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

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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.

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

Posted in Uncategorized on March 15, 2014 by noisenoisenoise

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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

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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

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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.

 

Birchville Cat Motel – Nurse (Fencing Flatworm Recordings) 2004

Posted in Uncategorized with tags , , , on January 2, 2014 by noisenoisenoise

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Well here we are in 2014. This bog (typo and it’s staying) was sadly neglected in 2013 for a crapload of reasons. Firstly Ingmar from evolkweenthemusical and I started The Antidote Podcast which meant that a great deal of my listening time was spent absorbing new releases to pontificate about. Secondly I had a third kid at the end of 2012 and that little rotter decided that sleep was for pussies and thirdly my job got superbusy which has been tremendously stressful but also fun. In any event the opportunities I had to listen to records for this blog were severely compromised. So I had to make a decision about whether to keep this blog going or just letting it slide into the digital ether. In the end I’ve decided that this blog will become much more active in 2014 – but the focus will change to concentrate to records that I need to share with others rather than to offer my thoughts on records that I think will generate traffic. At it’s height this blog was getting crazy numbers of visits and it was even named one of the best music bogs in Vice magazine. That was great for my ego but I think I lost sight of the reason why I started this bog in the place. So there you go – no more negative reviews. If I didn’t like it you will no longer find it written about here. DBS will  now only have reviews of records that I think noise nerds are going to enjoy. So here we go.

Let’s face it 2013 was a pretty ordinary year for music and  I wasn’t particularly inspired by much which essentially meant that my non-podcast purchases focused on nostalgic trawls through discogs and ebay. Nurse was a late night purchase on ebay which I discovered when I was looking for out of print Whitehouse records. Anyone who has followed this bog since it started in 2006 will know that the work of Campbell Kneale aka Birchville Cat Motel has been pretty well covered. In fact at least two of his records With Maples Ablaze and Our Love Will Destroy the World (the title he later took to name his new project when Birchville was retired) are in my top 20 records of all time. Although I enjoy his rock-pig and psychedelic guitar records such as Bird Sister Blasphemy and Astro Catastrophes, I think his best work is defined by his shimmering, ecstatic drone work. 

Nurse consists of one half hour untitled. The thing that sets it apart for me though is the use of beats. It almost starts like a Vladisav Delay minimalist techno record before the high pitched drones cascade over the top and a sublime white noise drone takes over. Yet like the best drone this record took me on a journey. There are subtle and not so subtle interjections of noise and found sound which makes this one  of the best things I heard in 2013 especially as many noise artists started becoming more overt in there explorations of beats. I can’t recommend this enough. There are copies on discogs for sale which aren’t prohibitively expensive – yoiu may want to check it out.

The Dead C – Armed Courage (Ba Da Bing) 2013

Posted in New Zealand Bands, The Dead C on September 1, 2013 by noisenoisenoise

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Armed Courage is the first The Dead C record since the release of Patience in 2010.  Although both Michael Morley through his Gate project, and Bruce Russell with what seems like a million collaborations, have been keeping busy,  it’s taken a whole three years for them to get together and make a new Dead C record. Has it been worth the wait?  Abso-fucking-lutely. 

I ve been listening to this record for the past few weeks whilst I have been in quarantine because of a nasty  virus I picked up off one of my kids. My cabin fever allowed me to spend a good period of time going back through the band’s releases since their re-emergence with the amazing Vain Erudite and Stupid compilation in 2006. Armed Courage is more closely aligned with Secret Earth and Patience rather then the more difficult Future Artists. 

Armed Courage contains two twenty minute long tracks. The first one Armed is a mesmerising instrumental  swirl of droning rock guitar and primitive Sonic Youth avant noodling. Robbie Yeats drums dive in and fade out of the track at regular intervals. It may be my favourite Dead C track since Bitcher from 1995’s The White  House. The second track Courage starts out very differently with a quiet menacing ambiance overlaid with Michael Morley’s vocals which sound like a brain injured every-dude overdosed on codeine before the driving, rocked-out drone, kicks in. It is great and has moments which actually outstrip Armed.

Armed Courage  is a cracking record and it may also be the best recorded album they’ve released to date. If you have never heard the band before then this is a great place to start. These guys may just be getting better and better.

Black Leather Jesus – The Defining Love (Shamanic Trance) 2011

Posted in Black Leather Jesus, Music, noise with tags , on April 8, 2013 by noisenoisenoise

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Sweet mother of God. I must be going through a  self loathing phase at the moment because I seem to have accumulated quite a number of extraordinarily nasty  records in the past few weeks. Let’s for example chuck this opus from Richard Ramirez out for consideration. I am a huge fan of one of Ramirez’s other vehicles Werewolf Jerusalem and to be frank, although both projects explore the concept of harsh wall noise, I think the Werewolf Jerusalem records I own are much more interesting than this. Perhaps it is because those records have a much more guttural pitch to them and this record is pitched just high enough to be mildly unpleasant. I didn’t extract much of interest from the three noise tracks. It’s pretty straight forward stuff and I think The Rita does this sort of thing a lot better. What did get me thinking though is the idea of the inspiration for this project because everything from the title of the project, the names of the songs (You Can Never Have Enough Meat in You) and the cover art indicate that the focus here is on sex, big old gay sex in fact. So as I was listening to the first two tracks I was trying to figure out the connection between the imagery and the noise itself and I wondered whether the link was that both were transgressive (one of the tracks starts with the work “Fist”) or was there a sadism link. It was kind of like trying to reconcile Merzbow’s Bariken with his love of ducks – ultimately a bit pointless. The third track did make the connection clear because it is a simple recording of two blokes having it off. I’m not sure what the relation is to the harsh noise wall (although one of them did sound to be in a great deal of discomfort). So maybe that is the link. This record buggers the bejesus out of your ears. I get it now.

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