Troniks, the label of Phil Blankenship best known for his work in The Cherry Point has been a bit quiet. For a good many years Troniks was releasing some of the best noise records around. One of the first noise records I tracked down was the extraordinarily brutal Live At Camp Blood, a ferocious work out between The Cherry Point and Yellow Swans which in the past few weeks I’ve been coming to terms with after a few years break. Troniks was also behind the release of one of my favourite noise records of all time, Lasse Marhaug’s The Great Silence. If you head on over to the Troniks site right now you’ll find a ridiculously good deal where Phil will send you five CD’s for $20 with shipping included anywhere in the world. That is one hell of a deal and if you take him up on it I reckon you should make Rhinestone one of your five because it is just fantastic.
In the past few years the US noise scene has taken a side step with the most influential bands breaking free of the constraints of noise. The nice thing about artists like Richard Ramirez, Sam McKinley from The Rita and Phil Blankenship is that their noise vision has remained undiluted and that my friends, suits me just fine.
On Rhinestone Phil Blankenship teams up with David Reed a man whose various projects have been released on Troniks in the past. The single 30 minute track is a noise nerd’s wet dream. The thing I really liked about it was that the static wall of noise which is used by many Troniks artists as the main game is only a supporting player here. That wall of static provides the bedrock to all of the other tricks and noise that gets piled on top. Everything from the sounds of a set of suitcases being thrown down some stairs, some guitar style feedback, Merzbow-esque maximalism, amp buzz and Wolf Eyes post industrial rust belt chic to name a few are messily placed on top of each other to create what I think may be the first great noise record of 2012.