Saturday, 6 October 2018
A Day at the Facebook Groups, review assault #1
I’ve been listening to noise with growing interest since the early 90s, this led me to review for other sites for periods of time until I landed here on my own blog. I often review acts that fall into the different noise categories. Sometimes they are shared out by the label or artist and it creates a wider audience. Most of the time I am reviewing what I buy, and I feel like I am making that extra effort in this mpfree day and age of music listening. However, a balance of obscure and popular is often needed within the blog as it grows. I created a Facebook profile purely to promote this blog and then artists started contacting me to do reviews, which I liked as I hadn’t heard of many of them before.
I was reading the latest Special Interests magazine I had purchased from Unrest and there was an interview with the artist Wince and they spoke about how different golden eras of US noise have been come and gone. Being presently far from any Golden Era of noise, I figured my own way to document the underground and build a wider knowledge of what’s happening worldwide via individual tours of the Facebook Noise Groups where artists and labels seem to advertise their available work. I wanted it to function as a glimpse into today’s underground artists. They release, many play live and they are out there doing it.
For this tour, I will skim through the recent postings in one of the many the Facebook Noise groups: it is called Power Electronics/ DeathIndustrial/ Harsh Noise/ Dark Ambient. The group features artists that link to all or a few of the genres in the title.
Clipping Teeth – Enamel Shrapnel.
Clipping Teeth – Over the Lips, Past the Gums.
Label/Collective - Men Behind the Sun - mp3 release – 2018.
Clipping Teeth is a collaboration with the guys behind the Men Behind the Sun collective and Paul Byrn who does some very good ambient and progressive music worth checking out. Clipping Teeth’s Enamel Shrapnel revels in a harsh American Digital noise assault, so it is very choppy and chaotic. Throwing out a mass of tangled feedback that begins to die until reinforced by pulsating bass and then it’s cut into by screams. A shifting journey spread across two minutes.
Over the Lips, Past the Gums, centres around vocal samples of a narrative describing Toe Nail Clipper Teeth Clipping. This, at first is more restrained than Enamel Shrapnel, until it explodes halfway through into a wall like mass of noise with distinct clear elements doing different shifts of domination. For a noise side project, Clipping Teeth delivered two interesting, refreshing, textured cuts of pure noise that will soon need a longer physical release.
Mai 12 – Does Soil Get Old?
La Nuit Qui Tombe – The Wind In The Ruin.
I keep seeing Mai 12 releases in the groups, based in Thessaloniki, Greece they are Karl Grümpe and Rene p.g. They release gorgeously packaged tapes and cdrs truly enhanced with visual flair via their Bandcamp page. Their split release with La Nuit Qui Tombe looked so nice, I bought it before I heard it, I hope it’s good.
This is a two-track tape in a unique mesh and car cover, one long track by each artist, each around the 43-minute mark. Mai 12’s piece is ‘Does Soil Get Old?’ it begins with warm bass like distorted crackle wall as things creak and groan in the background. The background sounds increase as the piece progresses - I would describe this as a warm and creaky wall of noise that is solid and consistent. It has a purposeful obscurity and stands as a document of a period in Mai 12’s existence.
A Douglas P interview sample begins La Nuit Qui Tombe’s – The Wind in the Ruin whilst a cocky sense of Avant Garde gradually steps in. My mind drifts away from DIJ towards the act Somewhere in Europe’s earlier bleak yet playful material. Things progress into juxtaposed blasts of foggy noise and dark, ominous ambient soundscapes form. A sense of past times permeates the recording which seems to hang over all Qui Tombe releases. This builds into a dense, ambient wall of sadness that moves into a closing sermon.
Both tracks do contrast against each other yet do tie in together via differing walls. A strong and very well presented split.
Analfabetism - Kniven Sitter Kvar I Bonden - 2018
1. De som dräpa och som dräpas skall.
2. Av daga tagas.
4. Där svinhugg går igen.
Sweden’s Analfabetism is the solo project of Fredrik Djurfeldt active in many other projects.
De som dräpa och som dräpas skall is ambient bleakness that uses repetition and drones to build the sound whilst blasts of distorted vocal rage move in and break things up continually. Pulsating beats back the Power Electronics blasts of noise. The depressive Av Daga Tagas builds deep drone ambience whilst being repeatedly interrupted by aggressive crashes of distortion. Fördärv drags through further landscapes of bleakness hitting more blasts of aggression throughout its journey. This forms a combination of Ambient textures and noise throughout the album. The tracks have a fluidity through repeated sounds and technique. Select hypnotic repetition often forms the base to each track and its sonic performance. Där svinhugg går igen follows Fordarv’s example but allows for more noise chaos during its gradual build up. The finale Kniven djupt begravd i bonden slows things down and pulls right back to allow rich synth work to wash over everything, gorgeous repeated melody and sirens wail to briefly shift the context of the works state to a drop. Chaos returns, and things explode to a climatic end.
Analfabetism is a strong album documenting a rich journey that I was glad to be taken on.
I’d had a good dose of Ambient lushness today and needed something harder as I was battling with my subconscious after too much deep intense listening. I then discovered some reassuring noise horror via Throne of Bael’s Bandcamp page. Throne of Bael seem to post regularly in the group and their releases are frequently horrible in subject matter and visuals. So, I dove in –
Scott Lawler’s Spank Hookers – Disturbing Deeds of a Dominatrix is a recently released digital only album. It is immediately expansive with a large sound that continually reaches outwards. Each release was named after extreme fetishist acts that are conducted to submissive clients by the central hooker characters of the album. The themes covered include -Tit Milking, Diapers, Bonded Rubber Pants and Water Bondage. The sound stands as an intense juxtaposition of Harsh Noise, Wall Noise and Dark Ambient all at once to produce an impressive wide, ambitious sound. However, I couldn’t help but think is this project for real, is it someone just playing with extreme subject matter that has been revelled in time and time again? I have a very 50/50 take on the project and question if it is Lawler’s darker side or Noise for Noise’s sake, Does Spank Hookers need to be Spank Hookers? But I can’t say this is bad release or project as it is sonically impressive too as is the other material on Lawler’s BandCamp.
I then find I was Killer’s or Killer – A Day of Play. This is a digital only single track that incorporates a huge list of themes. I was Killer’s or Killer is a highly prolific project possibly based in South Africa. A Day of Play is instantly deprived it appears to be a duo. It is massively warped and abstracted beyond recognition, I can’t tell if the vocals are babble or have a narrative. This is impressive guitar formed scum sound that is incredibly random and energetic whilst maintaining a unique sense of mystery and originality. All I can say is that I am excited about this impressive; an incendiary, shitspew of abstract greatness.
RRR is Sébastien Bach and Bruising Pattern is Petar S. France’s RRR have been active since 2012 and Austria’s Bruising Pattern since 2017.
The Bruising pattern side is multiple layers of hiss and shifting, faltering crackle overlaid on each other. It is backed by drones. The drones become more apparent and intense as you drift into the distortion which drags and pulls along; you are pulled to and from both as your concentration shifts.
RRR is a different project, as if it is an ever-emerging loop. The work here is in the details woven into the merciless repetition. As a result, RRR deliver the most punishing, torturous side of the two in an early NON way. Compared to other RRR works on the Bandcamp, this is more varied and broken up which opens the work up to other possibilities.
This is an agonising release that was pure head torture, which isn’t a bad experimental thing. I found different qualities in each project with a wealth of new work to explore.
Per Najbjerg Odderskov is based in Denmark has been active since the late 90s and releasing since 2000. Destruktionstalt is describes as ‘back to basics Death Industrial with atmospheric psychedelic overlays.’ The latest offering from September 2018 is Døds-hymner.
This uses vocal samples and noise to create rich atmosphere. There are some impressive svnth drone and arching noise passages, particularly on infection where a few elements are used to create ambitious soundscapes. As an album this does shift into different ideas across the tracks, they’re strong. But I do question if it needs a strong vocal presence in the mix to top things off. Minor criticism aside, a very strong album that I have played through happily a few times.
Choppy Noodles 2018