Monday, February 20, 2017

BLOODYMINDED "The Pace Of Our Development" (Publication)

OUT NOW! 
























BLOODYMINDED
"The Pace Of Our Development"

48-pages
Black and white
5.5" x 8.5"
Saddle stitch
100 numbered copies

MONUMENTAL GROUPINGS.
VISUAL REFERENCE POINTS.
A PROPOSED PATH INTO THE NEW BLOODYMINDED ALBUM.

Urban views.
Candid recording studio photos.
Live shots.

Available via:
and

Brainwashed on Envenomist "Bleeding Out"

Thanks to Creaig Dunton at Brainwashed for the great review!


Envenomist, "Bleeding Out"

Sunday, 19 February 2017
Creaig Dunton

David Reed's newest album as Envenomist may be a collection of six songs, but the presentation and consistency between them seems more akin to a long from composition broken into distinct pieces. His bleak analog synthesizer works have been notable as a recent member of Bloodyminded, and as part of the trio Nightmares with Mark Solotroff and Jonathan Canady, but here he is in sole control. Perhaps due to it being a fully solo excursion or his compositional intent, the arrangement is sparse but strong, and the final product is a bleak synthesizer creep that hints at film score but is an entity entirely unto itself.

Dystopian film score is almost too easy of a reference to use, but it does fit the sound of Bleeding Out exceptionally well. A distinctly vintage tinge given the synths he mans is present, but it never takes on that 1970s style cliché sound. Nor is it ever too bombastic or dramatic. Rather than being riddled with abrupt bursts or shocking moments, the sound seethes, always a bit below the surface but clearly conveying menace. In that way it is almost too subtle to be a soundtrack work, but ends up standing on its own.

The opening moments of "Mirrors" set the stage well: a tinny synth first appears from the darkness, slowly surging in volume and taking on more and more force. Reed adds additional layers of electronics to build tension, but drifts out of control in order for Reed to maintain the menacing edge. “Equinox” is similarly structured, building from a thin metallic synth noise and richer drone. It is comparably more impressive and has a clearly sinister quality to it, but one that is captivating rather than off-putting.

Reed may keep "Shockwave" an overall more skeletal structure, but he expands greatly from its grinding keyboard foundation. There is a sense of lurk throughout, as synth strings give a tension-building edge to the creepy space he creates. His small electronic accents and icy buzzing keep it from being dull dark ambient bleakness. A heavy sense of synthetic strings comes through on "Two Kings" as well, with the production giving an overall more organic sound to the electronics, which makes for an even darker proposition. Here Reed sticks to the middle and higher register sounds, and the complex layering generates tension perfectly.

Both of the side-ending pieces are more focused on low end sounds, however. A bassy lurch drives the overall hushed "Kraken Mare," staying just far enough in the distance to not overwhelm, but also to keep the tension there and not relenting. Shimmering passages and frigid moments pass through like hints of light in an otherwise overwhelming abyss. "The Thaw" is a fitting conclusion to the album both in sound and title. Again Reed keeps the low end throbbing, but the mix more open. The buzzing synth becomes the focus at times, but instead he closes the album on a surprisingly quiet note.

For most of Bleeding Out, David Reed keeps to the same primary synthesizers and largely similar patches on them, giving a clear consistency from one piece to the next. As a nod to his ability as a composer and performer, however, never do the songs too easily run together or sound too similar to one another. Instead the similarity mostly serves to unite the pieces, coming across more like a lengthy single work that captures a variety of sinister moods. That singular consistency serves to make Bleeding Out a continually fascinating album of building tension that never relents, and it is all the stronger for that fact.

Wednesday, February 01, 2017

BLOODYMINDED "True Crime" Remaster out now


BLOODYMINDED "True Crime" Remaster



2017 re-issue in 8-panel digipak

BloodLust! is very pleased to announce the re-issue of the previously out-of-print second full-length from BLOODYMINDED. Originally released in 2002, True Crime was conceived as an urgent follow-up to the band’s debut CD, Trophy (1995), and it was intended as a final word on true crime and serial killers, themes within the power-electronics and post-industrial scene that seemed to have little left to offer. Song titles and lyrics were drawn from noteworthy true crime books read by BLOODYMINDED front man Mark Solotroff. Things don’t always go as planned, and the intended short gap between albums widened when the band relocated from New York to Chicago, as ideas about guest contributors slowly expanded, and as a period of inactivity set in.
For this recording BLOODYMINDED was Megan Emish, Ed Knigge, Steve Marvin, Pieter Schoolwerth and Mark Solotroff, with a number of special guests. P.NG5361.B (Sshe Retina Stimulants/Sigillum S) and Akifumi Nakajima (Aube) both contributed analog synth tracks to multiple songs, adding to the deep layers of synth and bass frequencies that are at the foundation of each selection. Guest vocals were recorded by John Balistreri (Slogun), Andrea Chiaravalli (Iugula-Thor), Jonathan Canady (Angel of Decay/Deathpile/Dead World), and Xavier Laradji (Timeless). Following the release of True Crime, Laradji would go on to become a permanent member of the band.
After failing to capture the low-end sound they wanted on the raw and stripped-down Trophy, despite working at a renowned Brooklyn dub studio, the band sought a Chicago studio and engineer known for bass-heavy house music. True Crime was recorded in multiple stages, first by Mark Solotroff at Brooklyn Electrical, Brooklyn, 1997, and then by Jack Letourneau and Tomas Ford, with Mark Solotroff, at Satellite Studios, Chicago, during 1997 and 1998. Additional contributions were recorded in various locations in Italy, Japan and the USA. The album was mixed by Jack Letourneau, with Mark Solotroff and Ed Knigge, at Satellite Studios, in 1998 and it was initially mastered by Chris Greene, at Alien Soundscapes, Inc., Chicago, during 1999 and 2000. The following two years were relatively quiet for BLOODYMINDED, prior to releasing this album and increasing the frequency of live performances.
For this re-release, graphic designer Daniel Regueira worked with the original creative concept, based on autumn leaves, overhauling the design to better align with the digipak format. Restrained re-mastering was completed by Collin Jordan, at his Chicago studio, The Boiler Room, in late 2016. Full-color, 8-panel digipak, in shrink-wrap.

Track listing: 
1. Angel Of Darkness (6:00) 
2. The Killer Department (6:10) 
3. Blind Fury (6:25) 
4. 29 Below (6:31) 
5. Deadly Thrills (6:10) 
6. Bound To Die (6:11) 
7. Rites Of Burial (6:06) 
8. The Misbegotten Son (4:51) 
9. The Killer Next Door (5:34) 
10. St. Joseph's Children (6:13)

Wednesday, January 25, 2017

Brainwashed on Iugula-Thor



Thanks to Creaig Dunton at Brainwashed!
After a lengthy dormancy, Andrea Chiaravalli reinstated his long standing harsh electronics project Iugula-Thor in 2012 and has been active ever since, releasing some of the strongest work of his career.  This is the first full fledged release since then, with the prior ones being largely splits and singles, and also features Chiaravalli partnering with Paolo Bandera (Sshe Retina Stimulants, Sigillum S) to create a bleak, but multifaceted record of diverse electronics.
Iugula-Thor never fit in quite as specifically as many other Italian artists associated with the power electronics scene.  Their work largely took on a grey aura simultaneously colored by Marizio Bianchi's depression and the violence of giallo films.  It is a distinct and great style, but it is always great to hear an artist breaking away from what is expected. Iugula-Thor’s influence has drawn more heavily from the thrash and speed metal scenes, and while that may not be immediately apparent these days, I think that influence adds a lot to the duo’s unique sound.
Rhythms play a notable role in the sound of Choosing Your Own Brand of Evil.  "Unknown Third Party" is driven by a crashing loop and an insistent, throbbing bit of bass, as the two work a multitude of weird synth sounds in, at times twinkling and almost light, and other times dark and sinister.  The overall effect is wonderfully schizophrenic.  The terse "One Mind No Views" is a bit less subtle in rhythm:  a big, rib cage pummeling kick drum that never subsides for the pieces' brief two minute duration, with other bits of trash percussion and simply oscillating noise synths stay prominent.
Even a more noise oriented composition, such as "n.a." has some semblance of rhythm with the crunchy static-laden loop that underscores it, but the tasteful applications of filtered noise and other bursts of static place it somewhere on the spectrum between avant garde experimentalism and outright noise brutality.  There is a similarly tenuous balance to be found on "First Time My Wrists Opened", though the grinding electronics and sinister slowed voice passages nudge it a bit more in the death industrial direction.
The moments where the duo take a "throw everything together and see what happens” are the ones that stand out the most for me, however.  For example:  "I'm Not" is at first all noise loops, but with an almost toy-like synthesizer line.  Voices appear here and there, and the whole song alternates from lighter bits of electronics into vaguely industrial stomping.  The voices and what almost could be horn samples make for a confusing, scatter-shot quality in instrumentation but it all manages to work together.  The album closer "Hammer" is also a bizarre mix of marching band like rhythms, largely clean synth sounds, and what could almost be a violin here and there.  Compared to what preceded it, it is lighter and less oppressive, but still just the right amount of abrasive and weird.
For their first full album release in nearly two decades, Chiaravalli and Bandera have put together an excellent, fully realized album with Choosing Your Own Brand of Evil.  The mood and style may not be a surprise, but the actual work from the two artists is a unique, idiosyncratic mass of collaged electronics and abrasive electronics that comes across as composed, rather than just improvised.  The music itself is where the unpredictability lies, and that sense of the unknown is where it excels the most.

Thursday, January 12, 2017

New Wholesale Announcement List

It has been a long time coming, but I've finally overhauled the list that goes out to stores and distros. I'll be getting back to the practice of announcing new releases and sharing a list of wholesale titles available, moving forward. There are actually two lists: one for USA and one for the rest of the World. The first announcements went out this morning. Please send me an email if you'd like to be added: bludlust@mindspring.com

Friday, December 23, 2016

Mail-Order Status

Today's was my last run to the Post Office of the year. Webshop, Bandcamp and Discogs orders are still being accepted, but please note that new orders will not be mailed out until January 3, 2017. Thank you very much for the support during 2016!

Thursday, December 22, 2016

Mark Solotroff - Top Records of 2016

Mark Solotroff (Anatomy of Habit/BLOODYMINDED/The Fortieth Day)

Top Records of 2016

Top Ten (alphabetically):
  1. Atriarch "We Are All Dead"
  2. David Bowie “Blackstar”
  3. Bremen "Eclipsed"
  4. Gnod "Mirror"
  5. Jealousy "Paid For It"
  6. Nick Cave & The Bad Seeds “Skeleton Tree”
  7. Rakta “III”
  8. Swans "The Glowing Man"
  9. True Widow "Avvolgere"
  10. Wrekmeister Harmonies "Light Falls"
The 50 recordings I listened to and/or thought about the most (alphabetically):
  1. Æthenor "Hazel"
  2. Aleric "End Of Mirrors"
  3. Atriarch "We Are All Dead"
  4. Black Mountain "IV"
  5. Bloodiest “Bloodiest”
  6. The Body "No One Deserves Happiness"
  7. David Bowie “Blackstar”
  8. Brainbombs "Souvenirs"
  9. Bremen "Eclipsed"
  10. Caina "Christ Clad In White Phosphorus"
  11. Cobalt "Slow Forever"
  12. Crippled Black Phoenix "Bronze"
  13. Leonard Cohen "You Want It Darker"
  14. D.D. Dobson "A Halo of Affectation"
  15. Deftones "Gore"
  16. Disappears "Low: Live In Chicago"
  17. Discharge "End Of Days"
  18. Electric Moon "Theory Of Mind"
  19. 40 Watt Sun "Wider Than The Sky"
  20. Gnod "Mirror"
  21. Helen Money "Become Zero"
  22. Heron Oblivion "Heron Oblivion"
  23. Imvixor "Ladder Of Deception"
  24. Inter Arma "Paradise Gallows
  25. Jealousy "Paid For It"
  26. Kleistwahr "Over Your Heads Forever"
  27. Marching Church "Telling It Like It Is"
  28. Mirrors For Psychic Warfare "Mirrors For Psychic Warfare "
  29. Mythic Sunship "Ouroboros"
  30. Neurosis "Fires Within Fires"
  31. Nick Cave & The Bad Seeds “Skeleton Tree”
  32. Oranssi Pazuzu "Värähtelijä"
  33. Preoccupations "Preoccupations"
  34. Rakta “III”
  35. Russian Circles "Guidance"
  36. Sigillum S "Astronomic Horror," "Demonolgy" and "Iron Catastrophe Spectators" (30th Anniversary Trilogy)
  37. Slogun/Fire In The Head "XIII Years Closer To Nothing"
  38. So Pitted "Neo"
  39. Soft Kill "Choke"
  40. Staccato Du Mal "Labios Tremulos"
  41. SubRosa "For This We Fought The Battle Of Ages"
  42. Sutcliffe Jugend "Masks"
  43. Sutcliffe Jugend "The Muse"
  44. Sutcliffe Jugend "Offal"
  45. Swans "The Glowing Man"
  46. The Sweet Release Of Death “The Sweet Release Of Death
  47. Ten Thousand Miles of Arteries "Even Spilled Seed Crawls Toward The Womb"
  48. True Widow "Avvolgere"
  49. Scott Walker "The Childhood Of A Leader"
  50. Wrekmeister Harmonies "Light Falls"
EDIT: Crap! I accidentally left off Nocturnal Habits "New Skin For Old Children" -- I only started listening to it in mid-December. Had I been listening to it longer, it could have cracked the top 10. I've already played it a ton.

BLOODYMINDED "True Crime" at pressing plant

The new digipak edition of "True Crime" is now at the pressing plant. We expect to have the CDs in late January.