1208 North Fuller Ave Apt 1
This is a Blog about Noise, Power Electronics, Post-Industrial and Experimental sounds. Please contact me via the page for any info on material that you'd like to submit for review. I will only review physical copies, no mp3/file reviews. Many kind thanks to Daniel Overberger for taking and selling me the pictures of the outside of North Fuller avenue to use on my blog. Reviews are by Choppy Noodles and Psymon Marshall. Facebook Page: https://www.facebook.com/NFA1334/ Choppy Noodles 2019
Thursday 25 April 2024
Pale World - Regulate.
Sunday 14 April 2024
XAL Spirit Breaking.
XAL – Spirit
Breaking – Cassette/Download - Cloister Recordings – 2024
https://cloisterrecordingsus.bandcamp.com/album/spirit-breaking
https://cloisterrecordingsus.bigcartel.com/
https://www.bbc.co.uk/news/world-asia-china-55794071
https://www.bbc.co.uk/news/world-asia-china-56986057
1.
Spirit
Watching.
2.
Seven
City Blocks.
3.
New
Dominion Pioneer Corps.
4.
The
Three Evils.
5.
Terror
Capital.
6.
Dispossessor.
7.
Disappear.
8.
Behind
The Black Gate.
9.
God
Is Dead.
10. Takbir.
11. Bioluminescence II : Sleeping Citadel.
12. Dungeon Theme.
XAL
is a project consisting of AM NOT, A and Mollusk King all of whom are familiar
names with releases behind their belts in the UK Post Industrial scene. Spirit
Breaking was created as a tribute to Darren T Byler’s thesis (Spirit Breaking: Uyghur
Dispossession, Culture Work and Terror Capitalism in a Chinese Global City)
which is about the Chinese government’s persecution and state war against the Uyghur
Muslims and other Muslim groups within Xinjiang. This included men being
arrested, women being arrested, sterilised, raped and tortured within prisons. I
was aware of the issues mentioned here, but listening to this recording forced
me to research further and I was disgusted and disturbed at what I found out is
happening to the Uyghur. Spirit Breaking refers to the government’s process of removing
the people’s culture and historical lineage by banning or restricting their
religious, cultural practices and Islamic education ensuring they used only
government approved religious text and schools (education centres). This
ensured the continual degradation of the Uyghur, specifically through the
inhumane treatment and abuse of their women. I have tried to do some research about
the title tracks in relation to the text, my definitions aren't concrete and are of my own opinion. .
The
album begins with a combination of Dark Ambient atmospherics and samples, this
accelerates to increase its own intensity. Quirky keyboard sounds, pulsing
beats and cinematic synthesizers build Seven City Blocks, this works together
to form a landscape of which events play out. It refers to the seven new cities
the Chinese government built during the urbanisation of Xinjiang a decade ago. The
sound here pushed into a lot of post noise sound futuristic and ambitious, this
works well as work. New Dominion Pioneer Corps is a short blast of huge
industrial soundtrack, possible reference to the Police State and Capitalistic
growth in the area. The Three Evils (A political slogan of the Peoples Republic
of China – terrorism, separatism and religious extremism.) goes into a screwier
use of warped noise with vocals buried into the work, to add further dynamics
to the track.
We
are in the thick of the situation as Terror Capital refers to the clashes
between Uyghurs, State Police and Han Chinese and other incidents over the
decades. The track uses restrained noises, phases of dramatic percussion and
samples to start a build-up of tense sound. A voice that is either AI or a
sample is used to throw facts and statistics across the noise. Rumbling and suspenseful
electronics mix up on Dispossessor (someone who takes away something that
belongs to someone else.) big synth sounds dominate the track. Uyghur people
started being sent to jail and then re-education camps, In 2021, the BBC
reported that China has imprisoned at least 630 Muslim religious figures since
2014, and over a million practitioners of Islam. This is soundtracked by
the brief sounds of Disappear. Behind the Black Gates refers to the entrance of
a detention camp in Xinjiang, this uses eerier atmospherics, muffled voices and
shuffling noises in combination to build a picture of the location. The pace of
these elements accelerates to intensify the track as if to voice domination and
control – the noises progress to become more attacking in their sound.
God
Is Dead could refer to the repression of the Islamic Religion through the
government specifically the Uyghur, or feeling as if God is dead when imprisoned
in any of the many prisons in Xinjiang. The bleakness the track projects is
intense as drones and clashing waves of discord repeat. Takbir (God Is Greater),
contrasts the previous track through simple melodic, repetitive instrumentation
and sampled conversations playing out in the background. Musically this
contrasts the previous methods of making tracks beautifully. Sinister
electronics and whisperings make Bioluminescence II: Sleeping Citadel, as this
dies off a pulsing beat is all that remains. Dungeon Theme ends the album on a
dark note with big build ups and moody beats.
Is
this a good album? Yes. XAL is unafraid to tackle complex political,
humanitarian issues, it is forward thinking, progressive in how it uses sound and
could lead to great things. Spirit Breaking is a step forward into a new
territory and is backed up by strong context like all good art should be. Watch
this space.
Nothing and Nobody 2024.
Monday 8 April 2024
Kevlar - Criteria
Kevlar – Criteria
– Cassette/LP/DVDr/Pal – Unrest33 - 2015.
https://kampfunrest.bandcamp.com/music
https://www.facebook.com/people/Kevlar/100063614945240/
https://soundcloud.com/kevlar-unit
Criteria A :
I.
Milieu Control.
II.
Mystical Manipulation.
III. The
Demand for Purity.
IV. Confession.
Criteria B:
V.
Sacred Science.
VI. Loading
The Language.
VII.
Doctrine
Over Person.
VIII.
Dispensing
Of Existence.
Kevlar
is a very tough synthetic fibre used in the making of bulletproof vests; it is
also the name of this present-day UK based Power Electronics project. One of
the members also did the project Kontinent for a time. Kevlar was a duo and is
now one person, they have done 5 releases over the years on Unrest since their
formation in 2010. Kevlar played three
of the four United Forces of Industrial that Unrest hosted in London as well as
gigs around the UK and Europe. Criteria
was their 2nd release after Alpha Strife in 2014.
The
first side of Criteria rumbles into action as glitching, hissing distortion and
muffled field recordings build the sound of Milieu Control, this rumbles away
in the background for a time until Mystical Manipulation barges in with
rumbling bass, various drones, waves of distortion and humming weave together
to make a tense, compressed sound. Restrained feedback screeches into this before
the vocal kicks in, the sound intensifies into a heavy Power Electronics
assault. The battering that is caused by the choppy distortion is impressive
feeling like a Jetstream of sound being continually cut into, bashed metal also
adds to the overall choppiness.
Low,
pulsing drones move into The Demand for Purity, the sound repeats itself as
another drone moves across it creating two opposing sounds. Both noises seem to
do their thing and ignore each other, creating a strong tension until only one of
them is left. Small sounds of electronics seem to fiddle around, until a deep
bass drone is hit upon, this forms the core sound of Confession. Distortion
crackles across the drone as others enter the sound periodically. Each sound
has its own movement and all of them move along together providing subtle
shifts of texture within the track. A clear electronic pulsation ends the track.
The
second side of Criteria takes an instantly aggressive tone as wall like noise
is punctuated with howling blasts and possibly religious vocal samples sound desperate
as they are buried within the storm of rumbling noise that is Sacred Science. Death
like drones bark out the base of Loading the Language, dense, overdriving bass
builds thick waves to back the drones. The tension becomes warfare as each
sound changes their prominence in the full sound, different shifts in the mix
make massive movements within each track.
Things
drop right down as small noises interact for Doctrine Over Person raising the sound
levels as each element of the sound begins to find its feet. A vocal joins in to
take charge, it is warbled through effects making it a voice noise. The bass deepens,
making the sound’s brutality clearer through the slow simmering rage. Dispensing
of Existence starts off as gloomy atmospherics cut into through fractured
crackling, a vocal is buried within the mix as the cracking noises and eerie
sounds fight it out. The vocal shout emerges and sinks in a continual cycle
through and into the noise. Lines of feedback cut into the work, chopping it
into collaged sections, very disruptive stuff.
Criteria
very effectively holds noise back to intensify it, using the mix to do this. As
the tension is released slightly it makes the sound shout out. In my opinion,
Unrest released a lot of pissed off, simmering Industrial and Power Electronics
that brooded at and menaced the listener, using a variety of different ways to
create and exploit tensions of sound. Shift, Soft Option Killing and Kevlar do this
best. My online wheeler dealing led me to Criteria last month and I am glad I
got this. Another Unrest gem unearthed and a great project becomes more
apparent.
Nothing
and Nobody 2024.
Tuesday 2 April 2024
Soft Option Killing #2
Soft
Option Killing – Cassette – Hospital Productions – 2010 – HOS-296.
1. Untitled.
2. Untitled.
https://phosphorusburning.bandcamp.com/music
There
were six Soft Option Killing cassettes released between 2007 to 2010. Three
were self-released, Three on labels. Two (Rogue State and Every Brutal Act a Service)
were on Unrest Productions and this self-titled release was released on
Hospital Productions and Abrasive Records, I believe Abrasive was the artists
own label, so it was also self-released. The project was based in the UK,
supported many well-known names within Power Electronics circles and now makes
work as Phosphorus Burning.
Vocal
dialogue samples and rumbling drones fill the sound as the first side starts.
An undercurrent of distortion wavers under the main noise, becoming
increasingly prominent over time. Vicious drones kick in and hum menacingly
whilst waves of distortion start to hit this and howling, echoing noise makes
the listener feel lost in a nightmare of sound. It’s mastered and controlled
well in that the storm of noise is busy but not at ear splitting displays of high
volume, space is kept within the sound. An aggressive blast of distortion then screams
over echoing, rumbling bass. The distortive blasts eventually serve to repeatedly
cut across the deep rumble – this has a higher level of aggression in the
delivery than the earlier part of the tape. This all dies off allowing the
rumble to come across as a passage of ambient storm with a lower hissing
distortion shooting across it as sampled dialogue plays out to add further
layers of depth to the work. The ambient sounds drift through to the next part
of the piece. Vocal roar and distortion soon dominate the sound, the vocal is
buried within the noise, occasionally resurfacing for short periods of time. This
soon dies off into overlaps of subtle, quiet noise to bring an end to the first
side.
Side
two’s untitled track begins with distant voices cut into by wavering distortions
that continue the ambient sounds explored on the first track. High pitched
electronics soon wail over this, but they eventually drop slightly so they blend
more into the sound. This all forms a layered, bleak Industrial landscape. The varieties
of returning feedback are the noise, it isn’t intended in a Harsh Noise context
as they are often too isolated, as it wails over echoing, chugging electronics,
you realise it is meant to scream across the sound in a Power Electronics way (as
were the vocals that briefly appeared.) through
how it accurately intensifies in tone to force the listeners attention. As this
part dies out, a busier passage of echoing noise and sharp distortion collide to
make a choppier passage of the track. The rise of angrier sound through throbbing
sound sources, echo and distortion can be felt very much here. The way this continually
drifts into dark ambient territory and is yanked out with subtle and sometimes
hostile use of noise is impressive.
Each
side seems to have four passages of sound that together, form one track. All
are very effective and well considered in their use of sound. Another excellent
Soft Option Kill work reveals itself.
Nothing
and Nobody 2024.
Monday 1 April 2024
Fleshlicker, Insatiable Wound, Sword of Democles, Pale World, EOP. Centrala, Birmingham, 16.04.24
Live Review –
Fleshlicker, Insatiable Wound, Sword of Damocles, Pale World, EOP.
Centrala, Birmingham, 16.04.24. (All photos by the author)
https://centrala-space.org.uk/
https://fleshlicker.bandcamp.com/merch
https://paleworld.bandcamp.com/music
https://slowmurder.bandcamp.com/music
It is always a treat to come to Centrala for a noise gig. Many of my most memorable gigs have been there. Tonight, the event was held downstairs, the last one that I went to was Knifedoutofexistence which was held in the upstairs gallery.
The first act on was EOP which was two people: a drummer and a guy making noise through machines and pedals. They sparked off each other very well during a long piece that was kept interesting through changes bought by the improvision. The drummer was very good at what he did and completely mesmerising to watch.
I was excited to see Pale World and had high expectations of the project. Sadly my pictures were too dark to use here. However, I’ve reviewed his work on here before, seen him live and my expectations were very high. His set consisted of electronics and contact Microphoned steel sheets. His set started off subtly with slight sounds going off and built up to explosive levels of intense, claustrophobic noise though metal sheets that were hit, scratched and slapped. I am sure there were other electronics involved too. Joe Parkes who organised the gig and does Pale World seemed like an intense guy to talk to - this came through in his set with ease. Melodic instrumentation could eventually be heard and the noise built up again and intertwined with the melody, this made a strong contrast to the explosive, earlier part of the set. Pale World’s set ensured that this is presently one of my favourite UK projects.
I had only heard of Sword of Damocles by name in the past. This set was the technical set out of the lot as he was using a lot of intricate cut-up technique over Harsh Noise, melodic drones and samples in his work. All these elements were continually spliced together and broken up to allow other combinations of the sound to occur. His techniques were rapid so there was a lot of fast movement to his work, this was done very effectively with a lot going off in one set.
Next up was Insatiable Wound, which is another project by Jo of Slow Murder. This set will forever be named ‘Grooving in Green’ in my head, Jo wore all green, had green hair and worked under green light. Despite the March Violets reference, this was pure energetic, top tier harsh noise. There was a lot of Contact Mic, Sandpaper, a bit of head wound and it was very loud. The set was very short, this made it work perfectly, allowed for the high energy and left me wanting more Insatiable Wound and even more Slow Murder. An amazing blast of a set.
I knew nothing of Fleshlicker other than he is otherwise known as UK mastering maestro and distro Foul Prey. My ignorance made the show even better. The strength of the support acts made for a hard line up to follow, this had to be at least good. The lights went off in the venue, all went quiet too, I was unsure what was happening as no one was in the performing area. Suddenly I heard retching sounds and a topless Foul Prey appears dribbling everywhere, stretching out as if he was an undead person from 28 Days later, staring at people, retching, staggering around. “Ugh, Ugh, UGGGGGH!!” was all he did until he staggers up to a huge amplifier and Harsh Noise Wall blasts out and he continues staggering, contorting his body and retching. This was a Mike Dando or Michael 9 level noise performance; I was seriously impressed. This could easily get too samey if repeated too often, so Fleshlicker needs to keep up the progression and conceptualisation to stay this great and keep me this blown away. An outstanding finale.
I couldn’t fault this line up if I tried. These are new times with new champions.
Nothing and Nobody 2024.
Sunday 31 March 2024
Insatiable Wound - pain seeking behaviour
Insatiable
Wound – pain-seeking behaviour – Cassette – self released – 2024
side a – pain-seeking behaviour. (recorded
summer 2023).
side b – live recording. (Bristol
20/06/2023).
https://slowmurder.bandcamp.com/album/pain-seeking-behaviour
https://slowmurder.bandcamp.com/music
Insatiable
Wound is a project by Jo Sheehy who also does Slow Murder. I saw them live at Birmingham
Centrala recently and I was impressed enough to buy this cassette after the gig.
I was also completely thrilled to meet Jo as I love the work of Slow Murder. The
cover and free sandpaper strip also demonstrate their commitment to the colour green;
Jo had green hair and was completely dressed in green for the show. I believe
the sandpaper can optionally be used to administer pain to oneself while
listening to the work.
The
studio recording begins with contact mic sounds that are fed through distortion;
feedback goes off at the same time. Both elements begin to accelerate into a
faster paced sound, the feedback begins to wail as the distortion becomes increasingly
abrasive and louder. The sound starts to get cut into to allow each element a short,
shifting solo. The distortion becomes a woofing bass roar that is periodically
cut into by the feedback, which is now a cutting, shouting sound, yelling out at
the listener. A hum of drone stops everything so the sound can begin again,
muffled bass goes off, the drone cuts in again, the feedback wails at the drone
to signify the sudden end of the recording.
Live
in Bristol begins as screaming feedback and a banging cacophony, this sounds
way more energised than the recording as the shifts in noise come rapidly
before anything can settle. Constant changes to the feedback and contact mics
provide the movement of sound. I am sure I witnessed a combination of Jo, sandpaper
and a contact mic to make noise, resulting in a head wound, when I saw the
project play live – I am convinced that happens here. The distortion progresses
to a roaring void that battles with the screaming of the feedback until it cuts
out and ends.
A
very good recording available from the links above.
Nothing
and Nobody 2024.
Wednesday 21 February 2024
Lover's Leap - As Purity Dissolves Through Fingertips.
Lover’s Leap – As Purity Dissolves Through Fingertips – Digital Release – 2024
https://loversleap33.bandcamp.com/album/as-purity-dissolves-through-fingertips
1. As Purity Dissolves Through Fingertips.
Lover’s
Leap is a new project based in London and they have done four releases since 2022.
As
Purity Dissolves begins with echoing creaking, muffled banging and scraping,
all 3 interact for a time. This is then taken over by hissing static and
further scraping made through contact mic abuse. Static is slowly complimented by
a wall of distortion that is compressed so it isn’t allowed to dominate the
proceedings, the vocal enters complimented by warped electronics. It all feels
restrained, caged. The electronics throb within the murk of the static noise
bulging and resonating until things die off to quiet electronics, this isn’t
for long, things slowly begin to build up again and change into a passage of
mournful synthesiser melody – this has more clarity and is allowed to roam free.
Interesting
release worthy of your time and money.
Nothing
and Nobody. 2024.
Soft Option Killing - Every Brutal Act A Service.
Soft Option Killing – Every Brutal Act A Service – Cassette – Unrest Production – Unrest 23 – 2007.
1. – Fajr.
2. - Isha’a.
Soft
Option Killing was an industrial project based in Nottingham UK. Two cassettes
were released on Unrest Productions, Rouge State (2007) and Every Brutal Act A
Service (2010). There was a self-titled cassette put out on Hospital Productions
& Abrasive Records in 2010, in addition to this there were three
self-released cassettes. The person behind Soft Option Killing was also
involved in the project Front Towards Enemy/Bear Faced Boy. Soft Option Killing
stopped releasing around 2010.
Side
1, Fajr (the time when the first of the five daily prayers of Islam is
performed), the track opens with samples of fighter pilots discussing targets,
ending in ‘do not engage the mosque.’ Deep bass noises go off as if to mimic
bombs exploding. All of this goes off over a subtle droning sound that changes
tone gradually throughout Fajr. The drones begin to take further depth as the
time moves on, turning into deep rumbles as the atmosphere intensifies. The
shift from wavering wind sounds to distorted code comes in with the changes of
the drones, both elements co-exist uneasily. In part the deep rumbling depths
that Soft Option Killing engages in reminds me of the slower rumblings that
could happen in the work of label mates Shift.
Side
2 – Isha’a. (Second prayer of the day, occurring in the darkness of night.)
Thick synthesiser resonations seem to pull this track into murkier, territory
than Fajr. The drones are ominous and threatening throughout the track. The
synthesisers become more death-like further into the work whilst a holing
distortion sounds off over this intermittently. I’d argue there was a clear policy
in Unrest acts where synthesisers are pushed to maximum effect or to the
forefront of the sound. Soft Option Killing was clearly unafraid to do this and
dive into Death Industrial territory, a few acts on the label revelled in that for
passages of time, S.T.A.B. Electronics lives it. The murkier Isha’a gets, the more
it intensifies and steps up to the mark. It wails and gives deep horn like
drones at the peak of the track – the sound becomes massive.
The
missing in action status of Soft Option Killing adds mystery to the work. The
sound of this tape adds credibility and integrity to the name. There are some
heavyweight acts on Unrest and this easily holds its own amongst them. 6 tapes
released in three years, if ever something should be reissued and known about, it
is this work.
Nothing
and Nobody 2023.
Sunday 18 February 2024
Inner Demons #23
Inner Demons #23
https://innerdemonsrecords.bandcamp.com/
FAIL – Unfortunate Things – 3”CDR/Download
– [IND170] – 2024.
1. Tallypractice.
2. Unadequacy.
Fail is the project of Dan Fox; I
always expect great things from this project.
Tallypractice glitches around
until it lands in the middle of a conversation made up of slowed down voices and
sped up voices that overlap to form an unintelligible community of sound. Huge,
distorted drones flood the voices and cascade with others to build up the depth
of the sound. As waves of distortion wade in to smother the remaining voices,
the density can be felt. Blasts of noise cut into this, until the drones come
back, rumblings and glitches can be heard throughout it. The aggressive noise
returns to beat these proceedings up, it is as if the noise is created by
pushing the sound into an accelerated hyperdrive. This is an explosive
collision of Industrial and Harsh Noise.
Unadequacy: Pulsating humming and
crackling distortion fill my headphones; a keyboard melody plays but becomes a
melody of distortion as it rises in volume. The death hum that backs this, impresses
me greatly. As things change speed, the contrasts dart and change around Unadequacy
at a rapid pace towards its end.
This is excellent work.
Platonoff – Evil Smells Oil –
CDR/Download – [IND169} – 2024.
https://platonoff.bandcamp.com/album/uno-lump
Russian project Platonoff from
Saint Petersburg has been active since 2020. Evil Smells Oil is their 4th
release for Inner Demons Records.
The title track uses a slow,
farty sound that is backed by a beat’s low rhythm. As the track begins to fully
form, noise overlap the proceedings, building like a whirlwind over the rhythm.
As the distortion dies off, we are left with slow noise and rhythm which
progresses to the sound of emptiness. Slow trumping drones return to introduce ‘Looming
Shadows of the Past’, this uses some impressive synth humming and drones to deliver
a stronger sound. The rhythm reemerges to clash over the deep bass which sounds
ancient and slow as if representing the Looming Shadows of the past. An interesting
release.
RDKPL- Herr Pes Trinch – CDr/Download
– [IND168] – 2024.
1. 231022_03
2. 231022_04
RDKPL is Radek Kopel and comes
from Most in Czechia. This prolific project has been releasing recordings since
2021. Kopel goes right back to 1994 with a range of different projects.
Funeral noise sounds off to
introduce 231022_03, I like the combination of keyboard and hissing, glitching
sounds. Low deep, distortion passes underneath this and is revealed fully whenever
the sound stops as if giving a brief pause to the noise. The main noise that
leads the track fills out into a combination of warped psychedelic wavering
keyboards and deep underrunning bass; the combination of both elements thrusts
the sound forwards. The two elements break up so you get short, sharp blasts of
each at the end of the track. Further glitching sounds, albeit more fractured explode,
the sound is faltered lots making the track a series of high-speed cut ups. 231022_04
is a fractured collage of noise spread across 10 minutes. A good release, but
the first track was by far my favourite.
Jon Watkins & Fail – Reflections
on Art and A.I. – 3”CDr/Download – [IND162] – 2024
https://jonwatkins86.bandcamp.com/
https://thirtyfive.bandcamp.com/
1. You
Were Warned…
2. …And
Now It’s Too Late.
You Were Warned…, displays a
combination of guitar melody and noise that complement each other perfectly.
The guitar is untreated as if just played straight into an amplifier and the
noise builds a murky atmosphere around the melody. There isn’t a lot to say
other than how beautiful this track is. In contrast to this …And Now It’s Too
Late, allows the drones of FAIL to take the leas and the guitar is a bit
noisier this time, less melodic. The atmosphere is edgier to this track, but
each artist compliments the other perfectly. I think this is a gorgeous
release, both artists have worked together to make an awesome collaboration.
Nothing and Nobody 2024.
Saturday 20 January 2024
SONA NYL - Chroniques de vampires, Vourdalaks et autres non-morts.
SONA NYL – Chroniques de
vampires, Vourdalaks et autres non-morts – cassette/download – DMP – 2023.
https://www.facebook.com/ludoviclepretre677
https://soundcloud.com/sona-nihil
Ruelle creaks Chroniques de
vampires, Vourdalaks et autres non-morts into life before drones build into
melodies that pace across the work until a synth pattern evolves to form a
futuristic piece of music that plays through beautifully. A more ambient
passage of sound with drones thrown across it forms Cynthia. Eventually melody
sprinkles across it, the combined elements are more abstract than the previous
track. Skull is a more sinister, slow dungeon passage of organ like
synthesiser. Pulsing beat and
electronics form a Mirage, it darkens as the melody arrives, everything seems
controlled by the intensity of the beat as it changes. Jeux d’enfants uses a jollier
pattern of electronics and beat to make a luscious piece of pop instrumental
music. Le Pouvoir initially sounds sinister in line with the previous tracks
but has a lighter melody and use of noise that is sunnier. As the synth melody
begins to play the sound just erupts beauty.
Sombre Resurrection returns to
the twilight zone of moody melody as if serving as the prelude to bad events in
a horror film. Retour Chex les Vourdalaks proves that there was nothing to
worry about, sophisticated layers of melody and rhythm demonstrate golden
brilliance. Devenir un dieu shifts things as if serving as a sullen intro to
the darkness of Nous sommes une legende – the darker side of SONA NYL is still
as rich and complex as its lighter side. Introspective piano and deep organ
melody are Elzbieta which leads to the outro Quand le monde s’agenoullera
devant toi.
This is a beautiful recording that
I thoroughly enjoyed hearing. A pleasure to review.
Nevis Kretini 2024
There is no clique here, no
network, one I and I alone. As Lee once said, this is a long, lonely road.
Sunday 7 January 2024
Entre Vifs - Art of Noises - 110th Anniversary
Entre Vifs – Art of Noises – 110th Anniversary
– Vinyl LP – Aussaat – Aussaat 30 – 2023
https://entrevifs.bandcamp.com/music
Side 1 –
Session 57A -1
Side 2 –
Session 57A – 2
I’ve become increasingly familiar with the works of Entre
Vifs through continual reviews for the label Aussaat. Each of their sessions are recorded at the
project’s Noisecraft Workshop, in the Maisons Alfort suburb of Paris, these
particular sessions were recorded in November 2019. The theme of this lp is Luigi
Russolo’s 1913 Book ‘The Art of Noises.’ I found the first essay in the booklet
by Zorin on Noise to be exciting, I liked how he talks about the context of
Entre Vifs “Joy Through Noise”. Zorin was active in Le Syndicat since around
1982 so in the booklet he also talks about his reaction to SPK and Throbbing
Gristle. The whole booklet could have been this essay expanded as I started to
want to know more about the history and present of Industrial Music in France,
you know all that stuff Tape Mag site publishes! The text and featured artwork
also made me think how I approach my own painting in relation to all this music.
The second essay Lyrical Brutalism as Cognitive Art contextualises the work of
Entre Vifs beautifully. When releases come with essays, I can be dismissive as
I’m not often convinced, but here, I am glad I read through the booklet that
comes with the album
Session 57A – 1, scrapes, clangs and sonically barks into
life. The wailing of Entre Vif’s homemade instruments is like the sound of a
familiar friend as they begin their fractured dialogue. The metallic resonations
and clanging echo ricochet around as under-drones hum underneath the work for short
time and disappear as if they are a rug pulled from underneath the feet of the main
body of noise, leaving a raw, honest rhapsody of noises. That leads to other
noises entering and starting to thicken the texture of the session as it shifts
into a busier overload of violent joy. As with any piece by Entre Vifs, the movement
of the track shifts between fractured and fluid and a wide range of sounds seem
to come out of each instrument, they wail and feedback against other noises as
if pushed way beyond their own limits. The noises do sound like voices wailing
and arguing at times.
The sound on the second side Session 57A 2 is immediately
textured, not as densely as the first side, but in away that allows space
between all the sounds that are being made. As I have often said the
sophistication of what’s happening is evident as new noise language comes into
the work, it shifts the flow of the session into other directions. As it breaks
off into less noises and eventually one noise wailing off, the shift in density
from busy to solo is an impressive contrast to the earlier busier combustion of
the session. The work does sound dark at times, without even trying too hard,
it doesn’t need any imagery to do that, the instruments shift mood a lot from
pained to joyful and anywhere between within a move.
As ever, Entre Vifs has never made a bad album. This vinyl
debut is beautifully presented by the cover and large booklet, the sound is
sophisticated and outstanding. To be honest I wouldn’t expect any less.
Army of One 2024.
Inner Demons #22
Inner Demons #22
https://innerdemonsrecords.bandcamp.com/
Sick System – I Was. I Am. I
Will Be. (Homage to Rosa Luxemburg) – 2023 – CDr/Download – [IND151]
https://innerdemonsrecords.bandcamp.com/album/i-was-i-am-i-will-be-homage-to-rosa-luxemburg-ind151
https://www.discogs.com/artist/11482655-Sick-System
1. I
Was. I Am. I Will Be. (Homage to Rosa Luxemburg) 1.
2. I
Was. I Am. I Will Be. (Homage to Rosa Luxemburg) 2.
3. I
Was. I Am. I Will Be. (Homage to Rosa Luxemburg) 3.
Homage to Rosa Luxemburg begins
with a reading from Rosa Luxemburg’s writings delivered with a clear, concise
voice. The wall kicks in, I am immediately impressed by the shift from introduction
to sonic chaos. The wall blasts distortion over creaking, dragging sounds as drones
go off in the background. The feel of the wall is a rustic haunted with an aged
timbre that is emphasized through the continual creaking buried within the
distortion.
The second movement is higher
pitched, with faster movement and cuts through with sharper noise a lot. The main
sound becomes something that lies between the noise equivalent of a solo and
the sound trying to be vocal as it jitters its chaotic dialogue out. As part 2
progresses, it becomes choppier, faltering, allowing sounds to pause while the others
take prominence for a time.
A howling, wailing, distorted
blast becomes the 4th movement. I like the looped wail of the sound
that is added to this part, the distortion is subtle on this, the pain of the
sound is prominent here. Individual sounds drop back subtly to allow for the isolation
of particular (howling) sounds to emphasise the agonised aspects of the track. A
reading of Luxemburg’s writings ends the work.
There’s often a lot of online discussion
about good and bad harsh noise, with an emphasis on crap Bandcamp projects.
This is good Harsh Noise bolstered by the backing of an excellent label and a physical
release.
Infelix – Abyssal Despondency
– 5” CDr/Download – 2023 – [IND150F]
1. I.
Murmurs Ov The Tormented.
2. II.
The Stagnant Nausea Ov Existence.
3. III.
E_R_D.
4. IV.
Ecstasy ov Null.
5. V.
Stench ov Death.
6. VI.
Sepulchral Occupation.
7. VII.
Burdened by Ash.
8. VIII.
Endless Rotting Sky.
INFELIX has musical roots in
80s and 90s industrial music, blackened dystopian ambience, nightmarish death
industrial, depressive black metal, and doomed power electronics.
Philosophically INFELIX navigates depression, environmental collapse,
anti-capitalism, anti-fascism, animal rights, existential dread, cosmic
pessimism, misanthropy, and metaphysical nihilism. Quote from the Infelix
Bandcamp
I am familiar with the work of
Infelix from a previous Inner Demons batch. The project has been around since
1998. The creative mastermind behind the project is Jason M. Stevens who is
also does the project Lapsed.
Murmurs Ov the Tormented
begins the sounds moving through ambient landscapes, created by drones that
gently evolve via shifts of tone and mists of distortion. Thudding, roaring
distortion and vocals deep inside the mix resonate The Stagnant Nausea of
Existence – the sound is big.
E_R_D demonstrates
effective repetition and a noisier approach to the sound, this carries through
to Ecstasy ov Null the layering is impressive here, sounds weave through each
other and bounce off each other beautifully. Stench ov Death utilises
effective electronics that perk my interest further. The churning sound that
begins to dominate the sound is strong. Sepulchral Occupation is the
album in full stride, the beat is slow and acts like a pillar for the noise to
explode around slowly. I am often averse to beats in noise and take a lot of
persuading of their validity, here I am persuaded. The track gets deeper and
thicker as it goes on. Burdened by Ash is the perfect balance of noise,
melodic synth as if soundtracking something in a sci fi film. Endless
Rotting Sky allows some diseased drone to infect vocal samples and spread
the noise rot and a melodic, dramatic end.
The majestic, large sound
resonates across this album with its cinematic ambition. The Blackened Death
Industrial factor is there, the darkness of the tracks is also consistent
throughout the album.
Jettenbach – A Meditation on
Procrastination – CDr/Download – 2023 – [IND149]
https://innerdemonsrecords.bandcamp.com/album/a-meditation-on-procrastination-ind149
1. One
Simply Can’t Sustain This Level of Gear Acquisition. But I Might Get Another
Reverb.
2. I
Have Come to Accept That I Will never Have as Many Pedals as Dan and That’s OK.
This is one of those releases
that grips me immediately. It begins with a new age ambient feel on One
Simply Can’t Sustain…. The sound has consistent gradual shift and change,
within the grand scope of its landscape of sound. Jettenbach uses drones and
synthesiser sounds as the main sources to evoke a subtle darkness punctuated by
rays of light through synth key notes until it begins to glitch out and comes
to an end.
A synthesiser noise tries to take
off but it can’t, the sound is rephrased through pops and drones that slowly
evolve into the even bigger sound of I Have Come to Accept... There is also
a clearer air of suspense to this track with a feeling that the sounds are repeatedly
coming at the listener like waves in the ocean – soundwaves.
Despite the humorous, carefree
titles, A Meditation on Procrastination presented here is complex and
very well executed. I like the whole body of work of this release, the small
quirks and glitches work well to add character to the expansive lushness this
artist continually produces. A futuristic gem of a release.
CHEFKIRK – A Non-technical
Introduction – CDr/Download – 2023 – [IND148]
https://innerdemonsrecords.bandcamp.com/album/a-non-technical-introduction-ind148
https://chefkirk.bandcamp.com/music
https://cementimental.bandcamp.com/
1. Accidental
Birds.
Accidental Birds pulsates
into life, CHEFKIRK controls the pulsations whilst warped waveform
noises play with those pulsations as they morph into glitches of sound. I like
the fresh, original use of noise that combines with other sounds as if to add a
bumpiness to the movement of sound, I’d describe it as having a deliberate multi-layered,
rough texture. At times it falls into cacophony of psychedelic science fiction
sound effects as if in a film from the 60s or early 70s. It has a lot in common
with the work of Tim Drage’s Cementimental project and I would advise working
together. This sound seems to occasionally push overload on itself and run excitedly
towards a meltdown. This is a strong release, well worthy of purchase.
One and alone 2024.