CLXXVIII. Prurient | Black Vase

PRURIENT

Black Vase

©Load. US, 2005.

‟I've enjoyed the other albums from Prurient that I have heard, but this one... It's just too much. The album starts right off with absurdly high pitched feedback that continues for the entire 15 minute song. Listening to the entire first track is just plain masochistic. That's all I can say. There's some better moments later on, but it occasionally returns to the absurdity that it started with. On this album, Dominick Fernow succeeds in what was probably his goal: creating the most fucked up noise possible. Later in the album a cool, dark atmosphere is created that sort of draws the listener into the insanity. It's almost tormenting, but that's what makes it interesting. In the end, I really can't enjoy this album as a whole, but there are some good parts. If hell is real, this is probably what it sounds like.‟

 Master Ov Khaos



 

CLXVI. Altar Of Flies | Permanent Cavity

ALTAR OF FLIES

Permanent Cavity

©iDEAL. Sverige, 2010.

‟'Permanent Cavity' is the latest, and some may say the best, in a long line of noise recordings from the prolific Mattias Gustafsson. It was recorded to tape between 2007-2008 at his studio in Sweden and contains seven articles of controlled experiments in the art of structured noise designed to unsettle and scare. His tactile approach and appreciation of silence and space would place his work closer to that of Kevin Drumm in some respects, than say the butchery of Prurient, and there's also the sense of doom dub dystopia that made BJ Nilsen's 'Death Dub' 7" so vital. Half way through the album we reach the most tranquil spot, where he conjures imagery of Philip Jeck and Helge Sten communicating under heavy skies and the scorched, spherical tones of the title track bear a resemblance to Mika Vainio's mastery of circuit-hewn brutality.‟

Boomkat

CLI. Nurse With Wound | Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella

NURSE WITH WOUND

Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella

©United Dairies. UK, 1980.

‟En el año 1980 apareció el disco de Nurse With Wound llamado "Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella".

 
Cuenta Steven Stapleton : "Dos meses antes Throbbing Gristle sacaron su álbum debut "Second Anual Report" y lanzaron 'Industrial records' - el de estos eran semimprovisados ruidos electrónicos e imagenería oscura-. A través de una debil lógica, en el surgimiento de "Chance meeting..." fue etiquetado de industrial. Una macana."

 
"Nosotros fuimos asociados con la 'industrial music' debido al hecho que nosotros surgimos en el mismo tiempo y que la tapa de nuestro álbum era 'dark', no importaba como sonaba la música. En realidad nuestra música estaba mucho más cerca de la libre improvisación. No hay comparación entre la música industrial y Nurse With Wound. Para mí la música de Nurse es música surrealista. Es un desplazamiento de algo ordinario a un montaje extraordinario, tomo cosas ordinarias - instrumentos, solos, y los coloco en un montaje inusual, dándole un ángulo completamente diferente en la manera en que instrumentos y composición son mirados habitualmente".

 
Así como el Surrealismo funcionó como una ruptura o una avería en el teleología de la realidad empírica, una exhumación del subconsciente, para que 'el ruido' exponga el caos sónico a la base de toda música. El surrealismo de NWW es una ruptura maliciosa e impetuosa, un ataque al orden y la forma, atado con el más negro de los humores.‟

El Sitio Del Topo

CXXV. Swans | Cop

SWANS
Cop

©K 422. US. 1984.

‟This is one of the most monochromatic, boring albums I've ever listened to. The formula for each and every song is relatively low volume guitar white noise and the same start-stop plodding beat, while Michael Gira grumbles self-loathing or society hating lyrics.

In reading about the Swans I was sure I would like them. I like the No New York stuff, I like Einsturzende Neubauten and Throbbing Gristle, I like post-punk guitar noise.... the Swans take a very similar approach to all these artists but, at least on this album, the songs are stripped of all craft, groove, or even shock value. There's just nothing interesting about this album. It isn't even memorably unpleasant. It's... just... relentlessly... dull.‟

Razumov22

 

CXIV. Cold Cave | Cremations

COLD CAVE

Cremations

©Hospital Productions. US, 2009.

‟Ya a comienzos de 2009 destacábamos al proyecto de Wes Eisold, Cold Cave y el mini-álbum, "The Trees Grew Emotions And Died" de fines de 2008, ahora nos encontramos con "Creamations" recopilación de tres EP's y rarezas surtidas que Cold Cave ha ido dejando en su tránsito mutante por las estructuras sonoras.
El de Filadelfia es un artista especial y deslumbrante que edita CD-R's y cassettes sin control, este año ya lleva tres ediciones sin contar este CD, prolífico y retorcido en "Cremations" tenemos un espectro más amplio de su opaca y vehemente forma de hacer música, ya que contiene tres registros- "Painted Nails" ep (2008), "Electronic Dreams" cassette (2009) y "Coma Potion" lp (2007)- donde se pasea por un noise sombrío de baja fidelidad, electrónica industriosa y darkwave de vieja escuela que recuerda a Coil, Death in June, Gary Numan y The Third Eye Foundation, de alguna manera toda su creación se esmera en dañar, en afectar al oyente por medio de sonidos fantasmales, perversiones del ruido, pedales, minimalismo y voces de ultratumba, incluso los trayectos bailables como "Gates"o "In a cave", terminan en una trampa escalofriante.
Música cavernaria y angustiante, que de seguro muy pronto nos entregará insanos frutos, ya era tiempo que algún proyecto norteamericano aludiera a Christian Death como lo hace Cold Cave en "Chrissie sally", oscuro manto que reina nuevamente.

P.D.: A fines de ese año editarán su primer álbum largo, el magnífico "Love Comes Close", con Dominick Fernow y Caralee McElroy como miembros oficiales de Cold Cave junto a Wes Eisold, la banda deja el anonimato y entra de lleno a capitanear la nueva ola fría que hasta hoy nos arrulla.
Dark Forever!‟

Raúl Cabrera H.

LXXVII. ANTIchildLEAGUE | The Father

ANTIchildLEAGUE

The Father

©Hagshadow. UK, 2008.

‟AntiChildLeague is the noise project of Gaya Donadio renowned for her tireless promotion of underground music live events in London under the banner of Hinoeuma the Malediction. The Father is their first full-length release and it’s a varied outpouring of sounds concerning control, oppression and patriarchy. The Father flits between spoken word and instrumental noise pieces, rammed with samples. Gaya Donadio intones the lyrics; her heavily accented Italian voice, emphasizing key words and segments. The Father makes full use of rhythmic noise, looped under the barrage of noise and corrosive electronics, given a wonderful clarity by 6 Comm’s Patrick Leagas aka Godlesstate who was responsible for the mixing and production here.

Much of The Father, however, falls into generic noise territory. The power noise of ‘Overpopulate Destroy’ with it morass of raging voices or ‘Project The Self Absent Self’ which takes in treated film samples over modulated shrieks and twisted dial tones, and the distorted bass rumbles, crackling textures of ‘C From Far’ don’t stray too far from countless other power noise outfits. Where AntiChildLeague come into their own is on the lyric based tracks where Donadio takes the central role. ‘Gate To Heaven Entry To Hell’ is a wonderful opening shot with its repetitive looped beats, buzzing slabs of noise and heavily processed vocals.

Even when AntiChildLeague step down the pace as they do on ‘Occult Purity’ with its churning looped beats, sinister live buzz tones and Donadio’s continuous demands to “Set yourself free” they retain a tension fuelled edge. ‘E-Man’ follows similar territory, with Donadio throwing lines in an imposing manner, surrounded by corrosive sweeps of noise. It’s another effective moment from this female-fronted noise assault. Both pale in comparison to ‘Only One Mother’, where above crackling textures, Donadio reveals the true face of mother nature: a brutal, unflinching, cruel matriarch. A mother of life and death. “She is the Devil”, Donadio mischievously whispers with a wicked glint in her eye.

It all ends on a shrieking power electronics affair, with distorted aggro-vocals reduced to a repeated, spitting of the title, ‘Burn The Cross’. In a world of male-dominated noise acts AntiChildLeague could easily have attempted to redress the balance, instead they offer up their own take and own themes. The Father is all the better for it.‟

Heavyelectronics

LXXV. NON | In The Shadow Of The Sword

NON

In The Shadow Of The Sword

©Mute. UK, 1992.

‟This one is simply a classic. The first ever NON release I owned was the mind crushing "Physical Evidence". I then rushed out the moment "Blood And Flame" came out and purchased it. Back then, with out the aid of the internet, it was perfectly clear that Boyd Rice was off his nut. This was crystallized in 1990 with the Death In June track "Bring In The Night" and the venomous "Music, Martinis, and Misanthropy". During this time of hyper-creativity Boyd teamed up with friends Douglas P and Rose Mcdowall, fellow Misanthrope (and touring Japan at that time) Tony Wakeford... and Boyd's current roommate, a young Michael Moynihan (who at the time was wrapping up his existence as Coup De Grace). Together they played recorded a live performance in Osaka, Japan, July 3rd 1989. This powerful experience has been preserved in two forms; "In The Shadow Of The Sword" - presented here, and "Live In Osaka" the DVD.Non Live In Osaka, 1989. For this release tracks 1-8 represent the Osaka performance. 9-13 were recorded back in Colorado.‟

Emotions Will Kill Me

 

LVIII. Throbbing Gristle | 20 Jazz Funk Greats

  

THROBBING GRISTLE

20 Jazz Funk Greats

©Industrial Records. UK, 1979.

‟20 Jazz Funk Greats is a transitional album for Throbbing Gristle the band and a deep ripple of impression for musical attitudes all over. Often suggested as a starting point for the band, its a bit of a conundrum in that it is also the least representative of their live sound and philosophy. This results in its being a sort of testing ground for initiates, who either like what they hear and seek out the rough-edges of DoA or savage the album for its 'unmusical' pathos - though what that means evades me. Whereas the previous album proper was a collage/barrage of live/in-studio/industrial howl/dark-ambient/electronic sounds, this one is a bit less disquieting, though its best moments are exactly that. Early techno rhythms, dark-electro-ambient pieces, psychotic sing-speak and even some processed trumpet alluded to in the 'jazz' of the not-so-ironic title.

It stands on its own and that's what counts. The second side is nearly perfect. 'Walkabout' is beautiful pop, 'What a Day' is subverted techno before techno even had a chance to be straight-laced and 'Persuasion' sets a claustrophobic mood of perversion like no other. The first side tends more towards 'dark ambient' pieces such as 'Beachy Head' or the laidback, vibraphone-touched 'Tanith'. 'Convincing People' is a personal favorite, as it swings to a simple grungebox guitar lick and the repetition of Genesis' voice (which is always instantly recognizable and kind of soothing to me, oddly enough).

I have difficulty rating it as of yet - Throbbing Gristle albums are always more rewarding once digested and they're always a composite of conundrums, so I'll give it more time to grow - but expect a high number.

If you let the album stand alone for what it is and don't compare it to their earlier releases, you'll see that the group were open-minded enough to pursue this direction - and it's one that influenced countless Industrial, EBM, Dark Ambient, Minimal Wave and Coldwave artists to do what they do best. Reflect on the influences around them and then progress things a little further.‟

7 AA 1KS

 

XLIV. Swans | The Great Annihilator

SWANS

The Great Annihilator

©Young God. US, 1994.

‟That's one hell of an album title, ain't it?  You've got to have some confidence in an album to call it The Great Annihilator, understatement goes right out the window.  It's even more impressive, given that they were so (wrongly) unimpressed with their previous three albums, they've never re-issued them.  Their confidence could not have been more well founded.

This is a stunning, claustrophobic masterpiece of an album.  They've taken the intensity of their early work, and mixed it with the lighter, folkier side of their 'bunny' period.  What that creates is a unique sound of pounding, syncopated percussion, high pitched electric guitar textures, jangling acoustic guitar, and echoing, droning sound loops.  Both vocalists perform the best works of their careers, Michael Gira seems to have perfected his hypnotic, mantra-like croon, and Jarboe can add a touch of heaven or a touch of spite seemingly at will.  The lyrics are sheer Gira.  Does anyone do self-loathing with the same class, the same honesty and intensity?

Intensity is the key-word for this release, as with all Gira-related projects.  I just can't think of any other album that combines such lightness, such intensity, and such tunes.‟

 Darkness Fish

XXXVIII. Boyd Rice | The Black Album

  
BOYD RICE

The Black album

©Boyd Rice (Self-Released). US, 1977.

‟This originally late 1975 recorded, 1977 self released (in a run of eighty six copies), and 1981 (Mute) properly (re) released Black Album (as it was originally known) can hardly be considered a standard long player, but more like something of a bricolage of recorded/isolated/(mis)treated/looped/found sound fragments making for a 43:24" (if you dind't go for the multi speed thing) experience rather than a collection of handy song structures.

Contextually, or historically if you prefer, this is pretty much as out there, exploratory/provocative speaking anyway, as any of them.

The fragmentary and at times drone like frenzy here simultaneously evokes a Hymnen period Karlheinz Stockhausen, a young and riotous John Cale, and of course, his highness Milan Knížák. Not a small feat at all in my book. A very chunky (but not quite) musical artifact.‟

Chispita

XXXVII. Einstürzende Neubauten | Tabula Rasa

EINSTÜRZENDE NEUBAUTEN

Tabula Rasa

©Mute. Deutschland, 1993.

‟Despite its title--Latin for "clean slate" but, more likely, a play off the concept of beginning again--Einstürzende Neubauten's seventh full-length is a culmination of everything that has come before for this extraordinary band. Sure, they were known for making hellish noise in their early days, employing rocks, circular saws, and drills in their performances, but they were musicians, too, crafting elegant songs by the late 1980s that still possess an affecting power. Tabula Rasa, released in 1993, contains all these elements and ups the ante considerably. For one thing, it's a much more varied listen than its predecessor, the grimly powerful Haus der Lüge. The exuberantly melodic ("Zebulon") bumps up against the darkly experimental ("12305[te Nacht]") and the outright rockin' ("Die Interimsliebenden"). But the most startling track must be the ethereal "Blume," a sexually charged lullaby that's fraught with the thick layers of symbolism we've come to expect from lyricist Blixa Bargeld. Sung--in English!--by Anita Lane, whose voice registers somewhere near the Cranes' Alison Shaw, it sounds like nothing we've ever heard before from Neubauten. The disc closes with the 15-minute "Headcleaner," a mesmerizing, bombastic, symphonic cacophony that interpolates the Beatles' "All You Need Is Love." It all ends quietly, but your ears may never be the same again.‟

Simon Landau

XXXVI. Cindytalk | Camouflage Heart

CINDYTALK
Camouflage Heart

©Midnight Music. UK, 1984.

‟Exceedingly dark, cathartic, and at times, seemingly unhinged, Gordon Sharp's Cindytalk was a dazzlingly self-indulgent gloom-fest that anticipated the Industrial-Rock movement years before the genre even had a name. Best known for his fine contributions to the first This Mortal Coil project, It'll End in Tears, Sharp's work in Cindytalk is far more visceral and far less ethereal than what was emanating from 4AD at the time. While Gothic in mood, Camouflage Heart, Cindytalk's debut, has a dirty, gritty undertow that makes it sound something like Peter Murphy at his most dramatic fronting The Birthday Party (in fact, Mick Harvey appears on "Under Glass"). On the standout track,"The Ghost Never Smiles," Sharp's eerie, wailing vocals sound like they are emanating from the bottom of a well as a dull tribal beat and guitar feedback carry the song toward what feels like a free-fall into the abyss. Truly harrowing stuff.‟

Luna