Here’s a new batch of review, again this is stuck with noise reviews since I never bought a new non-noise record for a while. But in some ways it helps people to know more and more DIY noise artists, so take that you fucking suckers… -Martin ITFOR July 2003
(HelloShadow; 8 track (4 each); 51 minutes 57
seconds)
(File Under : Minimal noise chaos split from
hell 666)
I’ll be blasphemous, but I’m going to say this
: what’s more cliché than a noise records with the bondage topic. I don’t know
but get original, stop putting gore pics and bondage image on your covers, it’s
getting boring sometimes… What we have here on this split is two bands that I
never heard about before and people told me it was an ambient release…
Surprisingly this is not the ambient I was waiting for… This CD (not CDR) comes
in a purple velvet case stuck in a pocket with pins and a slimcase, sorry, but
the purple velvet case disgusted me and I throw it where you can think and the
slipcase got some pictures and few info like who made the cover, and which
project plays which song and the name of the record company, nothing more…
Abandoned Child is I guess the project of Brian of Recant (who sent me the CD).
The project plays all the long tracks of the album and plays a little rolling
atmosphere noise with a lot of power and very few changes in the sense of the mood,
like it’s so monotonous that on track 7 when some more high sounds explode I
had an heart attack. Kwaidan plays more violently but are certainly the best
band that could be on thi ssplit they are very much more aggressive in the
sounds, but not less monotonous, sometimes providing some very aggressive vocals
and some keyboards. Both projects provides you that kind of noise that get a
sound and repeat it enough to get you getting a bus ticket to the asylum. But
surprisingly, the first time I played this record I play it once again, that
mean I liked this CD, but that’s simply not the most achieve record I heard,
that’s the average par noise split, it sure can be worst, but I prefers’ Brian
H’s Recant instead of his individual nemesis Abandoned Child, but I’ really
curious what other stuff they release, if you like the kind of noise Legion
Sudan provides you, check this out, or if you like this records, check out
Legion Sudan releases…
(Dada Drumming; 2 C-20 tapes; 4 track (one by
Deadly Orifice (+one bonus tape), three by Praying Gods; 20 minutes each tapes)
(File Under : Lo-fi to the core noise at the
best you can actually imagine)
Praying
Gods Http://www.bankruptcy.cjb.net
(Legion Sudan; CDR; 7 track; 38 minutes)
(File Under : Cyrillic industria-noise)
I was so impress by the song of this project on
Legion Sudan’s Noise Sux 2 that I ask Eli to trade me a copy of this record and
I finally got it a few weeks ago, wait some weeks before hearing I, lost it in
my bedrooms, found it back, listening to it once again and lost it once again
and so… where a couple of month from it now and this is time I guess to write a
review of this record since it rocks. This Russian based project plays a kind
of noise that is really in my kind, let’s call it mid-fi noise. They plays very
enjoyable minimal ambient noise with some of the most interesting structures we
can actually hear this side of Megadeth (ok that’s the cheap joke of the
month…) The question always keep in my head is they way everything is played,
maybe if everything is recorded one take, that guy is a fucking genius, if they
are a band the execution makes them fucking genius and if that’s one guy in
front of a computer laying sounds together the merits is still there and makes
this noise project a really amazing project. In a sense it doesn’t sounds like
all the other noise project and the use of keyboard in a way is something that
make the sounds more spacy and no songs sounds actually the same. Once I was in
the bus while listening to it and I got to paranoid at people and thinking they
were hearing the noise I was playing in my Discman. I guess walking in a city
while listening to noise helps you going nut, same as going to wrestling with a
Merzbow shirt like I did recently… Well back to DYA, I really don’t know what
else to say about this but the feeling I got in the listening worth the check.
Few band plays old school industria-noise in the way this is played, check this
out…
DYA http://vnedry.narod.ru/noise.htm
(sadly in Cyrilic…)
(Immanence; CDR; 7 track; 30 minutes 34
seconds)
(File Under : Ambient chill sounds…)
I really love to pretend that a person, a band
or a label introduce me to a new style of music and this time I can actually
said that Immanence records introduced me to a whole new realm. The fact here
is that I wanted to enter the world of dark ambient, neo-classical, down tempo
or whatever you can call it, but I never wanted to jump as some of the previous
experience in this genre were not the best experiences I got with music. But
Immanence (and Flesh Made Word) recordings releases like Detritus and Starving
Cells. This CD is another gem from the British label. Freeze Etch, plays a very
beautiful kind of beat oriented ambient music. But I guess the beats here are
nothing but ambient, some are more of that kind of chilling beats like hip-hop
beats surrounded by some electronics and an ambient layer. Actually the fifth
track is less interesting, more danceable, that’s the low point of the records
in my sight. But the whole album is candy to the ears. The last track consist
of a remix by Detritus (label owner Dave Dando-Moore’s project, the first full
length was just release, should kicks serious ass) that sounds a little louder
than the rest of the album. The word beautiful may be the best way to describe
Freeze Etch’s sound and a full length is coming soon on Immanence, that should
be really intense too, but while waiting for that, abusing this one is a good
solution…
Immanence http://www.immanence-records.com
(Dada Drumming; tape; 2 track; 20 minutes, 10
minutes each sides.)
(File Under : Pure noise attack…)
Metallica should be proud, their influence went
to goes in the world of noise. Remember when you friend bought the black album
and you told him the cover sucks it’s just black and they showed you the cover
of the tape (yeah who got metal CD’s in 1991) and told you that there’s
something on the cover and you saw that snake and say yeah while headbanging on
Enter Sandman… Anyway, when I got this tape I didn’t saw the drawings on the
cover as back in the day and I saw it later. That cover is like a black envelope
with some drawing and the name of the two project. There’s an inly with
writings that you actually can’t read without an headache since they are
incorporated on the painting and the kind of torture picture behind. That’s a
very beautiful paper print but the artwork isn’t the most achieve thing I saw
in my life… In my sight that was the time I should get introduced to these two
outfit since I heard about them and my ignorance was kept that long. Anyway,
Goat is from Texas and that guy who do that project looks really mad and
provide really evil noise. That’s mainly a big fucking dense wall of noise
created with so much intensity that your head will thank you that it’s over at
the end of the tape… In a sense this is not really the kind of noise I like the
most but when it’s beautifully played that’s pretty crazy, it reminds me a lot
of Filthy Turd and Human Is Filth, but I guess this is just an impression. The
oher side of the split is The Cherry Point which are Lefthandeddecision that
changed his name definitely to The Cherry Point, who knows why and I don’t care
since I never heard Lefthandeddecision and maybe that guy know what he does
more than your speculative mind says. Anyway, this side is truly what noise
should be all about : craziness incarnated in electronic manipulation. We’re
speaking of true noise played fast with a lot of changes and low part and hi
parts. This is also played with the weight I guess experience give. The only
sad point of the Cherry Point’s side is that the song end up brutally as there
was possibly not enough space on the tape or something like that and this don’t
give a certain sense of professionalism, but fuck that, that’s 100% pure
destructive noise. Maybe I should get more of the 7” he recently released
through his magnificent label Troniks. So for this second release, Dada
Drumming attack with tenors of underground noise and the result is another
“don’t miss that, you fucking assholes” release. And this make me think once
again that true noise maniacs should get all of the Dada Drumming release,
period.
(Game Boy; 3” CDR; 1 track; 17 minutes 34
seconds)
(File Under : Feel the original noisepunk
attitude live from Russia)
This is a live album from Canadian-born now
citizen of the world Hermit (Eric Boros who’s seconded by Marilyse Frecheville
on this record) from a performance that
was held on Moscow in April 2002. After the introduction in Russian I guess is
start with an acoustic/junk performance of 2 persons that reminds me in the
beginning of that Anal Cunt “Unplugged” 7” mixed with the first Fantomas CD
kind of screams and noise. Then it goes into a more and more chaotic
psychofest. And there’s sounds that I feel so natural like this kind of
repetitive 2 old telephone bells banging together that is so repetitive and
that sounds that s like two small wood block banging together. Another sound
that is so awesome is the sound of the guitar which is like a one chord guitar
so there’ a lot of ways to play with it, you see the portrait… Someday I guess
there’s a scream recorded from the beginning of the show that is repeated a lot
of times at the middle of the track. Something that sound good is that it’s
mainly organic I guess the few electronics that we end up to hear, I felt that
it was mistake like they try to plug something somewhere and then the electric
fucked and did a sound accidentally like this hamornica in the middle fucked me
more than any noise possible because it is not that badly played and it seems
abnormal by his normalness. By the end the chaos seems to be more repetitive
noise before going back to that very violent screamfest. That was that
performance I guess, seeing this in video should be nice too but guess being there that night and feeling the
craziness in these two performers going crazy on stage and playing with these
fucked up stuffs. I guess this is an experience to be heard by the violent
nature of the performance and the energy of it. Like it says on the website, I
guess Game Boy release never felt that near to a total punk mayhem. So this is
really the real noise-core I guess. Nothing can be near the punk attitude than
Hermit I guess, just go on his website and learn more about him and realize
that in his way that guy is a total noise master with the most awesome punk
attitude ever. Hermit worth in being more known and this record should be heard…
(Game Boy; 3” CDR; 1 track; 17 minutes 34
seconds)
(File Under : Destroying the greatest of noise
will just improve your noise)
First
Merzbow loved him and now Boston’s Human Is Filth want to destroy him… What’s
going on here, we love or hate Emil Beaulieau, but you can’t be neutral to
Emil’s sound. But without the hate and love consideration, the goal is the
same, crafting a noise record with Emil’s sounds… The sound this record done is
somewhat of a constant dose of very punishing pure noise mayhem. I mean that’s
the genre of noise you either love of got psyched about. Personally I enjoyed
this album while I was working or reading, but this is not the kind of noise I
got into like hell. In my sight this is way more ambient than mentioned Ambient
Music. But always in my relatively very humble sight, this record is way
superior in sound quality than tons of other noise records of that kind I
heard. Because all the songs really well constructed and really well executed
and mixed, you know sometimes you have the impression that the guy is going
bored of his recording and shut the whole gears down and the song end that way,
that in my sight show very few professionalism. In a way that should really be
saluted as HIF goes in a pro league of noise. A point with kind of release is
the way you see that you should congrats the remixed artist for doing so much
original stuff or the remixer for doing a so much destructive work. In either
way I don’t know who should I raise my hat to but this is a really nice album
in a genre I don’t always want to get into, trust me, it’s in my noise playlist
for weeks. This CD comes in a RRR-like packaging with Emil on the cover with
the title of the album written and a skull on the other side and a RRR-like
inlay. This album as a true noise gem… RRR-style…
Human Is
Filth http://www.ulniindustries.com
(Immanence; CDR; 5 track; 40 minutes 55
seconds)
(File Under : Flowing true a mindfull dark
journey)
Here’s another Luasa Raelon CDR, that’s always
great that you still can handle new production from an artist that you like so
often and never get deceived. For those that knows me, I guess you all know
that I’m crazy about this Ohio’s one man project and the most impressive thing
is that it’s David Reed itself who made me discover his own project by sending
me his records a year ago I guess. And I never failed on having every single
release since, and now it goes bigger and bigger within the release I guess. I
recently reviewed the 3” on Chondritic claiming it was more of a return to the
noisier side the project visited in his earlier incarnation, but this one is
mostly along the ways followed by two recent masterpiece by the project : The
Erebus And The Terror (on Brise-Cul) and 80000v (on Snip-Snip). When
I first played this CDR, I was nearly deceived by the similarity with the
Erebus… but I with more and more experience of listening, I felt that this
album got a more and more intense melancholic flow than the two previous. Some
of the element that marked these previous releases are there like these wavy
frequencies and melancholic drones that leads you in a kind of aquatic verve
that Luasa Raelon best experienced within the 5 Miles Deep record (on
Doctsect). Just the wavy sound a the very beginning will scare you enough that
when the other sounds will overpass this sounds the moment will be clear, this
album should be heard until the end, period. And I dunno, but Luasa Raelon know
how to construct very dense sounds with electronic manipulation that scares
you, like the similarity of that doomed boat off the first song of The
Erebus and The Terror is so awesome and I don’t say that because I released
the album, because that’s actually something very awesome. And this album got
the same impression in my sight without the clear vision The Erebus…got
because the sonore image the album gives you is like more of an inner voyage
through a sci-fi troubled mind. I guess it reminds me alot of these colors the Blade
Runner movie got and it scares me because off the slowliness (my stranger
feeling toward English make me create a word like that) of the execution and
the precision of every new incursion of a sound as a violation of your order.
So you feel like you were in an ocean at the beginning but it was just an
illusion, you’re inside a fucked up world that scares you and that is too slow
for you… The change between song makes you think you’re in a new universe, but
it was just a brief moment between 2 similar studies of a same dark world. This
kind of perpetual high sounds can’t leave you sane, maybe that’s the enigma of
fatality. An interesting track is that is strengthening the album is that
fourth track which is more oriented with some echoed sampling behind that
sounds like a guy walking in the street and seeing everybody trying to talk to
him but he’s too fucked up to understand clearly what’s going on. It really
scares me since these days I’m reading a lot about Philip K. Dick and David is
really a big fan of Dick’s stuff, maybe that’s me trying to figure that much
thing but I really feel that stranger-in-a-strange-land attitude in Luasa
Raelon and that’s what interest me that much, that it’s not a guy trying to
record noise for the sole purpose of recording noise, but all of his records
are a short attempt to recreate some strange impression with noise as a tool to
do it and that’s what makes Luasa Raelon an unique artist and I guess the
future is promising for him. I always got the impression it goes strong with
every release and his popularity is just a proof that it is a great project and
this record is a strong one that is to be discovered as all Luasa Raelon
mentioned in this review should too… Hats off to Immanence and Luasa Raelon for
this…
Immanence http://www.immanence-records.com
(Snip-Snip; CDR; 4 track; 17 minutes 34
seconds)
(File Under : Scary dark minimal electro…)
Something that scared me off the last two
records that Snip-Snip released I feel that it works like a DVD, that means
that the disc is like a complete work that we didn’t feel that the songs change
when it does, maybe because it’s like very minimal and repetitive. This one is
Maine’s best noise band/project Pine Tree State Mind Control which is the first
time I actually have the chance to heard although I was in contact with them
for a while. This record is a really weird album, I guess it sounds like
someone doing a normal techno song in low volume, like you can hear it seconded
with ambient soundscape and samples. The sounds they use are really minimal
like sometime you hear that sound that you hear when your computer fuck up,
that scared me at first since I was listening to it while on my computer. That
reminds me of a darken world near 1984’s proletarian’s world underworld
screams. I guess this is a really amazing record to be heard if you like scary
atmospheres in your noise. Mmmm, sorry but reviewing more minimal stuff wil only
provide you minimal reviews… But get this shit faster than you could think and
get scared…
Snip-Snip Http://www.angelfire.com/electronic2/snipsnip
(Alarming Echo Beats; CDR; 5 track; 21 minutes 57
seconds)
(File Under : Very interesting industria-noise…)
Recant’s first album really impressed me a
couple of month ago, it was released on the great Immanence records. They
contacted me to do a trade, so what>’s better than a band that you like
contact you for a trade? This one is released on a label called Allarming Echo
Beats which is looks like a small DIY label. The cover is a full colour foetus on
both side of a cover in a plastic case, like I Immanence records also are specialized
in, viva slipcases, they are small and don’t takes much space… Recant is a young
2 head unit from California specialized in industrial music in a way Marilyn Manson
devoted should be scared of, since it goes to the real radical definition of what
industrial noise is about, doing industry-inspired music. This records sounds a
little more ambient than the other that was overexposed with very aggressive
percussions, there’s percussion that are more of pot banging than the near
techno noise beats of the first record. But what we lost in intensity is gained
in the texture, because there’s really nice driven atmospheres. This is really
well executed and I guess more and more works can make Recant really awesome,
since there’s element of their both album that are not on the other one and
that should be mixed up together like these really nice beats of the first album
and the darken atmospheres of this one. This is a really promising band that
you should pay attention since they are getting nice and nice. I don’t know if
I really well understood, but it looks like this CDR is the first part of a 5
part series, so I don’t know if this sound is taken for this record, but if it’s
a 5 part serie, I’m tongue in cheek to hear the rest of the series. And can I
get dumb in trying to says that Recant is slowly becoming what you can classifies
as California’s answer to Napalmed? That’s a story to be continued…
AEB Http://www.alarmingechobeats.cjb.net