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If the news were to believe Israel would have nothing more than religious fundamentalists and war. Of course this is not the whole truth, and a band like Igor Krutogolov’s Kruzenshtern i Parohod illustrates that. Their energetic mix of Jewish music and western influences ranging from jazz to mathcore proves that there’s also people living a more ordinary life, yet making extraordinary music.
Telegraphy by the sea finds Haynes building a rich and varied collection of drone textures, going from clearly organic dry crackles to deeper more lushly dark electronics. Covering a lot of ground in it’s near on hour running time-from mysterious, haunting, to rewarding.
Rat Tapes One almost feels like Mr Stapleton & co have wondered into remix mode. with beats of all manner been to the forefront of much of the material, some of it even wondering towards almost normal electronica territory, but worry not this stills has a strong whiff of NWW about it. Claiming to be a collection of discarded musical vermin dating back to 1983, this feels doubtful, some of the material may well date back to then, but it feels this has been put together and supped up in the last year or so.
Sculptor is Agnivolok first album from 2002, here it's reissued & repackaged in a nice fold out black card package with silver and gold print by Eastern front.Were Agnivolok Cherries album mixed together Russian music, ambient and folk. Sculptor concentrates more on ambient, experimental and more difficult elements of their sound.This is also somewhat darker and wrong sounding,weaving almost doom like textures in places of the album. There’s little of the wintery hope of Cherries here, but that doesn’t make it a less album, just a little more difficult and challenging.
Khlyst is James Plotkin’s(Khanate, Phantomsmasher) New project, which finds him joined by Runhild Gammelsaeter (ex Thorr's Hammer).They summon up a mix of grim blacked metal, deep dark droning tones, dread weighted ambience.That really has the power to breed real fear in ones mind.
Beneath the lakes second album finds the Two piece project mining ambient and gloom filled guitar drones and guitar repetition. Mixed with dense environmental sounds, organ and other instrumentation to pick out the more melodic elements. Coming off like a darker version of Biosphere guitar tracks on Substrata, or like more Environmental and less cowboy freindly version of Earth's more recent material.
With Negative Damion Romero has managed to conjure up one hell of a shifting audio storm. Which drifts along with great menace, to suddenly rip apart with huge columns of feedback. If playing on head phones, it literal makes you jump in your seat, making one look much like their in the electric chair for a second or too.
Shit & shine mix drum machine pounding ,all manner of Percussion, stuck droning guitar riffs, noise and lots of silly, bizarre and often funny samples. All in a very British way,whether non brit listeners would get the some of the references and the humour is difficult to say. But I found it a wonderful haphazard noisy ride, that possible sometimes out plays it's comedy factor.
Lock up your daughters because Al Jourgensen is back with another blast of spite from the industrial metal anti-Bush camp. And if you thought he was pissed off on Houses of the Mole well this time he’s practically boiling over with rage.
Misty Roses are real Camp customers -both in their musical mix of easy listening, lounge music and electronics, all tipped off with experimental edges. And with their flamboyant musically delivery, the lead singer offten sounding like he’s just stepped from a Broadway show.
Greetings From The Great Void finds us once more drifting and invesgating strange star systems via the Opalio brothers intergalactic rich droning come (off) world music. From the openers cascading star tunnel tones right untill the last moments of the exit tracks melancholy ritual space float, your utterly transfixed and lost in the sounds here .
I don’t care where I go when I die is a bloody horned -devilry loving, twitching slab of ‘wont die ’ harsh sludge grind. The tracks often hammed and slashed with psychotic and grim experimentation elements. The album keeps you on your toes though out, unsure weather you’ll been battered and pumpled by bent horrific riffing or slowed to a dieing crawl by atmospheric guitar work.
Season of the witch is a horrifying and spine tingling collection of drifting dread scapes. Using dark ambient, horror filmatic snthy work , noise elements, death breath and bone brittle drifting rhythmic thuds. Which all builds a really creepy haunted house or dead black wood of an album.
Max Richter is one of the most remarkable, and remarkably underexposed composers currently working in the UK. He has lent his piano playing and compositional skills to a variety of collaborators including Future Sound of London and Roni Size. He also co-founded the contemporary classical ensemble piano circus. Songs from before is his third solo album.
This is a reissue of a long out of print and legendary industrial album from 1986, remastered and with the bonus of three extra tracks. While some of the samples and sounds do age this to a certain extent, on the whole it’s rather effective in its dour creepy light.
Marcus Fjellström Sculpture classical and electronics sound worlds togeather. But unlike some artist making this kind of thing, it never sounds like a load of badly cut together samples. This seems to flow so well,in a Convincing manner. It also has a 'cant quite put my finger why' unpleasant and unnerving air running through out.
This brings together two uk noise projects Kylie Minoise & Tetsuo- there are a solo track a piece bookending the cd, with a collaboration tow parter in the middle. Both projects seem to contrate more of guitar and lo-grade rhythmic matters & it’s use through pedals ect,to make their own brand of rough and ready noise,that has more than a glint of humour about it.
It’s admirable and some times rewarding what A Crown of light attempt on their first album The clearing- to make a soundtrack to a short story text dealing with madness and macabre rebirth. Mixing togeather dark ambient, environmental sound elements, noise and blacked guitar feed back.
Why I Hate women is a gyrating mix of odd angled punk to avant rock, with synth shudders and David Thomas distinctive vocals- which wonder from spoken to odd singing that goes from heartfelt to sneering to strangely cartoon like. On First listen the tracks seem relative simply(and strange), but grow in depth and charity with each new play.
The international duo called 10 was formed by Itta from South-Korea and Marqido from Japan, both also active as solo-artists. Marqido on his laptop and Itta on assorted instruments, toys and vocals. Laptopmusic often ends up a bit boring to watch but the extravagant looks of Itta and the use of the colours red and black makes them appear different compared to the competition.
Hectic watermelon mix prog rock, virtuoso guitar work, jazz rock as well as flecks of metal, country and other genres to varying effect.Seemly to be constantly walking the thin line between been rewarding/enjoyable and been over blow and just too much. Like a lot of virtuoso guitar collectives or guitar soloist- one feels a lot of the time it’s all about showing how fast or how fancy they can play things, and not concentrating on making a pleasing or interesting songs.
Agnivolok mix together traditional Russian Music, folk, drone, dark ambient and noise elements in spine tingling and unequal manner. sounding quite unlike anyone else with their mix and depth of sounds. This was original meant to have been released in 2001 under the title of Cherries For the Golden Skull and now finally sees the light of day under the shorted title of Cherries. It's packaged in a stunning a yellow fold out card sleeve, Emblazed with Russian text and Cherries.
Drywall merger together all manner of musical genre’s to make comic and clever music, with a sneer and sometimes deadly serouresly tone. Coming off like a more new wave version of Frank Zappa’s more song Structured work, but with more darkly curled avant edges.
There’s something rather charmingly dark and lo-fi about You will never survive this nightmare. Much like watching a great chessey and grim 80’s horror moive or murky video nasty.This is a cheap sleazy hit- built around ragged industrialized drum machine loops and muffled samples. Maybe I’m not paint the best picture of it, but I really have a soft spot for this double disk.