Saturday, June 20, 2009
- B!128 The Fortieth Day "Syria: 638 AD" CD
- Super Eight Loop T-shirts
- B!127 Locrian "Drenched Lands" LP*
- B!129 Kriminaaliset Metsanhaltija "Anarkkia, Kaaos, Maailmanloppu!" CD
*Due to the limited nature of this deluxe LP -- edition of 200, clear vinyl, letter-pressed two-fold covers, poster insert, bonus 3-inch CD -- and the advance demand that the band and I have already experienced, I will make a pre-order announcement closer to July 1st.
Shipping: Wednesday July 1, 2009
Paid orders are now being accepted
Artist: The Fortieth Day
Title: "Syria: 638 AD (The Complete Recordings)"
Format: CD in jewel box
Catalog Number: BloodLust! 128
Genre: Experimental / Heavy-Drone / Harsh Noise Walls / Industrial
(Click image to enlarge)
The Fortieth Day is the duo of Isidro Reyes and Mark Solotroff, both key players in the power-electronics outfit BLOODYMINDED, a unit known for its confrontational live shows. The two also record primitive minimal-synth music, exclusively for Wierd Records [NYC], as A Vague Disquiet. In The Fortieth Day, Reyes and Solotroff utilize guitar, bass, and synth to improvise "sustained, withering blasts of high-pitched noise that are as distinct from one another as spotlights sweeping across the night sky; jackhammer clatter, jet-engine whines, and forlorn keyboard melodies dart in and out of those huge sounds with the grace and impunity of plovers picking a crocodile's teeth" [Bill Meyer, Chicago Reader].
This CD contains the remastered, 61-minute-long version of the complete recordings from the "Syria: 638 AD" sessions. Diophantine Discs previously released an abridged version of these recordings [approximately 36-minutes in length] as a deluxe, white vinyl LP, housed in a black and silver, screen-printed, die-cut sleeve, limited to 300 copies.
For "Syria: 638 AD," the duo took a different approach than on their previous releases, channeling their shifting and disorienting psychedelic and blackened noise into sustained walls of bass-heavy sound, knowing that the material would be pressed into deep vinyl grooves. Not unlike Solotroff's six-hour-long 1996 collaboration with Sshe Retina Stimulants, "Excellent Manipulation of Distorted Tape Death" [re-visited on two related BloodLust! CDs in 2008], which has been re-evaluated by some noise fans as a direct precursor to the militantly static harsh noise walls [HNW] subgenre, the "Syria: 638 AD" sessions saw the duo take full advantage of available bass frequencies, creating monumentally glacial sweeps of low end, highlighted by analog synth sequences and distorted guitar washes that slowly surface in the mix.
Re-mastered by Salvatore Dellaria for the digital platform; professionally duplicated CD, single panel, double-sided insert; black and white artwork; in jewel box with shrinkwrap; released in 2009
1. "Part 1" (30:30)
2. "Part 2" (30:33)
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He put up a rather long BLOODYMINDED clip today (nearly half of our performance, it seems -- he added a long Marblebog clip, too), which has an appealingly weird, shadowy, grainy, magenta hue about it. I should also mention that Wes Tank, the filmmaker from Milwaukee who is working on a BLOODYMINDED documentary of sorts, shot the show in hi-def. We shall see where that goes. Keep a close eye, just before the 9-minute mark, as James is shrieking the lyrics to "Outside The Gate," you can just barely see me tumble backwards off of some speakers... Thanks to Matt!
Record number two from these Midwestern dronelords, with some loose connection to black ambient soundscapers Locrian, even if it doesn't go much beyond playing together and living in the same city. That said, if you dug the Locrian record from a few lists back, odds are you'll dig this to.
There's no black metal woven into the Golden Sores' sound, instead they offer up more of a spaced out krautdrone, ethereral, ephemeral, but somehow still dense and thick and HEAVY. Not sure what the instrumentation is, we'd like to think there are some guitars in there, but it hardly matters, it's what comes out of the speakers that matters, not what goes onto the tape. And what is coming out of our speakers right now is some gloriously heavy, throbbing, pulsating buzzing psychedelic dronemusick. The first track is just some totally divine spaced out new age kosmiche drone, the second is a wall of crumbling blown out distorted buzz, like taking the primordial ooze of Earth or Sunn, and hurling it into the heart of a dying star. The tracks shift after that from deep cavernous rumbles, to billowing clouds of blackened shimmer, to muted snarling buzzscapes, to glimmering outer space druggy drifts, and finally, to a gorgeously sprawling expanse of low end throb, crank the bass on your stereo and you'll have things vibrating right off your shelves, a sound so phsyical, after it's over, merely hearing music without actually feeling it, barely seems like enough.
Definitive deep drone listening for sure, recommended for those of you who gravitate toward the heavier, spacier side of the low end spectrum, as previously explored by the likes of Expo 70, Locrian, Vulture Club, Fear Falls Burning, RST, To Blacken The Pages, Karl Bosmann, Pussygutt and the like.
Friday, June 19, 2009
Lots of TG/PTV stuff right above their post...
Sometimes the problem with many drone records is that there can be a lack of, well, much at all really. Take Birchville Cat Motel’s Seventh ruined Hex. That CD almost stood still there was so little going on. When drone is done right it is a pretty awesome thing to behold. So here I introduce you to the Golden Sores, a duo of Chicago drone scenesters and mates of the better known Locrian. What The Golden Sores have done on A Peaceable Kingdom is to make drone not only transcendent but also remarkably interesting. There is a fair bit crammed into the repetitive drone landscapes that the duo create. My particular favourite is the awesome We’ll Wield Fire which is founded on a bedrock of droning noise much akin to a cello being played by a robot but made somehow beautiful. But is is also the top layer of the music which sets Golden Sores apart from many thinking they do this stuff well. There is texture in the sound created by several layers of drone effects and compositional tweaks. I mean this is just awesome and if you have been a sucker for Kevin Drumm’s unbelievably majestic Imperial Distortion (I’ll post on that soon) then I suggest that you would be wise to track this down. We all need beauty in our lives and although the Golden Sores may be the most inappropriately named band I’ve heard of in some time, they certainly create beuatiful music. I’m not sure if it is readily available yet but A Peaceable Kingdom can be ordered from Bloodlust!.
Wednesday, June 17, 2009
The Golden Sores: 16 June 2009
website (artist): http://virb.com/goldensores
The Artist: This ensemble have an "I wish I had thought of that" name: culled from an obscure corner of the bible, 1 Samuel 6:[various sub paragraphs].
Depending on which version of the bible you read - (and I prefer the fire and brimstone bombast of the King James), the Golden Sores translated variously as emerods, hemorrhoids, tumours etc relate to an invasion of mice that bought with it a plague (possibly bubonic) to the Israelites. The Israelites emerge from a dark spiritual place, in the (previous) book of Judges to emerge under a more enlightened regime, a kingship in Samuel. The plague then could be seen as a punishment on the Israelites for their impure ways, though the reinforcement of the punishment is not accompanied by an overt message to reprent, rather, the text implies the Israelites needed to find this out for themselves, aided by their evolving wisdom. The medium for relating the lesson, the journey of the Ark of the Covenant between Israel and the Philistines (who get rid of it back to the Israelites after bad things happen) Thus the scene is set. A message of reflection, repentance and learning encapsulated in music. The definitive commentary - and it is VERY extensive is at: Samuel
Album: Asdod to Ekron
The Album, Asdod to Ekron. ... This message is conveyed in achingly wonderful drones, the most visceral, primal form of communication; pre-verbal and from the soul. Touching the same place as early period Popol Vuh, but bringing a sensibility of their own to bear - The Golden Sores' music moves at a ponderous, considered pace. A passage in a John Le Carre book I have just read gives a flavour of the space this music inhabits: "...the lucid unencompassable majesty of the mountains drew me upward." This music for me is a journey through landscapes assisted by and confounded in turn by capricious devine forces, with the biblical battles as a metaphor lurking in the background. Where redemption is a possibility, but not a certainty, but vengence and punishment for transgression is always a threat. The symbolism in the name of the ensemble/album is not literally evident in the music, it is implicit in the architecture of the sound. Building, cacophonous, moving. As moving as a Victorian hymn, or a storm under trees. That it makes pictures in my mind is a reason for me to listen to it again and again.
Album: A Peaceable Kingdom
Towers of considered noise, shards of upward pointing glass bisecting the clouds. Think the fractured cathedrals of Lionel Fieninger. Repitition is TGS’s modus operandi, a device they employ to wondrous effect, with a pulsing living throb counterbalancing the higher pitches. I put the album on in the rain, thunder and lightning beating up the sky, a perfect moment for the pages of the music to enfold me. The tones shimmer and glide with fragile harmonics cutting across the darker, warmer tones. As with Ashdod, the Old Testament references hang over this work; a knife over the sacrificial lamb’s throat, each piece scratching and clawing it’s way into ones senses, and achieving a rare success from a wholly instrumental work – dialogue; a dialogue of texture, architecture and culture. The album is released on the highly respected Bloodlust label (catalogue reference Bloodlust 126). Buy this album here
Tuesday, June 16, 2009
Monday, June 15, 2009
Paid orders are now being accepted.
We will begin mailing these out on or before July 1st.
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This design is available in small, medium, large, and extra-large. These are black Gildan 100% cotton short-sleeve T-shirts with white printing on the front. These are classic, full-size T-shirts, in the sense that they runs a bit large, particularly compared to more snug-fitting American Apparel and H&M T-shirts.
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