I have become a bit obsessed with the New Weird Australia site. This is another cracking release from their label New Editions and their first one for 2012. Thomas William and Scissor Lock are two Sydney based producers. I’ve never heard their work as individual artists so am in no position to compare how Jewelz fits in with their signature styles. What I can tell you though is that Jewelz is four tracks of difficult electronica. Things start of with Cadillac which smashes quasi-wheezy victoriana carousel sounds with something a bit Matmos like before bursting into shimmering drone and a vaguely Sigur Ros-style vocal. The themes of shimmering drone and electronic day-glo overload make an appearance on the self titled track Jewlez but here are counterbalanced by layers of slightly sinister noise bubbling underneath. The third track Omega is my favourite and brings a reverse looped ambience before shifting into oompahpah electronic and layering with it all with ethereal vocals before the drone asserts it’s dominance. The entire thing is rounded out by the shimmering bliss of Qusqu, a track that comes the closest to a traditional sense – like Sigur Ros mixed with Pimmon with Birchville Cat Motel producing the most wonderful chill out experimentronica. I love this sort of music – both transcendent and challenging, Jewlez is a very fine release indeed.
Treasure Hunt is the name that Myles Byrne-Dunhill gives to his ongoing musical project. This is his second album after the excellent Meems of last year. Myles calls Treasure Hunt a pop collage project but I think that what he actually achieves on Seatec Astronomy is a the next line in avant garde pop music of a lineage which includes bands like Vibracathedral Orchestra and Sunroof. Myles is one of the new breed of artists who embrace the pop cultural references of their youth without irony. It’s OK to like pop music now and that idea is refreshing and has been the theme behind many of the great records released on Not Not Fun for instance. In making that reference though, it is important to point out just how experimental Treasure Hunt is . There are some similarities with the Danse Manatee sound of Animal Collective but it is the layers of field recordings, tribal drumming, blissed out drone, marimba’s it’s like the Avalanches for the Hypnogogic pop set. I can’t recommend this highly enough. If you like your pop music difficult this may be the record for you.
All of Myles records can be downloaded off his bandcamp site.
Well this is a revelation. In the 400 or so posts on Ducks Battle Satan, this is the first time that I’ve ever reviewed a compilation. I stumbled across this after seeing a small add for New Weird Australia in the back of The Wire. NWA are a not for profit organisation which gets some funding from the Australia Council for the Arts to distribute and publicise experimental and avant garde music. They run a small boutique label called New Editions as well as produce a bimonthly compilation which can be dowloaded for free of which Bleak Metal is one.
The title of Bleak Metal does it some injustice. The bands on this run the full spectrum of noise nastiness from the noise/doom/DanFriel-esque of Axxonn, the black metal of Blutennacht to the sine wave crackle noise of Alex White. The mighty psychedelic noise metal of No Anchor makes an appearance in Dead Pony but the absolute killer for me was the track from Dead Boomers which is a glorious exposition of rumbling noise. Another highligh is the Lightning Bolt ferocity of the fantastically lo-fi Dies on Plane’s. Their track Hunting For Teeth starts full of Sword Heaven malevolence before launching into some groovy post-metal throb. In fact there is hardly a dud on this and you really should head over to www.newweirdaustralia.com to download this. The Australian underground is alive and well.
What an extraordinarily cheery concept for a record. Rupture is the musical interpretation of the last hour and three minutes of a person’s life after they suffer a stroke. Lovely. Now based on that premise I was expecting a bit of the horror minimalism which was so on display on NWW’s last proper outing The Surveillance Lounge, but this record seems to be Graham Bowers show. Bowers is a respected composer who has a bio listing on the BBC Wales Website. He is a bit of a big deal in contemporary composition yet the sounds explored on Rupture are the musical and media memories of someone who grew up in a land of English street parties and village fairs. A sentimental life which, I suspect for many of those who will buy this, will be quite foreign. For the most part this is an exposition of memory as it marches towards an imminent death. But the sounds that have been chosen to represent those memories can be, well, clunky. Especially when the traditional wedding march make s jolting appearance. When I heard that I thought it was being horribly obvious. There are some lovely avant garde orchestral bits in this but frankly I’m not sure why it needed to be recorded. It just doesn’t sustain interest even in the middle of listening to it let alone for repeated listens. It is a piece written for performance and in that context it may actually be OK. The subject matter of Rupture lent itself to something quite terrifying. I think if there was still some consciousness after having a massive stroke I would be screaming for an hour about the lack of control and the inevitability of death. A massive disappointment. It shouldn’t suck this hard.
Bitch Magnet were the band that Sooyoung Park lead until he started Seam and they are one of those bands that defined the post hardcore college sound like Squirrel Bait and later Slint. I remember this sitting in my local record store a few years after its release and for some reason I never picked it up so although I own every Seam, Polvo, Squirrel Bait and Slint record, the sounds of Bitch Magnet were lost on me until now. Temporary Residence has had the good sense to release a compilation called Bitch Magnet which encapsulates all of their recorded output which includes their albums Umber, Ben Hur and Star Booty as well as some extra tracks. I picked it up on the Temporary Residence website for like $15.00 which is insane for such a greatly packaged set of essential eighties hardcore. Bitch Magnet were a bit more easily digestible than Squirrel Bait and the math rock strangeness of Polvo and Slint. Park always had a pop sensibility to his music and Bitch Magnet are almost like the missing link between Big Black and Seam. I cannot recommend this highly enough. If you like any of those other bands I’ve mentioned then you are going to love this.
Menche has had a great couple of years. After threatening to turn his back on releasing records after his fucking excellent Glass Forest CD, the quality of his output has been great. A few of you have emailed me about Feral being my record of 2011. One of the reasons why I selected that record is that Menche turned up the harshness factor so that his processed field recordings became a much more visceral experience.
On Guts, Menche abandons his processed field recordings and records himself abusing the crap out of the “guts” of a grand piano. He has a photo of it up on his website if you want to check it out. But what of the actual noise he manages to extract from thrashing the inner workings of such a nice instrument and then processing it. The first track is titled “Guts 2 x 4″ and it is one of the most disagreeable things that I’ve heard Menche do. I’m not sure if it was a mistake to start the record with something so nasty but then again it could be actual genius. After “Guts 2 x 4″ abruptly finishes, Guts One begins in a much more recognisably Menche fashion but the thing that struck me about it was the portentous heaviness of it all. This is Menche in Dark Ambient mode. His frequent interruptions of the cloud of filth with a sound which might be him dropping the whole mechanism gives it a quasi-indistrial vibe. Yet as it continues it descends(ascend?) into old fashion noise and has some similarities with Werewolf Jerusalem’s static wall noise. ”Guts 2″ tones down the all obliterating noise to add in much more creepy sounding effects. It’s all a bit sinister really but if you have a look at Menche’s photographic work I reckon he has always had a bit of an interest in desolate post apocalyptic imagery. And if I’m right about that then Guts may be his finest example of it. Those wanting to dabble in Menche need to stay the hell away from this. It is the heaviest thing I’ve heard him do. For those who don’t mind getting their bleak on this may be just the thing to start the new year with.
A theme through a fair bit of the press last year was the death of noise. The American scene which had been dominated by the Wolf Eyes axis has morphed away from the transgressive metal scrape to more meditative forms. Well known noise players such as Nate Young, John Olsen, Jon Wiese, Gerritt, Daniel Menche, C Spencer Yeh and Mike Connolly have grown their sound. Pete Swanson (ex-Yellow Swans) went techno for fuck’s sake. Are the latest records by Daniel Menche and Mike Connolly easy listens. Of course not. All of those artists are still making great records that challenge and confuse. I suppose what I’m wrestling with is that I don’t know what noise is anymore. If I look at what I actually bought last year, my listening was dominated by the experimental artists on Type like Black to Comm, Rene Hell, Mokira and Richard Skelton. Noise in a pure sense was limited to following Merzbow.
So I suppose in many ways Merzbow is one of the last artists still doing proper noise records. There is still a European noise presence but it has been a bit quiet in recent times. The great thing about Merzbow is that 2011 was an absolutely cracking year and emphasised, at least to me, that noise, when done well, provides some moments of pure pleasure.
There are three versions of Lop Lop. A super limited three CD fancy edition, the two DC deluxe edition and the single CD version. I went for the two CD version which came with some postcards and a bird pendant in a DVD case. I’m not really interested in the packaging and the extra $40 for the third CD seemed difficult to justify.
Lop Lop is a fantastic Merzbow record and when you consider that this was the sixth solo release from 2011 the lean years which have come to be defined by the mediocre Thirteen Japanese Birds series have been truly forgotten. Lop Lop starts with a sense of urgency. Canaanda reveals an almost perfect juxtaposition between inanimate electronic throb, analogue roars and what at times, what sounds like the jettisoning of a thousands saucepans down a long flight of stirs. He also manages to play with the stripping back of layers to rudely flood the tracks with light when least expected. Yet by the second track, My Voice At The Pace of Drifting Clouds, things take a decidedly more mellow approach (at least in a Merzbow sense), but is a fine example of one of Merzbow’s more kinetic pieces. The final track on the first disc, simply called EQ, begins as a thumping industrial track coated in fuzz and by the time the layers get added it has a meditative sway to it all before it all starts to consume itself.
The second disc also has three tracks and it is just as strong as the first disc. This is where I get a bit annoyed at record companies. There is a reason why consumers get pissed. By limiting the availability of the second disc, the label is inviting downloading. The idea, I suppose, was to tempt fans with the pendant and the past card. Really? Why not just make it a double disc or split it into two separate records? Get the two disc version if you can the extra money is worth it. I think Lop Lop is the other essential solo Merzbow release along with Dead Zone of 2011. Merzbow manages to show that noise is still relevant and can still excite.
Richard Youngs is a British experimental/ avant garde musician who has been plying his trade for a number of years. From what I read, each of his records is unique and his discography does not follow any one style. I’ve seen his name a heap of times in publications like the Wire but this is my first experience with his music – and what a ride it is. When the first track started I thought for a micro second that there was a saxophone being abused in some way until it becomes startlingly apparent that the wail is actually his voice. That voice blew me away: an instrument which in itself is a mix of crooner and post-apocalyptic folk artist. It is a strange and oddly compelling voice and lays the foundation for each of the tracks. The songs themselves are extraordinary. Post experimental clatter and guitar experimentation is held together by the lilting drone of his voice. There is a sniff of the hippie about him and in many ways this is music which I usually steer clear of but I have listened to this about three times a day for the past week and I love it. Amaranthine has done for weirdo folk what Jim O’Rourke’s Insignificance did for AOR. I’ll go out on a limb and say that the first two tracks of Amaranthine (Hopeless Warriors and State I’m In (California)) are two of my favourite songs period.
I cannot stop listening to this right now and you won’t find a better place to find a bamboo flute being rocked than on this. It’s drone, folk, percussive clatter and outsider music in one lovely package. Another cracking release from Mie Music.
2011 has been a very interesting year for Merzbow. None of his recent albums have been particularly easy listens but I think it is because of their difficulty that I have enjoyed them more. I think it is always better to be difficult than boring. Some of my favourite “difficult” Merzbow records have been when the unrelenting brutality of his noise squall becomes a transcendent meditative mind fuck. The key to reaching that transcendence is to be totally submissive to the noise Merzbow makes. Without that submission those records become pointless.
Records like Surabhi are the exact opposite of unrelenting noise records such as Tombo or Camouflage. In order to achieve some relationship with it, the listener has to be actively engaged with the sound. This is not a record that welcomes a passive listening experience.
As the second instalment of his Merzcow trilogy, Surabhi has some things in common with the first Merzcow record, Kamadhenu. The sub bass and sci fi electronic doodling all make an appearance on the first track Vanamali and Shravan. The track is an absolute cracker and as good as anything on Kamdhenu. The second track Balaram features Merzbow’s version of celestial space music. What starts of as one of the weaker Merzbow tracks of recent times thankfully becomes more interesting when bass throbs and a bit of guitar shredding makes an appearance but on balance it is a bit of a disappointment. The third track unfortunately extends that disappointment. All of the elements are there for a great Merzbow track but it is only when the track is eight minutes in that he starts bringing things together and the sound resembles an electronic firework display.
The problem with Surabhi is two fold. The first is that after the excellent Kamdhenu and Dead Zone, it feels that in some ways he has returned to generic Merzbow. The second is that for all of the active listening that is required on a record like this, there is only marginal return to the listener. His weakest of 2011. For completists only.
If you read the liner notes of this “compilation” released and compiled by Whitehouse’s (now Cut Hands) William Bennet, you may be left with the impression that somehow through the use of the internets and various other means he was able to locate a noise underground in places as diverse as Zimbabwe and Morocco. It is all a big con of course. The groups whose tracks are allegedly compiled on this record are all fictitious and all of the tracks were probably created by Bennet himself. It makes sense given Bennett’s flirtations with African rhythms in some of the later Whitehouse Records and explorations in ethnic percussion in Cut Hands
The subject matter which inspired this alleged noise underground is a powerful potpourri of transgressive bits and bobs for the power electronics set. Torture, despotism, massacres, corruption, mutilation etc are all stories of modern Africa. The problem is of course that even a cursory listen will reveal that many of the sounds used are hardly African in nature. Take the first track Blood Lullaby. It is basically a noise remix of Deep Forest’s Sweet Lullaby which I have stuck at the bottom of this review to remind you just how awful the ethno-techno fad of the early 1990′s was and the vomitous pretentiousness of the videos of the time. Of course the problem with the actual Lullaby sample used is that it is from the Solomon Island which is in the Pacific Ocean and not Africa. On one of the later tracks I swear there is didgeridoo being played which, if I’m right, makes a mockery of the African premise.
Notwithstanding that, the music and noise on Extreme Music From Africa are absolutely superb. It is jaw-droppingly fantastic. For the most part the music doesn’t quite live up to the cover. This is less a transgressive power electronics album than an avant garde interpretation of a fantasy underground. There are some uncomfortable moments in some of the tracks that rely on high frequencies but they are in the minority. Tracks range for the Nitzer Ebb Industrial dance music of No Rada No Rada (allegedly by Petro Loa) to the sampled military brass band butchering some awful post colonial national anthem or something. There are great samples of Toureg tongue trilling and even some Burundi-style drumming. At times the samples of human interactions reminded me of Nurse With Wound’s Shipwreck Radio.
This is on of the best records I’ve heard all year. You don’t have to be a Whitehouse fan to dabble with this. It is less noise and more avant garde electronic weirdness. I can’t recommend it highly enough.
Have you started to think of Christmas gift ideas? Tossing up whether to buy the new Susan Boyle CD? Worried about whether Christmas is really as transgressive as it probably should be. Can I suggest a copy if Skullflower’s most excellent new release, Fucked On A Pile Of Corpses. Not one for the kids mind. But if you have a lovely old Gran looking for something different to listen to this might just be the thing (especially if she was a former member of the Khmer Rouge).
Over the past few years I’ve paid little attention to Skullflower. I’m a big fan of main man Matthew Bower’s work and somehow I’ve ended up owning every Sunroof! CD and a sizeable amount of Hototogisu. Fucked On A Pile Of Corpses is my first outing with Skullflower since Tribulation and it is a mighty contrast to the shimmering light blasts of Sunroof!.
Lets deal first with the press around this release. Is it the heaviest most brutal Skullflower release of all time? Well kind of. I mean for the most part it is pretty brutal but it also has some doom laden, gothic ambience which gives at least the first four tracks a distinctly ominous vibe. In fact if Sunn O))) had embraced their darker side after Black One instead of following the path that lead them to Monoliths and Dimensions, it is not hard to imagine that they may have ended up nearer a sound like his. For the most part it is just so oppressive. This is black metal noise at it’s most intense. Skullflower have been mining this territory for some time but it all seems to gel fantastically well here. Noise freaks will revel in the multilayered guitar distortion whilst Doom kids will get off on the “blackness” of it all. Together the two sides create that transgressive transcendence that all good noise bands aspire to.
I was really looking forward to getting this and it has not disappointed. Believe the press for once. It is every bit as good as they say it is.
I love Sightings probably to the point of obsession. You see Sightings sounds to me like the perfect deconstruction of rock music into its essence. It’s difficult and loud and messy.
2010 saw the release of their last record, City of Straw. Compared with their previous record Through the Panama it just seemed to sneak out without much fanfare. I think it is a shame because it is on the finest things they have done and one of the best records of last year. If I go back and listen to their early works like their self titled debut or Michigan Haters, they sounded like a cross between Pussy Galore, Jesus Lizard and Wolf Eyes. After each album their sound has grown to the point where (I think in part to their producer Andrew W.k.) they have become a much more sophisticated group with influences ranging from No Wave, DNA and the Swans. The chaos is still there but in a lurching kind of way. Instead of staying sonically messy like their earlier records their sound became focused and probably a bit harder. In fact I’d go a step further and say that there is a sonic coldness to their recent output especially when the zombie dead pan vocals kick in. For a three piece from Brooklyn they make a great racket and are one of the few noise rock bands that have not compromised on their vision or sound.
What happened to Mouthus? They seem to have disappeared. The last releases seem to have popped out in 2009 but since then, nothing. This is a shame really. The Brooklyn duo of Nate Nelson and Brian Sullivan seemed to exist in their own little biosphere of experimental, noise goodness. Although they were always lumped into the noise continuum along with Wolf Eyes and Hair Police, Mouthus are a very different beast. On Slow Globes they meet their quasi-psychedelic side. There are smatterings of shamanic groove which when it fully takes flight is a very dark experience indeed. At other times much of Slow Globes reminded me of the same shambling avant lo-fi pioneered by The Dead C. What this means in a music context is that Mouthus can be a very challenging listen. I own more Mouthus records than is healthy but I think Slow Globes is great place to start if you’ve ever been interested in dabbling. Any one know what happened to them?
2011 has been a very good vintage for Merzbow. His last release that I picked up ,Yaho-Niwa, was a complex record that I ended up really connecting with although initially I found was a bit overwhelming. I had no such problems with Dead Zone. It has an immediacy that is both compelling and if I were to make a prediction, it is probably one of the finest records he’s released in the past four years.
Dead Zone is dedicated to the anti-nuclear movement. It was mixed the day after the nuclear catastrophe in Japan. The photo’s in the booklet are interior shots of the deserted cities surrounding Chernobyl. They are both chilling yet rather beautiful. The tracks themselves are taunt and wonderfully diverse. Many of his noise themes from the past year or so are present. Fax machine blips, tortured whale song, 1950′s sci fi effects are all here. What makes Dead Zone so special is the little everyday sounds he manages to sneak in that hint of the isolation of the cover art. For instance at the beginning of the third track The Wandering lights, Merzbow uses a sound that reminds me of that tone you hear in American movies when a telephone is disconnected. On the first track some haunting flute (yes flute) weaves in and out of the layers. It is in fact a meticulously constructed record. For instance the first half our long track may be the most significant single Merzbow piece for years. A track which defines the joy and power of noise as a muscial form.
If you only buy on Merzbow record this year (and I know there are more coming) let it be this one. It is accessible without being obvious and harsh without being alienating. One of Merzbow’s finest moments and I think if he manages to keep achieving records this great I am gong to go broke.
Russell Haswell is not exactly a prolific artist but when he manages to release a record it is usually something worth tracking down. Since my early adventures into noise and experimental music I have been fascinated by the use of field recordings to create something that can be brutal or beautiful or simply unrecognisable. The later work of Daniel Menche is a brilliant example of this approach. I’ve always found Haswell’s approach a much louder, more difficult but no less rewarding experience. Wild Track is tremendously interesting. Here Haswell allows us to hear to his source recordings. Exceptionally Loud Propane Gas Cannon Bird Scarer and Helicopter Trip are exactly that. There is no editing or overdubs. My favourite was the recordings of an ant colony which almost provide the perfect organic drone track. These type of recordings are probably not for everyone but for those of you, who like me, have a strange fascination for such things, Wild Tracks is experimental sound heaven.
Well September was a complete write off but it did give me the opportunity to listen to lots of records including some that were actually released this year. Cut Hands is the new project of William Bennett from transgressive power electronic pioneers Whitehouse. Any of you who may have had contact with a Whitehouse record probably won’t readily forget the experience. But hiding in those brutal slices of nastiness were examples of Bennett’s interest in African rhythm. On the majority of Afro Noise 1 he explores different poly-rhythmic ideas using traditional instruments such as Doundouns and Djembes. Two of the tracks, Nzambi Ia Lufua and Munkisi Munkondi are old Whitehouse numbers and have previously appeared on Ascetisists 2006 and Birdseed respectively. The rest have been pulled from sessions from 2003 until this year. The term “noise” in the title is probably more appropriate in the context that most of these tracks have absolutely no melody rather than a more traditional understanding of a nosie record.
Afro Noise 1 is a much less extreme record than I was expecting. In fact for the most part is rather charming. It’s a good record, I thoroughly enjoyed it and those who have been scared off by much of Bennett’s previous output have nothing to fear here.
I feel a bit nervous about writing on Noisembryo. I’m actually a little late to the party. I finally found someone willing to sell mea copy for a reasonable price in the last two months and it is only now that I’ve been able to spend some time with it. Noisembryo is one of those key records for Merzbow nerds. David Keenan named it Merzbow’s most essential release, a view that I know is shared by many of you. So here are my thoughts.
Noisembryo much like most of his mid-1990′s output is difficult to define. It is certainly uncompromising and although in many ways they are very different records my interactions with Noisembryo is much like the one I have with 1930. The only way I can consume Noisembryo is to totally give myself over to it. Stick the headphones on, close my eyes and concentrate. It is only then that the real hidden depths of it are revealed and Merzbow’s playfulness becomes apparent. Initially I though Noisembryo was overwhelmingly intense, but Merzbow manages to sneak in some surprises. I also know that what I hear is not necessarily what you will hear. I find that idea completely awesome. In fact that is one of the joys of noise as a genre. For me it is not about the transgressiveness, the supposed eroticism nor its brutality but more in the fact that a noise artist can never tell the listener what they are hearing and how to interact with it. As a musical form it is completely anarchic in terms of its consumption and appreciation The way that much of this noise is made is often a compete mystery and I couldn’t give two fucks whether this is analogue, digital or how many ES synths were used. I just don’t care. It is not important how the record was made but what I hear. And what I hear on Noisembryo I really like. It was well worth the hut and deserves its reputation.
I’m trying to post on a huge backlog of records at the moment so hopefully there will be a few more posts happening over the next week or so. I’ve already posted on Pat Maherr’s other project Indignant Senility which I thought was pretty great. Even better is his Expressway Yo-Yo Dieting project because on Bubble Thug, instead of slowing down Wagner until it is unrecognisable, Maherr finds cheap and obscure gangsta rap CD’s and basically applies a chopped and screwed vibe to it all. The DJ Screw influence is finding its way to all manner of records at the moment, none more so that the “witch house of OooOo and Salem but here Screw’s aesthetic is taken to its absolute extreme. In a genre that relies upon its lyrics it’s quite strange to hear hip hop where the vocals are completely indecipherable, and when combined with the beats becomes an oozy, gooey disorienting experience. Beats are stretched and the trite r n’ b interludes that commercial hip hop have relied upon for the last decade or so become nauseating and in fact it is like listening to hip hop when you’re sea sick. Some of his sonic manipulations become particularly sinister. “Bounce wit me, bounce wit me” becomes the chant of a cult rather than a call to party. This is a record that should have been on a lot of best of lists last year. Very good indeed.
Now here is a Merzbow collaboration I was keen to hear. To be fair I had never really looked at the cover in any detail so the whole lady/goat kissing thing passed me by but this is Consumer Electronics, home of Pete Best from Whitehouse, Matthew Bower from Skullflower, Hototogisu and Sunroof! and Gary Mundy from Ramleh. In fact the aristocracy of British transgressive power electronics are all lined up here. So when you combine that line up with Merzbow at the height of his powers what would you expect to hear? The hardest, most brutal thing ever transferred to disc perhaps? Not quite. This is not a Whitehouse-style bludgeoning of the senses but a remarkably varied noise record that Merzbow dominates. Is it still harsh in places? It is, but it also surprises with its experimentation.
This is a record that benefits from high volume. It is only then that the nuances of the noise can be plucked out. The first two track are great examples of Merzbow style industrial noise. There are some of those space age phazer sounds that appear on Space Metalizer. There is also a four second section which has Merzbeat style business going on. The third track is where all preconceptions are buried. Think trumpets, drums, a lopping ambient oscillation with the constant threat of an ever present industrial noise enveloping the whole thing. Track 4 sees the return of Merzbow harsh noise punctuated with a Nurse with Wound style looping female yelp. The real treat is the final 18 minutes bookend with its bastardisation of (I think) a Handel minuet which begins as the most twee track of any noise record you’d be likely to hear. Its saccharine start melts into a what essentially amount to a great noise track.
Horn of the Goat may be a different record than I was expecting but I quite like it. Not too harsh and a fair bit to discover between the layers and the blips. It is a record that comes up cheaply on Amazon from time to time. Not bad.
Posted in KId606, Music on August 20, 2011 by noisenoisenoise
Over the years I’ve accumulated a significant number of Kid606 albums. He first appeared on my radar when his Down With The Scene record started getting a fair bit of buzz. That record still spins me out ten years later with its mix of noise, techno, dancehall and experimental electronica. After that he released Kill Sound Before Sound Kills You which still sounds like a mix of DJ/Rupture, Basement Jax, Atari Teenage Riot and then some. It was a much more conventional techno/electronic release focusing on dancehall. Most of his records since have followed a similar path so you’ll have to excuse me if I didn’t exactly get excited about the Kid’s first release on Important. It seemed quite odd really, Important is usually considered the home of much more serious and experimental artists. I saw this at my local indie store when it began it’s closing down sale and I snaffled it for half price (still more than I could have brought it from the US but I felt in a benevolent mood). On the first listen it all made perfect sense. This is Kid606 as I’ve never heard him. The fast breaks and relentless beats are gone. If I hadn’t known what was playing I would have thought I’d stumbled across an album by a Mego or Type artist or Black to Comm or something. What he does is deconstruct electronica. The beats are removed and the other sounds without their techno context are left to fend for themselves. It requires deep listening and I have spent a great deal of time with this record in the past two weeks. It is as confusing as it is fascinating. It made me go back and track down his other analogue works like GQ on the EQ, but that review is for another day.
