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
Friday, August 29, 2014
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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