woensdag 21 maart 2018
Fuck On The Beach If you don't know what to expect here I can't really help, this is brutal, lightspeed clattering blasts, razorwire treble drenched guitar and whirling layered screaming at it's finest. Plenty of ear splitting distortion, feedback, mics peaking and everything way too loud in the best way. This is fun loving fastcore powervioelce from Japan which I'm pretty sure even has a 'clap-track' on the self titled outro track. Fucking excelent. This side of the split is primarily hyper fast d-beats with the odd blast thrown in, so is sonically the inverse of the Terlarang side. For fants of Japanese style everything faster and louder style grindviolence. Terlarang Lo-fi to the point of incomprehensibility this side of the split goes even further down the slopes of treble-valley than Fuck On The Beach, sounding like the guitars are physically tearing the speaker cones from the amp and the rest of the band are trying frantically to hold them back in. Everything here is fast, no slow at all on this side. Maybe one or two slightly slower than lightspeed d-beat smashers floating about in there but this is really all about the pace. The fast as fuck and don't care nature is epitomised by the cats on the split cover and the last track basically sounding like black metal but being called 'Stop The Hate' in what seems to be a conscious rejection of the bullshit ideals of traditional NSBM. Nice. This split is relentless and will hurt your ears in a charming way, fun frantic ear-splitters from start to finish. credits released December 24, 2017 www.WOOAAARGH.com
dinsdag 20 maart 2018
This work is based on a small inspiration by Kudo Tori, with additional material added from the voicemail recordings made by Hashizaka Ai (and her family) and from a Maher Shalal Hash Baz 30th anniversary show in Shinjuku, to make up three levels of sound. 55 tracks double album at 45rpm with 56th track on additional CD ships Jan. 12th 2018 Description 1 Around that time I was still in Wakayama. To help get rid of some pent up anger that had built up while doing hard work, I took the company’s car without permission and three of us went to Kataonami. I wanted to see the ocean. I was sick of Osaka, and I felt so refreshed by the wide open spaces and lonely landscapes that on the way back home, I rented a place in Sonobe that I just happened to pass by. At that time, Ai liked the place, too. The rent was only 35,000 yen for three rooms with a kitchen. When we were trying to choose which apartment would be best, I asked a scrawny old lady who came out to see us whether it was a good place to live or not. “It’s on high ground so the breezes are good, and in the summer you can see fireworks from here. But stay away from building C. There’s a crazy person living there.” On the way out I noticed that the stairs and landings were really wet. “Somebody died in the apartment across the landing, so I’m always pouring water there.” When I got home and checked, I found out that the place was the spot of the famous poisoned curry case. Every day I drove two hours each way to work in Osaka (I didn’t have enough money for the expressway most days). I got home late all the time, but the feeling of crossing the mountains out of Osaka and the smell of the fresh mountain air rushing into my nose when I got out of the car at home was really great. On my days off, we all went to the shore. Kudo-san and Ai and I were all still using flip phones. One time Ai told me, “Tori-san sends me a bunch of melodies to my voice mail, so I record them here with Mari (who was about one year old at the time) and send them back.” She let me hear them, but at the time I only thought they were just fooling around. My work was getting harder day by day and Ai was stuck in that lonely place where she didn’t have any friends or relatives, doing nothing but taking care of the kid and shopping all by herself, bored and upset by the inconvenience, and we started to argue more. One day she said, “I want to go back to Osaka. There’s nobody here to help me. You’re hardly ever here. Did you want to shut me up in the countryside?” That wasn’t my intention, and I was startled by her vehemence. And then, after a little while, I had a kind of seizure at work. Luckily someone was right there and miraculously I got better with no after effects and didn’t die. A-chan from Ebon teahouse and Kaoruko, Kudo-san all came to see me while I was recovering. We had to go back to live in Osaka, and my son was born. After about half a year I went back to work, but I punched the boss and got fired. A few years passed. Ai, Kudo Tori and I had all said, “We want to be the last ones still using flip phones,” but we all switched to smartphones. Mari was crazy about Purikyua/Glitter Force. Ai cut her hair. I lost mine. 2 This work is based on a small inspiration by Kudo Tori, with additional material added from the voicemail recordings made by Hashizaka Ai (and her family) and from a Maher Shalal Hash Baz 30th anniversary show in Shinjuku, to make up three levels of sound. Hashizaka’s sounds are full of the highly entropic sadness of northern Wakayama and Maher at Shinjuku sounds like they were a little angry. Kudo-san says that he picked up a sense of blankness and kindness from these fragments. Something like the feeling you get at an out of the way bookstore that has a nice collection of books, or at a small cheap bar that features fried organ meat, or a bakery, or taking a long trip, or when you’re extremely busy with cooking, cleaning, housework and child care, or other real experiences that make life worth living. Notes by Geshi Nodoka translated by Kato David Hopkins https://www.thewire.co.uk/video/tori-kudo-explains-his-latest-album-with-an-animation
“In this mortal frame of mine which is made of a hundred bones and nine orifices there is something, and this something is called a wind-swept spirit for lack of a better name, for it is much like a thin drapery that is torn and swept away at the slightest stir of the wind. This something in me took to writing poetry years ago, merely to amuse itself at first, but finally making it its lifelong business. It must be admitted, however, that there were times when it sank into such dejection that it was almost ready to drop its pursuit, or again times when it was so puffed up with pride that it exulted in vain victories over the others. Indeed, ever since it began to write poetry, it has never found peace with itself, always wavering between doubts of one kind and another. At one time it wanted to gain security by entering the service of a court, and at another it wished to measure the depth of its ignorance by trying to be a scholar, but it was prevented from either because of its unquenchable love of poetry. The fact is, it knows no other art than the art of writing poetry, and therefore, it hangs on to it more or less blindly.” — Matsuo Bashō
maandag 19 maart 2018
Silence is not a word we expect to hear in the world of music. Of course, there was John Cage, but normally what we expect to hear from musicians is music. For the past couple of years we have heard silence from a group difficult to describe but easy to enjoy: LE TON MITÉ. Since the fall of 2014, the group's leader, McCloud Zicmuse, has been travelling, touring, writing, playing, transforming a solo project into a group & recording a collection of songs to be released next February called "Passé Composé Futur Conditionnel". Before that day arrives, the decision has been made to make public, defying the silence & at full volume, a few songs from this collection. This Fall, Crammed Discs pleased to present the first 7" EP in the history of the mythic Made to Measure composer's series: "Mystery Trail to Space Needle". A microcosm of adventure: five soundtracks of a voyage to the past, in the present. For those who are familiar with the quirky sounds and mini compositions of LE TON MITÉ, you may be shocked by sounds that are resolutely pop, but within, creeping to the forefront, you will hear an evolution of what you know and love. For those who know nothing about LE TON MITÉ, get ready for a quick ride, jet streaming over the United States.
After the band members played in different bands all over the world they found each other in their musical roots: 'Grungy' punk songs that are reminiscent of Dinosaur Jr and At the Drive. Special melodies and old-fashioned guitar violence. The vocals (male and female) of all band members provide a diverse sound. From March 2018 they promote their debut album in Europe.
zondag 18 maart 2018
Zea is the solo alias of Arnold de Boer (Makkum, 1974). Using a minimal set-up of guitar and sampler, Zea creates a maximal one-man polemical beat punk future-folk juggernaut that brings him all over the world. De Boer hails from Amsterdam, The Netherlands and was born in Makkum, a village in the northern province of The Netherlands, called Friesland. His first language is Frisian, and this new Zea album contains only songs sung in Frisian. More personal, more direct and intense than before Zea is putting songs like objects in front of the listener, songs you can look at, set between people or take home and hang on your wall. In April 2017 the album “Moarn Gean Ik Dea” (Tomorrow I Will Die) will be released on his own Makkum Records label, together with the Dutch Subroutine Records. The album is more rugged and gloomy than earlier Zea albums, but it's also open and protrusive. There is no black hole pulling you into the centre of this record since the pulse and the melodies keep you swirling around it. When English is a language De Boer can look at from a distance, play with and treat like a meaningful game, Frisian is direct and part of his body; his English lyrics, for Zea and The Ex, are plucked from the air, these Frisian songs are pulled from the ground. https://zeamusic.bandcamp.com/album/moarn-gean-ik-dea
zaterdag 17 maart 2018
With great joy I'd like to introduce the follow-up to the last year's special anniversary compilation of ISTOTA SSĄCA radio show. The first release was a successful attempt and involved the broadest possible circle of friends in creating a record, that could roughly sum up this podcast's diverse range of musical interests covered throughout its entire existence. However, despite the considerable size of the compilation (34 submitted tracks), it was simply not enough to fulfil my personal wish list of potential contributors I still had in mind. Thus it really didn't take me long to decide that I'm going to make a "bonus round" and provide a fresh set of wicked sounds to the listeners. "Eclecticism" seems to be the worn-out word but how to describe what happens here in another way? Take the swinging notes of Twink's toy piano, the saturated deconstruction of Bartosz Zaskórski's (Mchy i Porosty) early chiptune works, the Breakmaster Cylinder's funny take on a dubstep drop cliché or Derbyshiresque retro-futuristic oozes generated by Xylitol (a work originally commissioned by Peter Strickland for his radio play). These are just four tracks mentioned of the twenty-one compiled on this record. At the end I'd like to shout out a huge THANK YOU to all the artists for submitting their beautiful music! It has been a great pleasure working with you! released February 19, 2018
Fyoelk (Antwerp, BE) Since 2006 Fyoelk has been making electronic music out of Flensburg, Berlin, Amsterdam and now Antwerp. Starting out as a heavily percussive and sample-based project, Fyoelk recently has been researching the physical energies of early Chicago house and the NY underground dance scene of the 70s and 80s, as well as obscure new wave and cosmic music. African dance music from especially Kenya has also been on heavy rotation and probably influence. The newest live set features a midi orchestra of synthesizers and drum machines, sprinkled with acidic bass and splashes of delay. Fyoelk runs the cassette label Stenze Quo and is one half of freeform acid house duo Laser Poodle (with Sleek Mink). stenzequo.blogspot.be
vrijdag 16 maart 2018
album : The Marion Brown Quartet This 1966 release was saxophonist Marion Brown's debut recording as a leader. There are three tracks here, two of which go on for some time. As was the case with most of ESP's releases from the period, this is a free jazz blowing date. There are two bassists on the program, Ronnie Boykins and Reggie Johnson, along with John Coltrane's future drummer Rashied Ali, and Brown playing with either trumpeter Alan Shorter or saxophonist Bennie Maupin. While the music here feels, and for the most part is entirely improvised for maximum visceral effect, Brown already has his tone and style and is a clear standout. His unique phrasing and attack shows his tenderness, even in the angriest of these exchanges. He holds his own with the rhythm section and is at times lyrical and spacious, particularly in the middle sections of "Capricorn Moon" and "27 Cooper Square." While this is not his best recording, it is memorable as an early showcase for Brown's fully developed voice, and for Boykins' and Ali's fiery playing.
Rooie Waas stops and close off with a new album MAK You know when as a teenager you create a sort of caricature of yourself? Rooie Waas has felt like that for a while now. It was bred from the will to hear something we hadn’t heard before, maybe even to colour the world to our taste. And what we knew was the world of pop music. The sweaty rehearsal spaces, carrying your gear in the snow. Making your own video clips and learning about anything and everything there is out there. It was a loud protest and a hope for change. It became something that had it’s own grammar, a style if you will. An outlook on society and an anchor to plan our lives according to. It is also a project that changed as much as possible in the span of the seven years we worked on the band. It went as far as it could while still remaining coherent with it’s beginnings. It has become time to discard this vehicle, as it is no longer necessary for us. So as a last act for this band we’ll launch our most immoderate, hopefully artistically meaningful endeavour yet. There will be only one live presentation of the whole music on the new album titled ‘MAK’. In Amsterdam, where Rooie Waas started, an album presentation will take place on the 22nd of March. It will happen at Mezrab and on the same note we will have a small edition of our new and last work. A print of 100 Lps, made lovingly by hand will find their way into the hands of those that will not live for tomorrow, but instead will battle the wind, rain and distance to celebrate what for us, and hopefully you – was an inspiring voyage in Music. For thick or thin, that was what Rooie Waas was about. Inspiring. And searching. And limiting our tools in order to communicate better. It’s time to shed this skin and au lieu of critiquing, and polarising – filling the future airwaves with beautiful, transient and diverse sound waves. Our fourth album is coming, but first a videoclip of our song Dan is het er niet meer! made by Bob Borstlap. There’s no I There’s no we. There’s just us. Daag! Gijs, Mikael en Gerri. http://www.rooiewaas.com
donderdag 15 maart 2018
Taximi is the improvisation during the performance of traditional musical pieces, using soloistic folk instruments. It has roots in the eastern Mediterranean and Arabic culture and can be commonly found in Greek music and specifically in rebetiko. Taximi is a free rhythm melody, an author's imagination, alternating between various emotional paths with a passion respective to each one who carries it. The main prerequisite in order to play a taximi is not to have excellent technical knowledge, but rather to deposit your soul. You could say that at this point, rebetiko seems much similar to improvised music. And when that singular sound of rebetiko is embellished by a vast range of sonic influences starting from the blues, traditional music, instrumental exotica and ends in electroacoustic / free improv fields alongside distinctive electronic manipulation, it is certain that we are talking about an experiment moving on the fringes of unexplored improvisation, perhaps pushing them even further. And if you asked us to guess which people are responsible for that, the name of Mike Cooper would certainly be the first to come to mind.
woensdag 14 maart 2018
www.soundcloud.com/kilamanzego www.soundcloud.com/madamdata Dug from the old vaults of Madam Data and Kilamanzego, Like Daggers is a fucked up mish mash of wonky, experimental, and ambient bleep bloops representing this mess of a world we live in and the struggles K and MD have faced in the name of creativity. From questioning if it's worth it to continue music as relatively new producers to what's actually good and what isn't, it's always resulted in pushing through the distractions because ultimately this is who we all are: artists who can’t imagine living life beyond music, with or without words, with or without support. We know that treading the path to feeling accomplished feels like daggers, but dodge them and keep grinding. Enjoy the quirky adventure and feel free to say what's up.
Fuck On The Beach If you don't know what to expect here I can't really help, this is brutal, lightspeed clattering blasts, razorwi...
Logosamphia is the Iranian-Dutch artist Sadra Hemati. Energetic lives, trashy-noise DIY toys, fluo-pop identity, epileptico-chelou dance, ...
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"The human being knows himself only insofar as he knows the world; he perceives the world only in himself, and himself only in the wo...