almost hear metal scraping in the midst of heavy static. Again, no racist sound clips or anything.
In all actuality, the only offensive part of this release is the insert.
I really enjoyed the release personally and I really do not see the issue with what others have said about this guy and/or his project. If anything, it would be the same sort of ignorance a racist would have to judge this before even listening to it.
Judge a book by its cover if you wish. Enjoy offensive music for what it is and leave it at that.
The only link I could find was the man's discography : http://www.discogs.com/artist/3404231-HATE-SPEECH
Hello Everyone
My name is Josh and this will be my attempt to review tangible releases when I have time to.
A little about me: I reside in east Texas (for now) and am a father. Less importantly, I co-run Dumpster Noise Records (www.dumpsternoise.bigcartel.com) and am behind acts such as Funeral Parlor (www.funeralparlor.bandcamp.com) and Female Pedophile (www.femalepedophile.bandcamp.com). I enjoy reading books and listening to a great variety of music.
For now, this will strictly be tangible reviews for releases I have picked up over time. However, if you feel you need to be reviewed, email me at sephy072004@aim.com and I will send you my address to have a release reviewed.
Enjoy
A little about me: I reside in east Texas (for now) and am a father. Less importantly, I co-run Dumpster Noise Records (www.dumpsternoise.bigcartel.com) and am behind acts such as Funeral Parlor (www.funeralparlor.bandcamp.com) and Female Pedophile (www.femalepedophile.bandcamp.com). I enjoy reading books and listening to a great variety of music.
For now, this will strictly be tangible reviews for releases I have picked up over time. However, if you feel you need to be reviewed, email me at sephy072004@aim.com and I will send you my address to have a release reviewed.
Enjoy
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