The Rita – The Voyage of the Decima MAS (Troniks) 2009

Posted in noise, The Rita with tags , on November 17, 2014 by noisenoisenoise

Image

In the past few months I’ve dipped my toes back into some old school noise. I’ve been trolling Discogs for old Wolf Eyes, Aaron Dilloway and Sick Lama CDR’s and have managed to snap up a few. When I scroll through a Discogs noise seller’s inventory there is invariably a coupe of The Rita CD’s up for grabs as well and I suspect that these records probably haven’t necessarily got the attention they deserve.

I’ve got a fair few The Rita records and this is one of my favourites. For those of you who haven’t heard of him before, The Rita is the pseudonym of Sam McKinlay, a Canadian noise artist who specialises in that most specialist of noise sub genres, Harsh Wall Noise. HWN is pretty well described by its title. It is usually identified by tracks consisting of thick walls of static with very little or absolutely no compromise to anything that may comfort the listener by way of any recognisable musical forms. There are certainly no beats or homages to industrial noise – the sound can either be overwhelming or strangely trance inducing and on occasions exceptionally boring.

I can assure you that The Rita and specifically The Voyage of the Decima MAS are not boring. The Decima MAS were an Italian frogmen unit formed during the second world war. McKinlay references the subject matter by interposing snorkel sounds that he recorded in Vancouver Harbour as breaks in the walls of static that he conjures up. It’s not the first time he has used nautical subject matter and related field recordings, his Thousands of Dead Gods CD from 2006 used recordings of a great white shark dive cage to weave through all the static. I suppose the reason I like both these records so much is that unlike most harsh wall noise, my listening experience has been active rather than passive as I anticipate the use of the field recordings.

This record is pretty great but if you decide to pick up a copy expect something brutal, harsh and noisy.

Merzbow – Takahe Collage (Handmade Birds) 2013

Posted in Merzbow, Music, noise with tags , on November 13, 2014 by noisenoisenoise

R-4435679-1364816831-9789

Look, when you neglect a blog as much as I have in the past few years it can be easy to forget what I’ve posted on and what I haven’t. For some reason I was under the impression that my thoughts on Takahe Collage  had been published. Nup – found it sitting in draft form consisting of a number of mean references to Merzbow’s  13 Japanese Birds. Screw that review I thought – time to listen to this again with fresh ( although increasingly degraded) ears.

Merzbow has seemed to go a bit quiet in 2014.  He’s released a few bits and bobs but nothing like the pace he has set in the  past. I’m actually a bit sad about that fact because  Merzbow, ever since the end of the 13 Japanese  Birds Series, has been releasing some of the  records of his career. I’d go so far to say that you can’t really go wrong with any of them. I think most of  CD’s he released in the past four or so years are covered on this site except for the mighty Kibako that I also found in draft form (and which I’ll publish soon).

Takahe Collage is a great example of prime Merzbow. Three lengthy tracks (32, 29 and 12 minutes respectively are on offer. The first track is indeed a bit of a collage, degraded beats give the entire track a post-industrial feel. The second track is my favourite – it starts as one of those Merzbow pieces that create layers from scree, static and noise to form a brutal soup of sound in which no recognisable instruments or form can be detected. I actually forget how much I love it when he just lets loose.  The beats come back with a vengence for the final track. It starts off as a trance track for the damned and never really lets up. It’s great and one of the rare moments where I’ve started bobbing my head to a Merzbow track.

All in all a great Merzbow record and an extremely good noise record full stop. Noise nerds won’t be disappointed.

Secret Pyramid- The Silent March (Students of Decay) 2014

Posted in Drone, Secret Pyramid with tags , , on November 7, 2014 by noisenoisenoise

tumblr_inline_n9ztsbJVIS1rfkrr4

Students of Decay released one of my favourite records of all time, Peter Wright’s At Last A New Dawn. That was all the way back in 2007 and since then they have been releasing appealing slabs of drone, ambient and experimental electronic music out into the world. This year I had the good fortune to get myself a copy of the shimmering beauty that is Kyle Bobby Dunn’s The Infinite Sadness of Kyle Bobby Dunn which if you haven’t head it is an absolute treat for those of us who enjoys our trips to the drone/ambient sector of experimental music.

A record that doesn’t stray too far from the drone ambient axis is this mesmerising dose of loveliness. Secret Pyramid is the name used by Canadian musician Amir Abbey. The Silent March was originally released in 2011 on cassette by a small Canadian label however after releasing Secret Pyramid’s Movements of Night last year Students of Decay thought it may be a good idea to give this a wider release.

I for one am glad I did. I only received my copy a few days ago and I can’t stop listening to it. The Silent March consists of seven slowly evolving drone tracks that somehow still manage a dull shimmer under some pretty overcast sky. Sadness can be a beautiful thing in music and this record is a prime example.  The acoustic guitar based Come Down Gently mines similar (although much more subtle) territory to Earth’s recent output over the last  few years ago. It sounds to me almost like Stars of the Lid  descending into western gothic territory. Quite lovely really. I’m a sucker for this kind of sound and if you do enjoy the drone work of Kevin Drumm, Stars of the Lid, Kyle Bobby Dunn or even Richard Skelton you’ll need to listen to this.

It will be officially released on 11 November in Vinyl and download formats. If you are extra smart can i suggest the two CD set which also includes Movements of Night as well.

Sunn O))) meets Nurse With Wound – The Iron Soul of Nothing (Ideologic Organ) 2011

Posted in nurse with wound, sunn O))) with tags , , , on November 3, 2014 by noisenoisenoise

homepage_large.9d6c1998

Hello blog people. Long time no write. I’ve decided to reactivate this little noise blog as a way of bringing records to your attention that Ingmar I don’t get around to covering on The Antidote Podcast. I suppose it also allows me to write about records from the past rather than the new release schedule that Ingmar and I try to stick to. So in honour of Sunn O)))’s recent collaborations with Scott Walker (I’m still putting off listening to that one) and Ulver (just ignore the last track) I thought I’d cover something I’ve been enjoying for a while.

I’ve got two copies of this. The first is a four track version I downloaded off NWW’s bandcamp page and the second copy is a three track version which appears as  the second disc in a two disc reissue of SunnO)))’s OO Void which was released in 2011. That release was a re-release of a re-release by Japanese label Daymare in 2008 which I remember my local indie record store trying to charge me $74.00 for. Out-fucking-rageous if you ask me. The original OO Void was actually recorded in 2000 and got released by Hydra Head records that year.

In 2007 some smarty decided it would be a good idea to send a nice clean digital copy of OO Void to the Nurse With Wound lads to see what they would come up with. So what did they come up with? Only the doomiest, bleakest, blackened version of Sunn O))) that you could possibly ever hope for. For the most part NWW take the doom-laden glacial metal of Sunn O))) and make it into a sinister, quite evil listen. This is less a metal monolith and more a terrifying aural journey into the heart of darkness. Absolutely wonderful. I have a great deal of affection for Sunn O))) particularly Flight of the Behemoth (featuring Merzbow yay!) and the terrific White albums. The wonderful thing about The Iron Soul of Nothing is experiencing the doom aesthetic from a non-metal source. This is less about being crushed and more about being mentally suffocated.

For the most part the collaboration (or is it a remix) is instrumental but on the wonderful Ash on The Trees (the third track) the vocals of Pete Stahl (from Washington DC hardcore band Scream) are somehow extracted form beneath the ugliness of the original record to provide a bleak prelude to a track of unrelenting fear – kind of like a black mass with power chords).

Get this from NWW’s bandcamp page for a quick fix. Essential.

Incapacitants – Eat! Meat!! Manifesto!!! (Rape Art Productions) 2012

Posted in Uncategorized on March 15, 2014 by noisenoisenoise

Image

 

As most of the bands and artists who provided my early noise soundtrack  move away from sonic brutality to embrace creepier and more beat orientated methods it becomes almost a novelty to spend time with some old school noise. Incapacitants exist in a group of Japanese noise bands that every self respecting noise nerd needs in their collection. Consisting of two middle aged salary men, the band kind of disappears for years on end before reappearing and producing a burst of recorded material. 2011 – 2012 were particularly fertile years for the band with Eat! Meat!! Manifesto!!! being probably the last in time of those records. Coming out on the charmingly named Rape Art Productions, a Ukrainian label specialising in all manner of grot, Eat! Meat!! Manifesto!!! has a slightly different feel to the other Incapacitant records I own. The first track Eat! sounds like two separated mechanical snakes writhing and twisting whilst separated by green fields of static and proto-industrial noise. Despite its underlying brutality the track almost washed over me live a form of psychedelic ambience. The second and third  track is like the Incapacitants I’ve experienced in the past. Completely uncompromising with an absence of discernible forms. Their brand of noise is like  the ultimate expression of power electronics. I don’t enjoy Incapacitants as much as say, Government Alpha, but records like Eat! Meat!! Manifesto are like the ultimate fight club. Brutal, nasty, extreme and visceral.  Continue reading

Henry Blacker – Hungry Dogs Will Eat Dirty Puddings (Riot Season) 2014

Posted in Henry Blacker, Hey Collosus, Music with tags , , on March 9, 2014 by noisenoisenoise

REPOSELP039

One of my favorite records of last year was the mighty Cuckoo Live Life Like Cuckoo by the excellent Hey Colossus, a record that was criminally overlooked by all  cool publications everywhere. I think that’s a bit sad really it was in my Top 10 of last year. So  imagine my excitement when two of the Hey Colossus lads teams up with some drummer or other and release this slab of stoner rock goodness. The first track is the blistering Crab House, a track that is so good it’s like crossing Cruise Yourself era Girls Against Boys with Go With the Flow era Queens of the Stone Age. It’s like descending a stare case into rock n’ roll heaven. The ghost of Touch and Go records creeps throughout the eight tracks on this.  The influences are clear, Jesus Lizard, Killdozer, Girls Against Boys and yes Queens of the Stone Age are all here. This references back  to an era when alt-rock actually meant something, an era before hardcore became watered-down and all the bands singed to Interscope. It’s a big lump of sweaty, beer soaked, flannel wearing rock music that hurled me back to my teenage years. So. Fucking. Good.

 

 

Machinefabriek – Secret Photographs (Important) 2013

Posted in Drone, Machinefabriek, Music with tags , , on March 9, 2014 by noisenoisenoise

Image

I’ve become a little obsessed with the works of Rutger Zuydervelt aka Machinefabriek over the past 18 months or so. It all started when I  first  heard the amazing Veldwerk compilation which was almost the perfect blend of field recordings, drone, noise, electronic manipulation and sonic experimentation. Since then I’ve tried to track down most of his readily available records and not once have I been disappointed.  I think the main reason for that is that Zuydervelt isn’t beholden to one particular sound. Although it was his processed field recordings that sucked me in, it is commissioned  works for dance and film that keep me coming back.

The soon to be released Episode 23 of The Antidote Podcast will feature two of his more recent works, the challenging Doepfer Worm  and the sublime piece written for the Moscow Ballet, Attention, the Doors Are Closing, and because this blog doesn’t necessarily focus on new releases I thought I’d start with Secret Photographs, the 2012 soundtrack to the film of the same  name.

I’m not sure if the film has seen the light of day as yet but it was to focus on the photographic obsession of Alvin “Creepy” Karpis, a 1930’s gangster that spent his final days in Spain. After he died a large  number of photographs were discovered and sold on ebay. The director of the film Mike Hoolboom managed to purchase them and the idea for the film began.

The soundtrack is made up of three long pieces which span a total of 70 minutes or so. Each of the tracks focuses on a minimal, shimmering drone. That seems to be a term I’ve used before but to further clarify – Secret Photographs is drone in a fragile, Stars of the Lid kind of way rather than the painfully pitched drone work of say Hototogisu. This album is a great staring point for anyone interested in minimal drone work. Indeed it is in a select group of records that manage to stay true to it’s ascetic without ever becoming boring. Simply stunning.

 

Follow

Get every new post delivered to your Inbox.

Join 79 other followers

%d bloggers like this: