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Terminal Erection is the more 'walled' harsh noise project of long term(well since 2003, which is long term for noise) Italian noise maker and pervert Nicola Vinciguerra(whose also in the creative yet perverse Power electronics project Fecalove & often more surreal/ horror filled noise collective of Splinter vs. Stalin). “Putrefaction” is the projects fourth release.
Live at Lava / PK365 casts a faltering light into the shadows occupied by Sweden’s Thomas Ekelund to reveal two contrasting sides of his Dead Letters Spell Out Dead Words project.
Visions are Frederic Arbour from Canada and this release is the follow up his 2005 album Lapse. It’s put out by Canadian label Cyclic Law.
"I can see your breath" offers up a single thirty two minute track of deep, nasty & brooding HNW from this relativity new Iowa based project. The cdr comes in an oversized white folder with a very fitting dark and murky drawing of a male mouth breathing on a possible dead naked female torso.
“Self-Portrait” is the fourth album of twelve full length albums that are being released through-out 2010 by the highly creative & respected noise/general experimental project Jazkamer. This release sees the project focusing in more on grating drone matter and spaced out noisy improv with more active old school industrial percussive crash and extreme jazz tendencies.
Marcus Obst is a German sound artists, field recording manipulator and often playful sonic arranger who’s been active since 1997. “day in dwarfs capital” is his forth solo release, through he’s released twenty three releases under his most know project Dronæment- he’s also involved in the following projects Oscillator, D.Rhythm:O & Marcus Murkes.
This is a Black Metal band from San Francisco (of all places.) This rather short CD is their only release as far as I know, with all the usual BM packaging and some writing I can't really make out.
“Swamp Curse” is a C40’s worth of nasty, sometimes sludgy, but always horror ‘n’ bile soaked extreme noise matter and sickly caustic electro drone matter from London based Corpse Candle (aka Robert Meldrum who’s also in excellent HNW project Uneathered).
"Feast” was the first release from German HNW project Die Reitenden Leichen (which means The Riding Corpses in English). This C20 tape was released in 2008 & was ltd to 25 copies.
I feel mildly ashamed for putting this album so far down on my list of Things To Do. Most everything Tony Wakeford touches turns to gold—sometimes platinum—and Not All of Me merges an ambitious concept with some heartfelt and deeply absorbing music. It’s not the sort of thing I’m going to be playing while I’m paying the month’s bills, but that’s only because it’s powerful enough that it demands complete attention.
"Behavioural Decline" is the third release and first widely distributed album by noise / power electronics artist Lee Howard, who released his first double CDr "The Power of September" in 2007.
Peter Wright's discography is rather long, but it may give a hint to the fact that this artist has been around long enough to justify this number of released albums, working on his music for over 15 years and just shooting them every week or so, regardless of the quality of the material. With this release he proves the opposite, it being a thoughtful, emotional and very rewarding album.
“Crust” finds Croatian HNW project Placenta Lyposuction offering up three suffocating, at times semi industrial, but always brutal examples of intense ‘wall making’.
“My Life’s A Gunshot- Retrospective 1989- 2009 Vol 1” is the first of two double vinyl sets that celebrates the work of highly respected Berlin based Swiss noise & extreme sonic collage artists Joke Lanz and his Sudden Infant. This first volume collects together work from between the years 1989 & 1999.
Chuch are a three piece from Wales, although I don't really know who play's what. I'm assuming this is a rock band (or it's set up like one) that plays mostly very odd-sounding experimental material. What is recognizable is the guitar work and the electronics, but although there seems to be percussion it's processed in a way that sounds alien. This is their second album.
Like the oft-quoted epigram, Norwegian home recording artist Fredrik Ness Sevendal sets about his musical journeys without concern for the destination - it’s the getting there that matters. His sound, presented here by Miasmah reissuing his debut CDr of 2005, is based around the most minimal of melodies played on acoustic or electric guitars whose spare notes are steadily and earnestly repeated to build celestial, cyclical incantations supplemented by subtle electronics.
There’s nothing quite as endearing as a simple concept executed to near-perfection. What we have here are five vaguely neoclassical pieces for piano, played with great sensitivity and skill, and combined with production and experimental sounds in such a way that the underlying feel of the music is enhanced and not obscured. That’s a tough assignment to pull off, but Dimo Dimov, the man behind Miel Noir, has done it.
“Rail killings” offers up two slices of brutal HNW and extreme static texturing from Werewolf Jerusalem- one of most well know and respected projects of hugely prolific and highly influential Texas noise artist Richard Ramirez.
This CDR offers up two slices of living dead and zombie influenced thick ‘n’ nastily brooding ‘wall’ making from Irish HNW project A View From Nihil.
Though originally released in 2006, then reissued in 2007 “Et In Saecula Saeculorum” feels like it could have been released back in mid to late 80’s with it’s distinctive & highly retro early black metal feel that has very vigorous nods towards the likes of Venom, Celtic Frost & Mercyful Fate. Mixed in with big dollops of: 70’s tinged doomed mettlics, prime evil early Slayer blacked trash-outs, and wondering bass meets horror film organ lined 70’s slightly psychedelic metal work-outs.
Sektor 304's 3rd release and first real album, "Soul Cleansing", released in 2009, is basically late 80's/early 90's cyberpunk industrial metal along the lines of Godflesh with a dash of EBM thrown in, a pinch of modern noise/power electronics along the lines of Wolf Eyes, and an extra dollup of post-apocalyptic science fiction cheese. It doesn't explore any uncharted territory, but it's an enjoyable piece of work.
‘The Cool Scene at Café Bizarre’ attempts to recreate the musical and sonic vibe of late 1950’s and 1960’s Greenwich village Beatnik & smart hippy scene that congregated around cellar clubs like Café Bizarre & Café Cino.
A gruff voice, sounding of years of whiskey and cigarettes. Sparse piano play, nothing fancy but effective nonetheless, just audible beneath that voice so close by, practically pushing through your headphones physically. A song of leaving and loving, telling a story as old as life itself, if not older. The tone is set; Welcome to the Heart literally is the prelude to an insight into the heart of Eamon McGrath, Canadian folk-punk troubadour.
On Cache Cache off Sawako’s Yours Gray, the Japanese experimental musician captures the sounds of fellow artist Toshimura Nakamura performing at the GRAIN gallery space in Japan from various points in the vicinity of the venue; Nakamura’s sine tones carry far, and the high frequency squeals can be heard at quite the distance still, far from the place where the piece is performed. It’s a sort of magic, the way in which these high frequency tones move through air, stone, earth, and transform and are transformed by its environment at the same time. As I pop in The Mother of All Feedback by Claudio Parodi, its high frequency tones that bore directly into my skull from the get-go put a wide smile on my face; the potential of transformation that lies within them is inevitably exciting.