If you ever want to see a lunatic in action, armed with fake blood and music equipment then see Baptizer. I saw and performed with Baptizer in late 2012. This guy made me want to give up my day job, become a roadie for him, and worship his ass. Seriously. Not many people have a firm grip on entertainment in heavy music nor know how to keep a small-ish audience intrigued, but Baptizer does. I saw him play at the seminal underground experimental venue, Amma House, and while I had heard a few whispers of what to expect, I wasn’t fully prepared. In stepped a maniac, gripping a microphone in his teeth, drenching himself and others in fake blood via a found chalice, and pummeling our ear drums and body cavities with a sick assault of noise-addled destruction. Jim, as he’s pleasantly known, hails from North Carolina, has a normal life, a family, and a day job, but you would never guess that once he sheds his shirt and begins to destroy your ear drums. “Signs ov Apocalypse” is a noisy amalgam of a variety of styles mashed into one bludgeoning of sound. His music is pseudo socio-political with an undercurrent of religiousness – but don’t let that stop you. I almost guarantee that if you didn’t read that and just experienced his music, you wouldn’t disagree with him on anything. The fact that people have in the past discredited his musical offerings because of his views, one way or the other, is disheartening and shows a complete lack of respect for what an experimental genre and its sister scenes are supposed to be all about. “Order of Wolves” by thee Grey Wolves was remixed and sound especially incredible. The track that stands out more than the rest is “Denial as a Defense Mechanism” with its artful craft mixture of noise and vocals, stirring up chaos and decrying apathy all at once. Stunning, incredible, and a must-have for anyone who wants to think that they have heard it all.
Posts tagged noise
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.
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.
Frigid synthetic unmelodies collide with industrial-sized caustic noise and abrasive metal clanks and clicks forge the audible nightmare that is “Soul Cleansing”. Sektor 304 is industrial in the vein of early era Einsturzende Neubauten, Godflesh, and Clock DVA (Jeffrey Dahmer’s favorite band). Noise and apocalypse never sounded so uninviting and yet so seductive. Atmospheric blends of soundscapes with percussion that hammers away at your eardrums, tantalizing your soul. If Sektor 304 sounds like a nightmare factory that’s because it is – this assembly line is one that builds the robots of the future that take over Earth and obliterate Mankind.
Those that know of Mark Spybey and his work with various improvisational electronic outfits may be surprised to hear this record which has a rich history dating of songs written by Richard Sanderson that go back as far as 1978. “The Setland L.P.” is comprised of mind-blowing no wave rich with textured samples, noise, ambience, and brass instruments. Most songs sound as if they were composed while on some heavy-duty psychedelics. It’s a love affair of raw sound collected, manipulated, and taken on a long journey. Beautiful, disturbing, intriguing, and beguiling all at once.