Friday, November 20, 2009
Thursday, November 19, 2009
Wednesday, November 18, 2009
- We ran by the Post Office after the show, as I needed to do a quick follow-up mail run due to the recent increase in orders (which I am grateful for!). All paid orders are on their way. I intend to do one more mail run this week to cover pre-orders that have already arrived. It was my first time at my P.O. box since before the Boston trip, and there was a pile of packages waiting for me there. Lots of new music to listen to, and I will be in touch with everyone ASAP. I was most excited to see a package from Ad Noiseam, which included copies of the new Wilt double CD, "Cemetery Road / Dead Electroniks"-- the second disc of which includes my collaboration/remix track, "Signe Correct Correspondant." I am just digging into disc one now, over espresso, and it seems like a perfect early morning, dark rainy day creeper...
- Isidro and I also discussed further plans for the upcoming live radio broadcast of the collaboration with The Fortieth Day, Sshe Retina Stimulants, and Terence Hannum. Since my synth activities have been on the rise this past year, I think that I will stick to that role for this show, passing my guitar onto maestro P.NG5361.B for the evening...
"The Spiritual Significance of Music is an exciting collection of exclusive interviews with many of the world’s most visionary musicians and writers. A unique anthology that explores the dynamic relationship between music and spirituality, sharing incredible insights from their experience, knowledge, and wisdom. This book embraces the beauty and diversity of music, providing readers with a tapestry of new thoughts on music and spirituality. Justin St. Vincent has interviewed more than one thousand people, choosing over one hundred responses, to produce a cutting-edge and ground-breaking project for our music-minded generation."
Tuesday, November 17, 2009
Nightmares "s/t" CD
Edition of 100
Nightmares "s/t" Cassette (C-30)
Edition of 100
Total for both releases: $20.00 USA/$24.00 Canada+Mexico/$28.00 Rest of World @ postpaid
Please e-mail email@example.com to confirm/reserve
Bereft/Sewer Goddess "Blessed by Worms" split cassette (Danvers State Recordings)
Sewer Goddess "Mother Agony" 3-inch CD (Syzmic Records)
Sewer Goddess "The Dejection Veil" cassette (Rotting Chapel)
The Vomit Arsonist "Wretch" CD (Force of Nature)
Stillbirth/Prurient "The Mirror of Purification" 7-inch (Semata Productions)
The Cathode Terror Secretion "Spectre of Histories Design" LP (RRRecords)
Josh Hydeman "Screaming at a Wall" cassette (Destructive Industries) [My A-Side was blank though, but what I have heard so far was excellent]
Monday, November 16, 2009
_ FYI, cool show at Enemy this past Friday night. Locrian sounded excellent, with the unexpected inclusion of mic'd up piano. I just played the CD version of "Rain of Ashes" (Basses Frequences) before heading to the Post Office. It looks and sounds great. Harpoon played it fast and furious. Unfortunately, I missed Chord as I ran out for pizza with a few friends. Ratatosk had just started when we first walked in, but they had already built up a fierce head of steam. Fun night!
There aren't too many bands in the current noise/industrial scene that can be described as sounding genuinely "heavy" in the same sense as a metal band, but Sword Heaven are one of the exceptions. The Ohio-based duo has developed a stripped-down but bludgeoning sound out of a simple setup of drums, voice and electronics, through which the band creates a suffocating, toxic atmosphere that's as harrowing and extreme as any harsh noise project, while anchoring their chaos with a drummer who sounds like he'd be just as comfortable playing in an extreme doom metal band.
At a show in Columbus, Ohio in August 2006, somewhere in the middle of their set Sword Heaven played an extended version of their song "Under The Face" which broke off halfway through into a sprawling slow motion dirge; the song normally clocks in at around two minutes, but here the band went berserk, bashing their way through a time-stretched industrial freakout that went on for more than seven minutes. They ended up recording that set, and the extended dirge has been titled "Piles" and captured on this limited edition 7", the two halves of the jam split across the two sides of the EP. Sword Heaven doesn't get much heavier than this: the glacial drumming lumbers through a thick chaotic mass of malfunctioning electronics, demonic screams, warbling tape machines and junk metal percussion, with everything in reach smashed together into a violent screaming pile-up of shrieking noise and brutally heavy percussive hammering. The label describes this as sounding like early Swans crossed with the dystopian industrial vibe of Kollaps-era Einsturzende Neubauten, and there really isn't a better comparison for the sludgy motorized assault that Sword Heaven belched out during these seven minutes. This is simply pulverizing. This was released in a limited run of 300 copies on white vinyl, and comes in a plain white jacket with a black and white xeroxed insert
LOCRIAN Rhetoric Of Surfaces CD (Bloodlust!)
Before they released the amazing blackened kosmiche doomdrone of Drenched Lands, the Chicago duo Locrian had been busy putting together small runs of cassettes and cd-rs that showcased their earlier, rougher experiments in extended guitar trance and psychedelic ambience; this older stuff sounds a lot more industrial and abrasive than their more recent releases, but even here Locrian were highly skilled at crafting immense drone-zones that combined looping guitar noise, ambient downtuned heaviness and hints of the kosmiche synthesizer sounds that would become more prominent and massive on later discs. A lot of those older Locrian releases were put out in super small runs that sold out quickly, making them nearly impossible to come by now, but Bloodlust! released this collection of out of print material last year that also features some previously unreleased material, and all of it is killer stuff. Rhetoric Of Surfaces is assembled primarily from cassette material and live performances that span 2006-2007, and most of this is heavy, metallurgic psychdrone and avant industrial guitar crush that'll fit in any record collection that includes large helpings of Blue Sabbath Black Cheer, To Blacken The Pages, Vulture Club, Sunn O))), Fear Falls Burning, Light Of Shipwreck, Final, Pussygutt, Fulci, and Half Makeshift.
A handful of these tracks were recorded live on the Something Else radio show on the indie Chicago station WLUW back in '07: the first track "Drosscape" appears here for the first time, a heavy blackened blur of feedback, ghoulish screams, thick swaths of Earth-style amp drone, and creepy noises that float through endless waves of delay and effects. That's followed by "Burying The Carnival" (from the split cassette with Continent), a gargantuan thirteen minute slab of psychedelic blackdrone filled with abstract guitar squiggle scattered across immense distorted drones, rippling waves of blackened shrieking vocals, and chaotic buzzing melodies that start to sound like bagpipes being run through some sort of electronic filter, like a chaotic mix of Abruptum and Total with someone going berserk on a chain of delay pedals. And "Visible/Invisible" (which previously appeared on the split tape with Colossus that came out on Heavy Nature) begins with the muted tolling of bells before soft plumes of feedback and melodic keyboard clusters slowly drift upwards; as the track progresses, it's gradually joined by deep bass pulses, increasingly dense layers of droning synth and Tangerine Dream keys that form into a lush deep-space raga, and distant wordless singing that floats high above the swirling psychedelic ambience, hinting at the even more kosmiche direction that their music would take later on. Then there's the crushing spacenoise storm of "Gruen Transfers", a massive billowing cloud of extreme delay, looping fragments of feedback, deep rumbling machine noise, pulsing metallic skree, and heavy guitar drone that sounds like an Astro/C.C.C.C. jam on quaaludes and which had previously shown up on the No More Noise compilation on Scissor Death. The final two tracks ("Chladni" and "Amps Into Instruments") are two of Locrians earliest recordings, first appearing on the long-gone cd-r II from 2006; the former is a relatively short piece of rumbling distorted amp hum that's stretched taut across a barely perceptible rhythmic thump as someone lays down some hyperkinetic guitar shred, while the latter is an epic eighteen minute jam that begins with delicate delayed guitar notes, a simple industrial pulse, and streaks of distorted feedback; as it continues to unfold, gouts of thick amp rumble and feedback skree pour in, washing over the simple three-note melody that cycles throughout the track, and the sound changes shape from crushing free-drone to cosmic folk heaviness to the pounding, krautrocky dirge that appears across the entire last ten minutes, a massive propulsive dirge, heavy and metallic but obscured beneath swirling synths and buzzing harmonic overtones.
Sample : Chladni
Sample : Drosscape
Sample : Gruen Transfers
This Chicago duo blew me away after seeing them on tour in Baltimore this past summer and then getting turned on to their excellent Drenched Lands album, and I've been tracking down their other releases since. This limited edition 7" came out a while back and we managed to grab a few of the last copies that were available.
The a-side features "Plague Journal", where Locrian loop a fragment of blackened metallic riffage and send it tumbling through one of their black clouds of sidereal cosmic ambience and swirling feedback. This jam is a lot less krautrocky and kosmiche than their newer material, but it's heavy as hell, full of thick chunks of grinding guitar and stuttering spaced-out squiggle writhing through the dense amplifier noise, becoming more epic and mesmerizing as it builds into a clustered mass of sparkling overtones and minor key melody, like hearing a metal guitarist shredding across one of Troum's more blown-out slabs of guitar ambience...
On the other hand, the b-side is more along the lines of the newer teutonic Locrian stuff; "Apocryphal City, Portents Fallen" opens with a deep-space fog of muted reverb and nebulous drift, deformed guitar loops swirling through the darkness, waves of metallic choral synths, trippy electronic effects and tape noise drifting through space, sounding like Growing at their most krautrock-ish, the simple guitar melody forming into a cascade of layered arpeggios, and as the track reaches the end, huge waves of distorted doomy riffage and crushing ambient heaviness suddenly sweep in as the music becomes a massive sludgy kosmiche swirl, equal parts Schulze and Sunn, spaced out and heavy as hell.
Only three hundred copies pressed, on white vinyl and packaged in a plain white jacket with a black and white xeroxed insert.
Sunday, November 15, 2009
By Lauren Weinberg
Kavi Gupta Gallery
Through Dec 5.
The Canadian artist, who lives in Paris, also presents hazy images of European parks and landmarks. These composites of watercolors, drawings, photos and tiny inset film stills are largely black-and-white, evoking earlier, decadent eras. In The Arrangement (2009), a collection of photos, scrapbooks and photocopies in a vitrine table, Treleaven pairs two copies of a man’s portrait with pictures of elegant statues, implying a personal connection—though one may not exist.
Treleaven positions viewers as voyeurs, having us peek at several photographs through lens- or keyhole-like dark circles within their borders. But so many of his subjects are so overtly constructed, it’s obvious we’re intended to see them. Unfortunately, the insularity of the artist’s faux nostalgia keeps us at a remove.
In Treleaven’s film Last 7 Words (2009), singer Genesis P-Orridge turns his head back and forth as his feminine golden hair is blown toward the camera. The unexpectedly lovely image is enhanced by Chicago band Locrian’s wordless soundtrack. It’s one of the few pieces that engages our emotions as strongly as our aesthetic sense.