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.
Posts tagged noise
Black Sun Productions and Val Denham – Somewhere Between Desire and Despair
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.
Maurizio Bianchi – YNOHPMYS
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.
Delicate Noise – Filmezza Remixes
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.
Sektor 304 – Soul Cleansing

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.
Richard Sanderson and Mark Spybey – The Setland L.P.

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.




