Night Moves; sir monger likes men

The Skull Defekts – Blood Spirits & Drums Are Singing

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Cephalic Carnage – Xenosapien [Relapse 2007]

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the skull defekts blood spirits & drums are singing conspiracy core052blood spirits & drums are singing is the skull defekts first record recorded in a professional studio. it is also their first one for the avant rock sound, previous releases included heavy sound experimenting, doom variations and electronic noise stuff. it is all about the rhythm. the circle, repetition. the sound. the noise. sweat. funk. sex. the skull defekts sound is a beast going for your brain, feet and the place in between. beware.the skull defekts was formed by henrik rylander and joachim nordwall in early 2005 when nordwall’s band kid commando decided to end their eight-year carreer as knights of the sweatiest avant rock existing. rylander had been experimenting with feedback for a few years after the death of the infamous swedish garage rock outfit union carbide productions where he was the pulse, rhythm and founding member. quickly they teamed up with legend jean-louis huhta who’s been a key character in the swedish underground music scene since the mid 80’s, and the quartet was complete when daniel fagerström joined after eric olofsson left the band after the recording of blood spirits & drums are singing.inspired by bands like section 25, lungfish, pil, 23 skiddoo, arthur russel, cabaret voltaire, a certain ratio, brain bombs, dub, noise, funk, and tribal ritual drumming – the skull defekts are kings of their own sound. and my god. the sound.

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suishou no fune – i throw a stone into the endless depths (sloow tapes – mutsuki 2007)

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The incomparable Cephalic Carnage have returned to claim their place as the leaders of metal’s new era of extremity with their ferocious new record Xenosapien. Cephalic Carnage synthesize everything great about metal, from spastic virtuosity to warp-speed grinding to the heaviest rock riffs ever unleashed. Xenosapien’s mind-bending, technical insanity/mastery collides head on with the band’s brutal metal roots to form their most immediate, hard-hitting, and finest album to date. Xenosapien is unquestionably one of the best heavy records of 2007, and proves once and for all that these unconventional visionaries are set to lead metal well into the 21st century.

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Damaged Japanese psychedelic acid guitar freak-outs bringing early Fushitsusha down with laid-back spacious dreamy Miminokoto and LSD-March melodies, all descending into a lonesome blues abyss. Heavy silkscreened fold-out cover and lyric sheets, total black edition of 150 copies.

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Galax – Never Ending Space Trackin’ [aRCHIVE 2007]

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Three extended freeform space freakouts from HIROSHI HASAGAWA (CCCC, ASTRAL TRAVELING UNITY, ASTRO) on synth and ring modulator and KEICHI MIYASHITA (MANDOG) on guitar and tape echo with a 1 track guest from HIROSHI HIGASHI (ACID MOTHER TEMPLE) synth. all live content from mid to late 2006 in Japan pressing of 600 copies.

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Pekos/Yoro Diallo – Pekos/Yoro Diallo

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First release from Drag City sublabel Yaala Yaala, a new Sublime Frequencies style series of West African musics culled from field recordings, found sounds and tapes purchased at flea markets. And much like Sublime Frequencies, these mostly low fidelity recordings are allowed to remain mysterious, no liner notes, very little information about the artists, just a brief bit of text, mostly about the discovery of the music itself, and one can only assume, no system in place for providing the artists with royalties. A sticky situation for sure, one we can only hope the label will eventually address and make right. In the meantime though, these recordings are so fantastic. Raw and intense, gritty and gorgeous.Yoro Diallo is from Mali and is a well known singer and here is paired up with Pekos, who plays a guitar-like lute, an instrument whose sound is absolutely mindblowing, a fierce buzzing rhythmic riffing, crunchy and heavy, warm and resonant and so so powerful. Strummed and struck, picked and rubbed, weaving a totally hypnotic groove, on the first track it takes the form of a raw blues jam, the melody looped and repeated mantra like while Diallo, wails over the top, his voice deep and intense, as powerful and raw as the music beneath it. The two trade verses, Pekos offering up a never ending patter, almost scatting, while Diallo swoops in every few measures and destroys, his delivery a super intense almost toasting. The first track has been stuck in the cd player on repeat since we first got this in. All the intensity and emotion of Konono No.1 and the same sort of festive vibe, as well as the same song structure, a looped cyclical jam that could go on forever and ever and oh how we wish it would. The second track is like a slowed down back porch version of the first. The strings weaving a loping laid back backdrop, with simple percussion, and the same vocal interplay, Pekos more subdued, Diallo a gorgeous intense roar.Besides the first track, the other highlight is probably the track, a sprawling midtempo jam, way in the background, simple metallic rhythms and softly strummed guitars, while over the top, another guitar is pounded in and out of tune, warbling drunkenly, intertwined with the vocals, eventually dropping most of the melody and becoming another percussion instrument, emitting occasional squalls of tangled melody before returning to its motorik pulse, until eventually evolving into an almost James Brown like detuned funk jam, with the crowd watching going wild. So intense and emotional.

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Stephen O’Malley & Z’ev – Magistral [Southern Lord 2007]

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Yet another Sunn 0))) related project, once again it’s Stephen O’Malley, who here is teamed up with legendary percussionist Z’ev as Magistral. But this is way more high concept that just some old fashioned drum / guitar jam, instead, O’Malley recorded a guitar solo, 8 minutes and 42 seconds long to be precise, and Z’ev then took those recordings and worked them over, according to the liner notes he was responsible for “renderings, recodings, percussion and submixes”. This is an amazing disc of abstract soundscaping and stretched out blackened ambience. It’s difficult to pick out any remaining bits of guitar actually, as Z’ev has rendered them completely indistinct, a wash of crumbling distortion, long expanses of grind and scrape, strange high end shimmer over haunting metallic oscillations, creepy burblings and black sonic ooze, what sounds like workmen hammering on air conditioning ducts across the street, and thick glacial flows of molten low end rumble. The sound reminds us quite a bit of the most tranquil Wolf Eyes moments, a sort of austere, slightly industrial landscape of barren sound, especially the final track, where Z’ev finally joins in with the tribal percussion, transforming a buzzing drone into some sort of haunting pagan ritual.

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Jackie-O Motherfucker – Freaker Pipe
Stunning looking new album from Jackie-O, the debut release from new Canadian label Uzu Audio. Comes in a colour hand-screened gatefold sleeve with die-cut inner, printed clear inner sleeve and insert and pressed on very heavy vinyl: “What started out as an effort to issue some live recordings from the Fig. 5/Liberation era slowly turned into what is the most recent live recordings made available. The free jazz tinged freak-outs you were going to hear have been shelved so we could bring you these three swirling moments in time. Almost an entirely different line up on this Jackie-O than previous releases, Tom Greenwood brings along Nick Bindeman, Danny Sasaki, Corey Fogel (Gowns) and Eva Salens (Inca Ore), joined by fellow sonic adventurers, Jessica Rylan on one track, while on the last track they are joined in Italy by The Moglass and My Cat Is An Alien. The entire first side features a sÇance sure to bring out all the ghosts in your home as the percussion builds and the guitars, synths, and saxophone create a shimmering, sparse back drop for the spirits to frolic to. While the second hints at the JOMF of yester year with a moaning trombone, a noodling blues tinged guitar and the cries of a lone saxophone on the first track. And to close it all off a dense dreamy endless mess of drones, moans, bells and such recorded in Italy. Released in conjunction with Tom Greenwood’s U-Sound Archive, this LP is one time pressing of 1000 copies into heavy 180 gram vinyl and enclosed in a custom gatefold jacket with four color printing, hand screened right here in the great white north.”
- UA.

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souvenirs young america-september songs

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A super limited tour only release from one of our favorite members of the continually growing metallic post rock contingent (you know, Isis, Conifer, Tides, Mouth Of The Architect) But unlike a lot of those groups, SYA is not even remotely metal. And we never thought we’d say it, but dang it if that isn’t a bit refreshing. Sure they can whip up some metallic crunch. Some big heavy riffs, but at their core they are a post rock band, a math rock band, dark and tangled instrumental rock, moody and epic, massive and emotional. What is most surprising maybe about this 3 song tape is the presence of harmonica! HARMONICA!! And not just in the background. It’s the one of the main melodic elements. And it sounds killer. Once you hear the opening track on September Songs, you’ll wonder why the hell more bands don’t have a harmonica player. But beyond the kick ass harmonica, this band just rules, huge convoluted riffing, strange mathy rhythms, thick swells of sound, killer complex emotional and heavy. Long stretches of dark brooding ambience, blissed out rhythmic shimmer, warm guitars over martial drums, slow building guitar jangle over mesmerizingly propulsive drumming, slippery slide and minor key melodic finger picking, there’s really nothing not to love. The guys take a sound that’s becoming more and more tired and turn it inside out and upside down, making their own sort of POST post rock, intense and alive and vibrant and super exciting. And fucking harmonica!

Everyone needs to grab this, these dudes are going to be BIG in the near future.

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OWL XOUNDS EXPLODING GALAXY- Touch The Iceberg

New Fuck It Tapes – no info, but here’s a review of their Toxic Raga:

Another monster in the wake of this group’s levelling Cow On Mushrooms, Toxic Raga once again pairs bass clarinettist/throat singer Arrington De Dionyso with drummer Adam Kriney and bassist Gene Janas. “The textures/times/vibrations embarked upon in this free-music setting draw from the sewers of outsider-experimental jazz explorations and intuitive approaches to instant composition received from the cosmos above. Kriney’s clustered/blistering drumming assumes the role of pace and power, while Janas’ extraordinary upright bass innovations/antics allows the density to fluctuate from a single buzzing bee to a blizzard’s roar, and De Dionyso’s bass clarinet/vocal statements and allusions/illusions breathe the final beautiful hush of towering xounds on which to meditate. As psychedelic as a manhole cover and as gentle as a toothpick, the trio dance the magic waddle of forgotten mystery, and sing songs of lost future legends and reach inward plucking their pumping red heart from the cold dead hands of this fucked EARTH.”

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Owl Xounds – Teenagers from Mars

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Brand new limited album (400 copies on coloured vinyl w/stickered sleeve) from Adam Kriney’s square-slaying free jazz unit, this time in trio format with Kriney on drums, Gene Janas on upright bass and Mario Rechtern on saxophones. Rechtern has been a long-term presence on the fringes of the US/Euro free scene, playing as a member of Reform Art Unit alongside Sunny Murray and Linda Sharrock and recently guesting with Weasel Walter in his Quartet/Sextet/Trio. The feel here is of fully liberated energy forms, with limbs forced deep into the kinda bastions of freedom associated with a buncha exclusive outside music streams like psych rock, hardcore grunt, primitive field blather and – of course – fire music and beyond. There’s a muscular attack and a commitment to pushing past mere dialogue and interaction that sounds most like Black Flag at their jamminest, while the actual weight of the constituent parts has as much to do with Red-era King Crimson as it does with Sunny Murray’s work with ESP-Disk. I dunno, but it almost feels to me as if post fire music played with a post punk/noise mindset may finally be on the up. So release your grip on your own brain and reconnect yr ass to the cosmos. A split release between Wooden Wand’s Mad Monk imprint and Kriney’s Colour Sounds Recordings. Highly recommended.

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The Cherry Point/Mania/The Rita/Sewer Election/Treriksröset – Total Slitting of Throats

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Total Slitting of Throats is clearly labeled as “A HNW (harsh noise wall) audible manifesto.” We live in the postmodernist state where movements are not only born seemingly daily, but also clearly defined as easily as printing a sentence on the back of an album cover. It seems that this so-called “wall noise” movement doesn’t really describe there sound by what it is, but more what it isn’t, which appears to be the most important aspect of their sound.This is not a compilation but a collaboration, one hell of a gang bang in fact including The Cherry Point, Mania, The Rita, Sewer Election, Treriksroset, of which only the last name is unfamiliar to me. What these guys have crafted here is a long track clocking in at 66 minutes of total crunchy constant noise. If you are looking for dynamics, interesting sounds, subtleties, or even any hint of emotion you will not find it here.

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Lasse Marhaug – the Great Silence

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The Great Silence is probably the BEST recording I have ever heard from Lasse. It was recorded in Jřrgen Trćen’s (professional) studio, and it’s produced by Golden Serenades (Trćen + John Hegre)… While Lasse himself has said that the disc is “as primitive as it gets”, I wouldn’t really agree… What it is, is a devastatingly PURE display of the finest kind of harsh noise, and yet another in the long line of records showing Marhaug’s incredible feeling for vital and living noise. Highest recommendation for this one… fucking ESSENTIAL! — Tommy Carlsson (Treriksröset / Segerhuva)I know very little about this man other then he is very known in the avant and industrial world and if this CD is another close to what he does on a regular basis. I bow down to the man. Crushing violent harsh noise with electronic mash up mastery. This CD is full on kicking the shit out of me. Wow this is in the same league of awe as Sickness, Control, Fire in the Head, Whitehouse etc!!!!!! I just don’t want to stop listening to this it maybe the best Noise release to come out in the last 12 months for me. ” The Great Silence” is going to make me look into his back catalog as the collab material he has done is very different to this not as harsh, bleak or mind blasting in any way shape of form. Lasse Marhaug at a mere 32 plus yrs has given us a CD release to set all future Harsh noise records as a standard too. YOU NEED THIS !!!!!!!

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Lasse Marhaug – Spaghetti Western Rainbow

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Hailing from the land of the rising snow, Lasse Marhaug has become one of the most commanding and respected sound artists in Norway. As a musician and composer he has contributed to cd, vinyl and cassette releases for labels throughout Europe, Asia and America. Aside from solo work, Marhaug contributes to several ensembles including Nash Kontroll (iDEAL) and a large Jazkamer unit (Smalltown Supernoise) with black metal legends Enslaved. Having collaborated with artists from varying fields of musik (Sunn O))), Aaron Dilloway and Maja Ratkje) Marhaug’s reach extends into musik for theatre, installations and video.A salvo to Ennio Morricone, Spaghetti Western Rainbow stands testament to the Italian composer’s enduring influence. Morricone collaborator Sergio Leone established the spaghetti western genre in 1964 with A Fistful of Dollars. The director used Morricone again to score the remaining two films in his three-part account of greed and violence (For a Few Dollars More and The Good, The Bad and the Ugly.) Leone’s critics were struck by his brutal depiction of an unromantic West, but his singular style, camera angles and extension of time made his work different from any western that had come before. Lasse Marhaug exacts Leone’s slow, beautiful power and love for expanse with shades of Morricone’s subtle witchery to create what will inevitably be considered one of his masterworks. Harsh, dry passages blend with drifting soundscapes, bird calls and an asseverate guitar figure that promotes an invigorating context for film musik.Issued on Utech Records [001] as a micro pressing of 100 cdr copies in the winter of 2004. Lasse Marhuag first performed this music as an improvised laptop work for Chicago radio station WNUR. This edition finds the original piece remastered and divided into two tracks that open and close the album. Two unreleased tracks have been added to cpmplete the disk. Artwork inspired by the film The Great Silence.

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Sorry bout the rushed format, heres what ive been listening to for the past few weeks. still on the lookout for good metal and indie. tia