Including "Deep Red" horror/gore zines 1-5 + 7:
http://shop.ebay.com/merchant/bloodlustchicago
Saturday, March 07, 2009
Status - 3/7
I am just back from a rainy trip to the Post Office with two jammed duffel bags filled with packages. All paid orders received by noon today have been mailed out. I am looking forward to hearing what people think of the Redrot single. Discogs and eBay packages are also up to date.
Pimp My Envenomist?
I had to interrupt the pink flow when the mail lady dropped off a package with the new Envenomist "The Helix" CD on Killer Pimp. I am kind of amused by the idea of Envenomist sort of being label-mates with A Place to Bury Strangers, even though they just flew the coop to join Mute Records. Or better, that All the Saints were there prior to the shift to the embattled Touch & Go label. Anyhow, this is prime Envenomist material, and thanks to me looking at the release page on the Killer Pimp website, I just discovered that there is enhanced content to be found... I guess that if a person primarily uses a "real" CD player, as I do to listen to music, they might miss out on certain unmarked bonus features that would immediately be seen by a person who plays their music on a computer... something to consider, I suppose...
Friday, March 06, 2009
OUT NOW: B!109 Redrot "Deviant" 7-inch
BloodLust! New Release - Out Now:
Artist: Redrot
Title: "Deviant"
Format: 7-inch (33 RPM)
Catalog Number: BloodLust! 109
Genre: Death-Industrial / Noise / Experimental
Pressed in a numbered edition of 200 copies; Black vinyl; Silver labels with black text; Pro-printed, color, fold-over sleeves; 33 RPM; Back to the greater Detroit -- in this case, Novi, Michigan -- scene; This is the vinyl debut from cult death-industrial powerhouse, Redrot; Ryan Oppermann -- A.K.A. The Rotbrain -- who also records as Fabrico Incubo, Klinikal Skum, Narcoleptic Ward, Neuntöter Der Plage, Post-Mortem Junkie, Xombie, etc. -- was actually one of the first people that I contacted when the private series was being launched; Previously a victim of both time and the great color-vinyl shortage of 08-09, I am pleased to finally release this dark slab of necro-nihilism; "Deviant" straddles an uncomfortable line between death-industrial, power-electronics, crust/sludge and a totally aggressive form of minimal synth; "White Walls" brings to mind "Leichenschrei"-era S.P.K. with its unwholesome mental ward pathology
-------------------------------------------------------------------
Tracklisting:
1. "Deviant" (3:40)
2. "White Walls" (5:21)
Price: $10.00 USA/$12.00 Canada+Mexico/$14.00 Rest of World @ postpaid
(Wholesale rates available to distributors, mail-order services, and record stores; please inquire)
Please use bludlust@mindspring.com for PayPal payments
--------------------------------------------------------------------
Artist: Redrot
Title: "Deviant"
Format: 7-inch (33 RPM)
Catalog Number: BloodLust! 109
Genre: Death-Industrial / Noise / Experimental
Pressed in a numbered edition of 200 copies; Black vinyl; Silver labels with black text; Pro-printed, color, fold-over sleeves; 33 RPM; Back to the greater Detroit -- in this case, Novi, Michigan -- scene; This is the vinyl debut from cult death-industrial powerhouse, Redrot; Ryan Oppermann -- A.K.A. The Rotbrain -- who also records as Fabrico Incubo, Klinikal Skum, Narcoleptic Ward, Neuntöter Der Plage, Post-Mortem Junkie, Xombie, etc. -- was actually one of the first people that I contacted when the private series was being launched; Previously a victim of both time and the great color-vinyl shortage of 08-09, I am pleased to finally release this dark slab of necro-nihilism; "Deviant" straddles an uncomfortable line between death-industrial, power-electronics, crust/sludge and a totally aggressive form of minimal synth; "White Walls" brings to mind "Leichenschrei"-era S.P.K. with its unwholesome mental ward pathology
-------------------------------------------------------------------
Tracklisting:
1. "Deviant" (3:40)
2. "White Walls" (5:21)
Price: $10.00 USA/$12.00 Canada+Mexico/$14.00 Rest of World @ postpaid
(Wholesale rates available to distributors, mail-order services, and record stores; please inquire)
Please use bludlust@mindspring.com for PayPal payments
--------------------------------------------------------------------
Thursday, March 05, 2009
The Fortieth Day on The Static Hymnal
The monumental "The Static Hymnal" 6xC-6O compilation box set is finally out, with an exclusive track by The Fortieth Day. This blackened-noise project has been two years in the making from three different labels: Husk, Factotum (formerly Epicene), and Hung Like a Horse. Please check this thread for more information, ordering details, etc.: http://www.chondriticsound.com/forum/viewtopic.php?f=1&t=25254
One of these days I'm going to cut you into little pieces
Off into a deep chronological review of Pink Floyd. I am looking forward to the mid-1970s the most. "Wish You Were Here" and "Animals" (especially) always ruled for me. I am somewhat in fear of hitting 1979 and beyond.
The Party's Over... Again
I am definitely looking forward to the video related to this CD/DVD project:
Wednesday, March 04, 2009
Status - 3/4
- Another epic 4+ hour long practice last night. Excellent work. We reviewed last week's highlights and then got down to business. Mostly business. I am enjoying the methodology. My throat...
- I did a big mail run yesterday, so all paid mail-order, Discogs, and eBay packages are up-to-date
- Thanks to everyone who already ordered the new Redrot single from Monday's update!
- Current obsession: U2 "Unknown Caller" -- multiple repeats for several days now. Also enjoying "Magnificent" (just watched the YouTube post from last night's "Late Night" broadcast) and "Moment of Surrender" (which reminds me of "Thursday's Child" from "Hours..." by David Bowie). Interesting that the three are clustered. I am warming up to "Get on your Boots" but it is more typical of "big" U2 singles. The rest of "No Line on the Horizon" is a hit or miss thing for me. But "Unknown Caller" is definitely working me over, undoubtedly crap lyrics (too much computer metaphor... but let's not forget Animal Law's "Grain"!) and all...
- Check out the nice new Wilt free download album - "Undercurrent/Floodplain" currently on Force of Nature's website. I enjoyed the concept, the execution, and the D/L aspect... and if you missed the (related in my mind) Luasa Raelon (Envenomist alter ego) ghost ship D/L EP, "The Baychimo" you can find it here
- I did a big mail run yesterday, so all paid mail-order, Discogs, and eBay packages are up-to-date
- Thanks to everyone who already ordered the new Redrot single from Monday's update!
- Current obsession: U2 "Unknown Caller" -- multiple repeats for several days now. Also enjoying "Magnificent" (just watched the YouTube post from last night's "Late Night" broadcast) and "Moment of Surrender" (which reminds me of "Thursday's Child" from "Hours..." by David Bowie). Interesting that the three are clustered. I am warming up to "Get on your Boots" but it is more typical of "big" U2 singles. The rest of "No Line on the Horizon" is a hit or miss thing for me. But "Unknown Caller" is definitely working me over, undoubtedly crap lyrics (too much computer metaphor... but let's not forget Animal Law's "Grain"!) and all...
- Check out the nice new Wilt free download album - "Undercurrent/Floodplain" currently on Force of Nature's website. I enjoyed the concept, the execution, and the D/L aspect... and if you missed the (related in my mind) Luasa Raelon (Envenomist alter ego) ghost ship D/L EP, "The Baychimo" you can find it here
Tuesday, March 03, 2009
BloodLust! March 2009 Update
The BloodLust! March 2009 Update has been sent out to the mailing list and it has been posted on the catalog weblog page. If you did not receive an e-mail today, or if you wish to join the mailing list, please send a request to: bludlust@mindspring.com
Monday, March 02, 2009
BloodLust! Interview Series: Compiled Links
#1 Slogun
#2 Sleep Museum
#3 Dead Body Love
#4 Mammal
#5 Sshe Retina Stimulants
#6 Mike Williams of EyeHateGod
#7 Haptic
#8 Pieter Schoolwerth
#9 Envenomist
#10 Redrot
#11 The Siamese Pearl
#12 Aaron Dilloway
#13 Vertonen
#14 Jonathan Canady
#15 Neil Jendon
#16 Fecalove
#17 James Moy
#18 Cadaver in Drag
#19 Staccato Du Mal
#20 Culver
#21 Climax Denial
#22 Locrian
#23 Martial Canterel
#24 Sword Heaven - Pt. 1
#25 Twodeadsluts Onegoodfuck
#26 Failing Lights
#27 Wilt
#28 Xavier Laradji/Timeless
#30 Greh Holger
#31 Sword Heaven - Pt. 2
Locrian - Again Dead Angel
From: The One True Dead Angel
Locrian -- "Plague Journal / Apocryphal City, Portents Fallen" 7" [Bloodlust!]
Talk about minimalist, this single comes in some of the most nondescript packaging ever -- white vinyl with white labels noting the sides and speed but nothing else, housed in a blank white sleeve and accompanied by a folded insert that provides the only clues to the single's content and origins. The first side, "Plague Journal," is a repetitive slice of twanging, boiling guitar noise and droning feedback upfront and other noises of considerably more mysterious origin fattening up the sound in the background. Toward the end the wailing feedback becomes the primary force of nature as everything else fades into a muted dark-ambient wash before the feedback finally dies away. The flip side, "Apocryphal City, Portents Fallen," opens with hollowed-out cyclotron sound and vague pounding noises, but bell-like tones subject to ping-pong delay soon appear in the mix, even as the harsh drone turns into a swirling, sweeping tornado of sound. The swirling, seething, psychotronic fog that eventually emerges successfully straddles the divide between noise and dark ambient, creating clouds of droning, noise-textured vapor like toxic gas billowing through the streets of a disintegrating city... only to end in a snarling lock-groove that's pretty ominous in its own right. Limited to 300 copies and, like all of the band's output, highly recommended.
Locrian -- "Plague Journal / Apocryphal City, Portents Fallen" 7" [Bloodlust!]
Talk about minimalist, this single comes in some of the most nondescript packaging ever -- white vinyl with white labels noting the sides and speed but nothing else, housed in a blank white sleeve and accompanied by a folded insert that provides the only clues to the single's content and origins. The first side, "Plague Journal," is a repetitive slice of twanging, boiling guitar noise and droning feedback upfront and other noises of considerably more mysterious origin fattening up the sound in the background. Toward the end the wailing feedback becomes the primary force of nature as everything else fades into a muted dark-ambient wash before the feedback finally dies away. The flip side, "Apocryphal City, Portents Fallen," opens with hollowed-out cyclotron sound and vague pounding noises, but bell-like tones subject to ping-pong delay soon appear in the mix, even as the harsh drone turns into a swirling, sweeping tornado of sound. The swirling, seething, psychotronic fog that eventually emerges successfully straddles the divide between noise and dark ambient, creating clouds of droning, noise-textured vapor like toxic gas billowing through the streets of a disintegrating city... only to end in a snarling lock-groove that's pretty ominous in its own right. Limited to 300 copies and, like all of the band's output, highly recommended.
Sunday, March 01, 2009
I.I.G.O.L.G.? Pleasure...
As I type this, I am listening (over and over) to a six and a half minute segment of a rehearsal space recording that seems to embody everything that I have been hoping to do with "the new band." In my Sunday morning mind, on my third double-espresso, it feels like the perfect portrayal of the highs and the lows of attempted personal connection. 'Nuff said on that.
Last night was a double-header of shows...
At Enemy, there was an early experimental/noise line-up, kicked off by the duo of Eric Leonardson and Bryan Day (Omaha). Eric played his Neubauten-lite walker device and Day played three handsome, sculptural, handmade instruments. While the sounds that both guys produced complemented each other, it seemed like Eric was continually trying to make eye contact with Day, throughout the set, in a noble atempt to truly play "together," but Day was playing his gear with a head-down focus, only locking eyes with Eric at the very end. Maybe he was able to collaborate just by hearing, but I am not so sure... Vertonen was up next, and as Blake recounted a story about a college professor who used a certain methodology to draw blood by counting to three but jabbing at two -- yep, I knew where that was headed -- he unleashed an instantaneous fury of harsh noise that still made me - and most of the audience - jump... actually sending one guy into a bit of a hissy fit. Whatever, bring earplugs to these sorts of shows if you are worried about that kind of thing. It also functioned as a nice follow-up to Neil Jendon's launch from the night before... Blake allowed the wall of sound to deteriorate before bringing in a vicious high-tone frequency that sent fingers back into ears. Finally he went into the sort of pop-music (well, prog-rock, this time, with Yes and Emerson Lake & Palmer) manipulation/looping of his that I am less fond of... it actually sounded good but it felt like it should have been a different piece, altogether... Katchmare (Normal, IL) was up next... Nick kept the pressure on the audience, adding a certain level of palpable stress as he slowly moved from quiet passages, to micro bursts of noise, to tension building sounds, to more full-on blasts of harshness. I thought that it was a well-done performance that kept a step ahead of the audience. Unfortunately, I had to leave before Evidence played, as curious as I was about the weird multi-surface loudspeakers that they had set up around the room...
Off to Subterranean, around the corner. Holy crap, it was cold in there... maybe a good set-up for the nearly coldwave guitars of All the Saints? Maybe not. I definitely arrived with ultra-high expectations, as "Fire on Corridor X" has probably been my most listened to album of the never-ending winter... and, no shit, it is snowing again today in Chicago... so... I enjoyed their performance. The guitar was as echoey as I would have hoped... but their more-aggressive pace and delivery was definitely a different thing than on their album. I think that the fact that it was far less romantic, compared to their studio sound, was a good thing - in this particular case - whatever... I need to let it sink in a bit, still. Lots of stuff is sinking in, still... Darker My Love was up next. The two albums that I have by them are maybe a bit less psychedelic than I may want... while they might veer into Warlocks territory, say, they come off a bit more Madchester or "baggy" (god, did I really just type that?!?), like Stone Roses or Charlatans... but they were heavier and darker live... great vocal harmonies, a la post-shoegazer (I actually kept thinking of Spectacle!)... and christ, the bass player gets major points for playing Christian Death's "Spiritual Cramp" when he soundchecked before they started. A definite what-the-fuck moment... ha ha! So, for me, even better live. These Arms are Snakes were up last. I stayed for four or five songs but I guess that I was not really in the mood for that sort of show, even though the showmanship was really quite good and the crowd was feeding on the high energy.
I might have been able to catch the tail end of the Minsk, Sweet Cobra, Plague Bringer show, but by that point, my ears were just destroyed... I am definitely sorry to have had to miss that triple-threat, though...
Figure this one out:
Last night was a double-header of shows...
At Enemy, there was an early experimental/noise line-up, kicked off by the duo of Eric Leonardson and Bryan Day (Omaha). Eric played his Neubauten-lite walker device and Day played three handsome, sculptural, handmade instruments. While the sounds that both guys produced complemented each other, it seemed like Eric was continually trying to make eye contact with Day, throughout the set, in a noble atempt to truly play "together," but Day was playing his gear with a head-down focus, only locking eyes with Eric at the very end. Maybe he was able to collaborate just by hearing, but I am not so sure... Vertonen was up next, and as Blake recounted a story about a college professor who used a certain methodology to draw blood by counting to three but jabbing at two -- yep, I knew where that was headed -- he unleashed an instantaneous fury of harsh noise that still made me - and most of the audience - jump... actually sending one guy into a bit of a hissy fit. Whatever, bring earplugs to these sorts of shows if you are worried about that kind of thing. It also functioned as a nice follow-up to Neil Jendon's launch from the night before... Blake allowed the wall of sound to deteriorate before bringing in a vicious high-tone frequency that sent fingers back into ears. Finally he went into the sort of pop-music (well, prog-rock, this time, with Yes and Emerson Lake & Palmer) manipulation/looping of his that I am less fond of... it actually sounded good but it felt like it should have been a different piece, altogether... Katchmare (Normal, IL) was up next... Nick kept the pressure on the audience, adding a certain level of palpable stress as he slowly moved from quiet passages, to micro bursts of noise, to tension building sounds, to more full-on blasts of harshness. I thought that it was a well-done performance that kept a step ahead of the audience. Unfortunately, I had to leave before Evidence played, as curious as I was about the weird multi-surface loudspeakers that they had set up around the room...
Off to Subterranean, around the corner. Holy crap, it was cold in there... maybe a good set-up for the nearly coldwave guitars of All the Saints? Maybe not. I definitely arrived with ultra-high expectations, as "Fire on Corridor X" has probably been my most listened to album of the never-ending winter... and, no shit, it is snowing again today in Chicago... so... I enjoyed their performance. The guitar was as echoey as I would have hoped... but their more-aggressive pace and delivery was definitely a different thing than on their album. I think that the fact that it was far less romantic, compared to their studio sound, was a good thing - in this particular case - whatever... I need to let it sink in a bit, still. Lots of stuff is sinking in, still... Darker My Love was up next. The two albums that I have by them are maybe a bit less psychedelic than I may want... while they might veer into Warlocks territory, say, they come off a bit more Madchester or "baggy" (god, did I really just type that?!?), like Stone Roses or Charlatans... but they were heavier and darker live... great vocal harmonies, a la post-shoegazer (I actually kept thinking of Spectacle!)... and christ, the bass player gets major points for playing Christian Death's "Spiritual Cramp" when he soundchecked before they started. A definite what-the-fuck moment... ha ha! So, for me, even better live. These Arms are Snakes were up last. I stayed for four or five songs but I guess that I was not really in the mood for that sort of show, even though the showmanship was really quite good and the crowd was feeding on the high energy.
I might have been able to catch the tail end of the Minsk, Sweet Cobra, Plague Bringer show, but by that point, my ears were just destroyed... I am definitely sorry to have had to miss that triple-threat, though...
Figure this one out:
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