Full disclosure – I really don’t know a whole lot about the power electronics or harsh noise wall scene. That said, I definitely can appreciate many of the artists that perform it or some variation. Japanese Torture Comedy Hour is one such outfit. Scott Hull of Pig Destroyer, Agoraphobic Nosebleed, Anal Cunt, and other metal offspring has been a member, but J. Randall is the mastermind behind “Dolphin Meat“. This hour-long distorted absurdity just crushed your cranium with harsh noises that were manipulated live with no computer(s), samples, guitars, or instruments just a bunch of crazy pedals chained together amid a fevered tenacity to blow one’s mind. The textures are dense for sure despite the lack of post-production editing and while it’s decidedly lo-fi in nature (recorded live onto VHS cassette). Looping effects pedals together in a feedback loop, J. Randall has crafted a simple sounding yet unorthodox concept into an unearthly creation that simultaneously stuns, eviscerates, and evokes raw emotive states. I can only imagine the melted brains in the live studio audience that got to witness this. Not for the weak willed or closed minded.
Posts tagged experimental
Phil Western and Mark Spybey together again! Well at least for two tracks that is. Dead Voices on Air, one of Spybey’s many projects, once again takes us to new and exotic locations. Amid their album photography on the digipak we’re whisked to far-off Argentina amid the beautiful landscape of Patagonia taken by Argentinean artist Marco Roberti. In addition to his collaboration with Western, Spybey enlists American-Serbian singer Ivana Salipur to assist on the title track, a track that is inspired by the Serbian poet Desanka Maksimovic, a poet perhaps most famous for poems regarding the atrocities committed by German soldiers during World War II. The album is Dead Voice on Air’s 14th and their 2nd collection released on seminal Lens Records. Songs range from ethnic world ambience to experimental to pure relaxing ambient. I’m constantly amazed at how Spybey and likeminded audiences are able to create such intense ambient pieces that just ooze attention-grabbing passion. Yet another notch on the proverbial belt of essential for DVOA.
Okay pretty much any band can have my immediate attention when they start their album off with huge tom and snare rolls. “The Living Breathing Organ Summer” just gets better from then on, improving on avant-garde indie punk. Boasting a surprise around each corner, Child Bite sucker punches you with a funk-oriented soul that is so quirky you can imagine this being a band that is frequented by the likes of Mike Patton and The Jesus Lizard. Eclectic and freakin’ weird, Child Bite is certainly going to be an acquired taste for many people. The Detroit-based band is yet further proof that a crappy economy can have profoundly good effects sometimes – only unemployed maniacs who are craving the prescription drugs they can no longer afford would put pen to paper and come up with lyrics this fucking maniacal.
You wonder if the twin brothers Blaze and Reid Bateh and their longtime friend William Brookshire decided to name their band after the beetle, the groundnut, or the ethnic group in Mali. Well however they were inspired to self-identify as Bambara, the group is certain to inspire some indie noise acts out there. “Dog Ear Days” is a manic EP of creepy compositions made up of feedback, distortion, beats, airiness and noise, and lots of delay. Thrilling and suspenseful, each song seems to build on the last further tightening their grasp around your entire body. While everyone else seems to focus first on melody and then build from the ground up, it seems as if Bambara’s approach is more visceral with an intelligent ear honed to crafting a cinematic and moody backdrop and then Lego-ing the various pieces together unlike most of their fellow Athens, Georgia based bands.
Cascading loops with dark soundscapes and Latin-influences and velvety melodies, “Pequenas Canciones de Amor” reminds me of something off of Acuarela Discos out of Spain. Inflected indie rock noodles throughout this stirring experimental album. Exploring a variety of styles, O Paradis deploys a king’s ransom worth of diverse instrumentation. But the one all encompassing common denominator is heady vocals and a knack for crafty a finely tuned song. There’s seventeen tracks here that bridge the gap between Euro-pop, indie-pop, electronica, experimental, and abstract. I love it. Thank you Tourette Records!
Interesting remix of the original tracks from Species of Fishes albums “Songs of a Dumb World” and “Trip Trap” were utilized throughout this rather lengthy 56 minute jaunt into experimental music land. Muslimgauze is known for their Arabic influences and brooding electronica with an interesting mixing technique. They shed some of that here with shimmering electronic stabs and manic looping techniques that have sometimes only percolated in the backdrop of past endeavors. I found this remix album to be fantastic and totally fascinating. Worth a deep dive for the adventuresome music listener for sure.
Two tracks written as a non-song but one long-form poem that is both spoken word and sung lyrics by Chris Connelly and his varied assembly of guests, “How This Ends” is the soundtrack to doom and melancholy. Featuring contributors such as Sugar Bullet’s Izi Coonagh, Tania Bowers of Via Tania fame, Bill Rieflin known for his diverse work with bands such as R.E.M., Ministry, and Swans, and David Levine, “How This Ends” is a stark soundscape devoid of true composition but glowing red with the pulse of improvisation and controlled chaos. There is more than just harsh white noise and penetrating terror; indeed there are sinewy lines of piano, synth pads, and underlying rhythms. But it all centers around the poem, a flowing free-verse of intrigue and a glimpse inside the melting pot of Connelly’s genius and showcases him as a Renaissance Man and artist. Perfect for the left-of-center crowd who strives to find a unique gem out there.
Trangendered artist famous for paintings for Psychic TV album releases and more recently for her self-released lo-fi albums, Val Denham collaborates with Black Sun Productions for this brooding and dank experimental electronic excursion. Beginning the album is a spoken word reading of Charles Dickens “A Tale of Two Cities” with a Coil-esque backdrop drone. No surprise on the Coil reference as Massimo and Pierce have their tight ties with Coil in the past. Sexual undertones perverse the soundtrack collapsing words into a separate entity that is both instrument and vision all at once. Industrialized rhythms dominate some of the tracks while the druggy green visions of “Absinthe” portend their influence with cooled keyboards and manipulated loops.
Astonishingly gripping dark ambient and noise that is filtered through brainy nuances of druggy soundscapes, Maurizio Bianchi’s latest on Tourette Records (I’ve never heard of a more fitting moniker for an experimental music record label). There’s a depth here yet an urgent sense of brevity that counterbalances each of the six tracks. Not to say that these are quick ballads of bright white noise; indeed the shortest is just a tad under 8 minutes in length. Instead each tune focuses on a sense of manic solitude wrapped in looping and manipulated electronic pulses and waves. Beautiful, sad, and emotional, “YNOHPMYS” will challenge everything you previously thought about experimental music living up to ‘symphony’ the backwards album title suggests.
Featuring seven remixes of their “Filmezza” adventuresome album, Delicate Noise’s latest remix album casts its net wide across the globe in search of artists to re-rub their music. With young-and-upcoming electronic musical groups reaching far and wide from such places as France, Japan, Iceland, Canada, Italy, Spain, and the U.K., “Filmezza Remixes” has repaved the highways that the original concreted. Throughout the album there are elements of bleak and stripped down electro house, minimal soundtrack and psychedelic art, art-noise, atmospherics, and synthetic electro. Eclectic and essential.