Tuesday, September 13, 2011
For my money, the Schimpluch guys put out some of the scariest music on the planet. This Raionbashi 10" is exemplary of the collective's organic cut-up aesthetic which creates an utterly unnerving atmosphere through its collage editing of treated field recordings, body sounds, acoustic / electronic tones, and most importantly silence. Besides the use of space, what makes the work of Raionbashi, Dave Phillips, Runzelstirn & Gurgelstock et al. so effective is the selective use of harsh sounds, or even the complete lack of harsh sounds on certain recordings like this one. Essential listening!
I find Harsh Noise Walls a particularly difficult sub-genre genre in which to separate the wheat from the chaff. However, this German artist stands out from the pack to me. His compositions are truly engaging which, to me, is the most important aspect in this type of long-format minimalistic performance. Each of these two tracks has a deep tidal feeling to it wherein immense sheets of static ebb and flow over each other, creating a lush soundscape out of truly nihilistic tones. And dig that fucking artwork!!! Released in a minute edition of 13 copies.
Wednesday, September 7, 2011
Superb dark atmospheric tape loops and electronics. The dense, hypnotic layers of warmly physical field recordings seem almost architecturally rendered in the carefully-structured way in which the vast and lonely soundscape unfolds. A rewarding listen that welcomes repeat visits.
Monday, September 5, 2011
Unparalleled Japanese saxophonist Kaoru Abe delivers a massive tome of furious loneliness and unbridled energy. His confident, virtuosic performance is a thing of great rarity. What is most impressive in Abe's performance is that there is absolutely no separation between player and instrument. The sound flows organically from a union of player and instrument as one. The production conjures an atmosphere of utter isolation - it as at once empty and full like screaming into a void. To heighten the insular feeling, the record was originally issued in a plain white sleeve with scant information and no mention of the artist's name. Bottom line this is essentially listening, there are few musicians who are capable of creating such an engaging and unique album of solo performance.
The world's heaviest power trio unleash a burning alchemical morass. This evil monolith grows ever more titanic and ruinous with each passing minute of its exhaustive 1.25 hour duration. Drummer Ikuroh Takahashi brings a psychedelic skittishness which carries the momentum and keeps things unpredictable. Certainly one of the heaviest entries in their vast catalogue.
Friday, September 2, 2011
O.G. blackened thrash chaos from Colombia. Messy and nihilistic as a motherfucker, the sound verges on noisecore and war metal at times. Recorded between 1984 and 1988 (!). Highly recommended.
Thursday, September 1, 2011
Came across this last year at Wotan Mit Uns and I still listen to it weekly. Addictive Nazi techno with palpable homoerotic undertones. Everything else I've ever heard like this has been shitty NS gabber, but this is a different beast entirely. Not as goofy sounding or ravey as 88mm, this thing is all hypnotic lo-fi beats and subtly evolving dark synth washes with the obligatory Hitler samples thrown in for good measure. From the same cat that does Blackmoon Warrior 88, word.
The mighty Mr. and Mrs. Arafna are back with another set of expertly-crafted angst pop jams. When I heard that part of this was recorded for some sort of New York fashion show, I was pretty skeptical, but Das Haus deliver their strongest material to date. Their sound remains equal parts industrial, minimal synth and power electronics. Although this was recorded in 09 I think it sounds fresher in some ways than last year's full-length, "You." Get it while the link is hot.
Near-perfect doom by the incomparable Mikko Aspa. I'm no doom guy, per se, but Aspa has the Midas touch with this kinda thing. Great atmosphere, pace and tone. No stoner or gothy bullshit here. Wish there were twice as many tracks and that the "fast" parts lasted longer.