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.
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Reviews are by Choppy Noodles and Psymon Marshall.
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Choppy Noodles 2019
Blood Rhythms - Civil War
Album: Civil War
Artist: Blood Rhythms
Label: NO PART OF IT
Catalogue no: None
Grief (Parts I & II)
Yes, this is loud,
experimental in the extreme, avant-garde, noise ambient, industrial, angry,
anguished, atmospheric, violent, rhythmic, as well as right in your face and up
close, but a close listen will reveal that there’s a lot more going on than
meets the ear. Saying that it doesn’t really want to slot into any neat little
pigeonholes either, preferring instead to present itself on its own merits.
Blood Rhythms is led by veteran experimental musician Arvo Zylo (along with a
host of collaborators) and so, armed with all sorts weird and wonderful
materials, presents us with the results of this huge experiment/collaboration.
How to begin? ‘Closure’
is a big fat rasp, ripping and shimmering, a blast blaring out of some fogbound
landscape, ready to rip skin. A voice and feedback presage the arrival of some
demonic entity, scouring and scorching, denuding all before it. ‘Sick Skin’ is
pure flesh-ripping anguish, slabs of high-pitched squeaks and resonances
interspersed with microsilences, attacks that burrow deep into the brain and
turn it into mush. A heavily distorted voice intrudes, exuding malice and
anger, before evolving into a less wholesome rhetoric. Closing out side one
(see below) is ‘Locked Away’, beginning with a lean, spare slice of death
ambient (de)composed of crushing percussion and feedback, before morphing into
a vast behemoth of granular noise and acidic bitterness, a kaleidoscopic vortex
of bile and rancour.
Like I say, though, it’s
not all noise and tortured electronics, as is testified to by ‘Paris Window’ –
which begins with a mournful, and thoroughly Gallic, trumpet figure before a
metallic sheet of noise, akin to a constant crash of cymbals, fades in and
overwhelms like a tsunami. This is followed by ‘The Face’, a Suicide electronic
rhythm accompanied by some shouty vox, leading to a free-for-all blast of a
‘chorus’ which is in turn replaced by tribal industrial drumming and what
sounds like an industrial-capacity vacuum-cleaner. This track also smells of
Crash Worship to this reviewer, which is no bad thing I feel.
And then we’re back to
the nuclear radiation of blanket cellular implosion with ‘Alchemy & Grief
Part 1’, an earth-stripping concussion wave of concentrated malignancy.
‘Alchemy & Grief Part II’ is all industrial crunch and distortion,
garnished with wretched vocals and crashing metallic interjections.
When this was sent to me
I had no idea what I was letting myself in for – the description in the blurb
covers only part of what’s included here and, if you go to the Blood Rhythms
Bandcamp page for this release it doesn’t really enlighten you much further, as
it only has ‘The Face’ available to listen to at this moment. If I’d judged
solely from that (which no reviewer would do anyway) I’d have missed out on all
the textures and nuances that liberally spice this album. It all feels rather
in the moment too, a fortunate concatenation of multiple streams of ideas and
moods colliding and miraculously melding together into a seamless barrage. This
caught me by surprise – it’s an album that, while it grabs you by the scruff
and shakes you about, is also enterprising in that it doesn’t deny itself the
chance to veer away from strict noise parameters. Give it a spin – it feel
it’ll be worth a little exploration.
This will be released on
September 1st in vinyl, in two editions – Opaque Red (100 copies
only) and standard Black Vinyl (350 copies only). Order from here:
PowerElectronics/ Death Industrial/ Harsh Noise/ Dark Ambient. 29/9/18 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 p…
Whenever I play Consumer Electronics I think of Philip Best,
topless and twisting his nipples at me whilst shouting away at the audience - I
can’t get that image out of my head; onstage Best is disturbing. CE- now a trio
of Best, Sarah Froelich and Russell Haswell are powerful, conceptually
challenging and complex live. This is Consumer Electronics first new single since
the Dollhouse album on Harbinger Sound and Repetition Reinforcement 12” on
Diagonal both from 2015. It is gorgeously presented with inner sleeve and picture cover. The Weight opens with feedback and pulsating jabs of twisty,
blasting noise; backed by a constant mid paced beat. It continues the beat-based
assault, peppered with short, rhythmic cuts of noise that featured on Dollhouse
Songs. The main Best/ Froelich vocal is very warped in sound, this makes it
According to Jewish
folklore, Lilith was the first wife of the Biblical Adam, not Eve. In the
original rendering of the creation of humankind myth she came into being
alongside Adam at exactly the same time, and not from any part of her husband
(unlike Eve, who was created from one of Adam’s ribs while he slept). She was
an entirely separate and individual creation. However, she turned out to be
something of a wilful woman who rejected God and her husband and so was,
naturally, demonised by subsequent generations and portrayed as a baby-killer.
Christianity especially has some major issues with disobedient and upstart
women, and so the traditional myth of Adam and Eve was promulgated to the
exclusion of any mention of Lilith (and yet, Eve was responsible for the Fall
of Man). However, in some of the left-hand path systems she’s been adopted as
an agent of sexual domin…