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On their first album in seven years, the multinational power electronics band fronted by US legend Mark Solotroff manage to live up to the hype created from their less than prolific release schedule. Punishing, malicious, and appropriately deranged, Bloodyminded proves they have lost none of their potency.
Solotroff and his team have consistently managed to elude the two major clichés of the power electronics genre: intentionally ambiguous politics and overdone sexual violence.While his former project Intrinsic Action may have delved a bit into the latter, Bloodyminded have continued to shed the adult bookstore sleaze elements and instead have shifted into more varied, esoteric topics and themes, often tied to a voyeuristic examination of human psychology. Within the Walls, for example, has lyrical content heavy on cell biology, without ever becoming completely clear as to its symbolism or meaning.
Live, Bloodyminded manages to convey an image that is self-aware enough at its own spectacle without overly diving into parody or satire.Solotroff's aggressive vocals delivered via a cobra's nest of intertwined microphones as the rest of the band thrashes about with antiquated plastic synths is definitely idiosyncratic (recent photos show an adoption of the pocket sized Korg Monotron synths, which just add to the absurdity).With the band's thrashing and leather clad wardrobes, it comes across as a perfect perversion of heavy metal tropes.On record though, this is not as overt but admittedly is not at all necessary to appreciate the music.
Insanity, another staple of the Bloodyminded repertoire is also insinuated quite often throughout the 13 songs on this disc.The consistent use of multiple vocalists aggressively screaming mantra-like lyrical passages amidst the constantly shifting and roaring waves of electronics is the best approximation of schizophrenia I can imagine.Even with the near melody that is buried deep in the mix, "Fatal Breath" demonstrates enough contrast with the razor sharp electronics and feedback, offset by a deep low end rumble that makes everything extremely disorienting.On "Circular Relations" the sense of mental disconnect is even more powerful, with Solotroff's up front screams offset by Isidro Reyes' backing Spanish vocals creating a confusing juxtaposition.
One of the hallmarks of power electronics is use of rhythm, which "Night Strikes" chooses to completely ignore.Other than the sustained electronics, growled vocals and feedback keep things as hyperkinetic and unpredictable as the best Masonna records do."Disintegration" features more of a structure in comparison, with blasts of white noise and deep pulsing electronics that convey some sense of order, but with a vocal delivery that is ridiculously over the top, but works quite well.
The most significant departures here come at the beginning and end of the record.Opener "All the Cities are Occupied" is all murky hums and idling machinery noise.Compared to what follows it, it has a meditative, understated sensibility to it that sets the mood for what follows.Even though it begins to get abrasive about half way through, the intermingling layers of synths are much more restrained in contrast to the remainder of the record.
The album closes on a cover of Locrian's "Inverted Ruins," a song that Solotroff did the vocals for on their Territories album.In the hands of Bloodyminded, it maintains much of its original moody vibe, all based on layers of synthesizer that never become too harsh or unstructured, but with a looser overall feel.Stripped of its original rock trappings, the underlying electronics of the original become more prominent and gives an entirely different sound that honestly feels a bit between traditional Bloodyminded and Solotroff's Anatomy of Habit project.The orderly arrangement seems to insinuate an inevitable explosive climax, but it never comes.
With Whitehouse seemingly done for good, Solotroff and crew have put together an album that covers similar ground and hits the same high points without sounding like an emulation or a tribute.Even after such a break, Bloodyminded is still a singular force in a genre with far too many sound alikes.Within the Walls is cerebral enough to fascinate, visceral enough to pummel, and manically unhinged enough to be completely engrossing and entertaining.
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This EP pretty much picks up exactly where last year's fine Man With Potential left off, once again combining furiously thumping house beats with stuttering, skittering noise.  It is more of a tease than a substantial effort though, as it is basically just an amusing dalliance with the 12" single format, consisting of two versions of the title piece and a superior B-side.  Neither quite stands with the best songs on Potential and there is no evidence of a significant stylistic evolution, but Pro Style is an enjoyable distraction to tide me over while I await Swanson's next major work.
The opening version of "Pro Style" begins with roughly a minute of grinding mechanized noise, brooding synths, and host of distinctly Swanson-esque buzzes, bleeps, and stutters before the beat kicks in.  My hostility towards four-on-the-floor house beats has already been documented and that has not changed, so the unrelenting, unchanging thump is a bit of a sticking point for me.  Even so, I eventually warmed to the piece somewhat, as the combination of the minimal, deep bass groove and the absurdly maximalist wrongness surrounding it is damn endearing.  I especially enjoyed the impressive invasiveness of the crunching, metallic noises that appear in the middle–it feels like being at a rave in the midst of an active, functioning junkyard (albeit one that also seems to be embroiled in a ferocious laser battle).  The "VIP" version that follows is essentially more of the same, but longer, uglier, and crunchier.  Which is, of course, even better.
The lengthier "Do You Like Students?" is a bit more closely aligned to my taste though, as Swanson thankfully tones down his rib-cage rattling bass drum a bit.  Also, it scores something of a perverse, improbable hook in its eerie, two-note synth pattern.  It also boasts a somewhat more ambitious and musical synth bass line, which makes it feel more like an actual song once the beat kicks in (rather than an assault by percussion).  The sounds in the periphery, for the most part, remain consistent with those in "Pro Style," although the various bleeps, stutters, and clatters are buried a bit deeper in the mix.  It may not sound like much of a divergence, but cumulatively, it makes a big difference: "Do You Like Students?" sounds like a perfectly likable bit of retro-dance pop that has been remixed by an insane person and has gone badly off the rails.  That distinction makes it significantly more enjoyable than something that is basically a noise piece with a house beat added.
While the music itself is solid, the real appeal of Pro Style lies in its simultaneously kitschy and reverent format.  This is presumably as close to "fun" as a Pete Swanson release can get, so it is hard to be too critical–this is not meant as any sort of grand statement.  Unfortunately, I am congenitally dissatisfied, so I have to admit that I am a little disappointed that Swanson did not embrace the potential of the 12" dance single more fully.  For example, I bet a dub version of "Do You Like Students?" could be spectacular.  Also, it probably would have been extremely cool (or memorably, hilariously awful) to enlist an influential but forgotten techno or dub producer to rework "Pro Style" rather than presenting two somewhat similar versions.  So many missed opportunities.  Alas.  Perhaps Pete might just be getting started with this format though–it works well for him, as this is exactly the right amount of harsh noise-damaged techno I can enjoy in one dose.  I will keep my fingers crossed.  In any case, Pro Style is very likable (if minor) effort.
 
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It has been a full decade since Drumm's last solo album on Mego (2002's massive and career-defining Sheer Hellish Miasma) and quite a bit has changed in the noise world since then.  While more modest in scope this time around (Relief is a 37-minute EP), Kevin's latest effort shows that an impressive evolution has occurred over those ten years, as he hits the perfect balance between his characteristic howling noise and his infrequently surfacing ambient side.  That comes as no surprise to me at all, but I was pleasantly taken aback by the sheer ferocity of Relief's noisy side.  Drumm is clearly not mellowing with age.
This EP has one extremely significant and immediately apparent characteristic that dwarfs all of its others, in that it is apologetically, spectacularly monolithic.  I can randomly skip to any one-second fragment of Relief and it will sound almost exactly the same any other fragment.  In fact, the only significant variance comes at the very end, and even that is pretty minor (the piece slowly fades out).  Otherwise, the piece is essentially a non-stop roar of roiling entropy from the second it starts until the very end.  That one-dimensionality only exists in a large-scale sense though, as Relief is far from dull: while the piece's bleak and floating synth motif remains a relatively static backbone, the underlying noise is apocalyptically explosive and immense.  There is a very good reason why Kevin is widely considered one of the world's greatest active noise artists, as his layers and layers of squalling static and white noise basically sound like the world is collapsing.
Drumm's ear-shredding avalanche sounds extremely clear and crisp and is both crushingly dense and bludgeoningly immediate.  If I had a grievance with this effort (which I do not), it would probably be that the melodic component does not evolve as the piece progresses, or maybe that the piece does not actually progress at all.  Instead, it more or less feels like being thrown into Drumm's scorching cacophony midstream and staying there until he feels like fading out.  However, the sheer enormity, violence, and microcosmic vibrancy of it all easily makes me forget about its compositional shortcomings and the forlorn melody is merely there to act as foil for that face-melting eruption, which it does beautifully.  Not so beautifully that Relief could be mistaken for anything other than a harsh noise album, of course, but the contrast it provides enhances the viciousness of the piece while simultaneously making it pretty listenable (by noise standards, anyway).  In lesser hands, such a sustained, unrelenting eruption would undoubtedly become quite wearisome at some point, but in Drumm's, it is a bracing, virtuosic tour de force.
(one caveat: It is not entirely rational that this is being released on vinyl, given that it is a single piece with no pauses or breaks of any kind.  I like vinyl as much as anyone, but sometimes that medium just does not make sense and this is definitely one of those times.)
 
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The constantly collapsing particles of 'Rats/Cats/Bats" sometimes cement to form loops that slowly melt and restructure. "An End to a Means" is a gritty crush of almost industrial noise and the result of the stress and strain of gears against gears. The crawling force of D/A A/D's immoveable object vs. unstoppable crawling force is an insistent punch and crumple. The grim bass of "Untitled" is ripped apart by sharp steel and then beaten to death by spades, the melodic stalled groove seeming in pain as it moves. There's a pretty heavy Wolf Eyes vibe across “(die) Hipster Scum," huge bass pulses that never launch into an assault but plough the song along. There are great sloughs of slow thrashing that leave the material rough and scavenged through maltreatment.
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Included on Deadverse Massive Vol. 1 are a handful of remixes, selections from their work with other artists, a couple of previously unreleased pieces, and the entire Streets All Amped EP originally released on vinyl by Ad Noiseam. Known mostly for their heavy as lead hip hop that goes over well with metal crowds, Dälek spend a considerable amount of time on other weird projects where their approach to cutting up and layering sound can air itself out. Although I'm always most impressed when the beats are hard and the lyrics are cutting through, when I hear pieces like "Music for ASM" or "3:46," I get a better idea of how the Dälek sound actually comes to life. This disc finally brings some of Dälek's more challenging and esoteric work together with some underappreciated gems.
Although I don't care for the collaboration with Velma on "Rouge," there are moments when the Deadverse production takes over and the track shines despite the vocal. Their remix of Techno Animal's "Megaton," (the first Dälek work I remember hearing) elevates the original and is thankfully included here as the ancient 12" is getting hard to find. The disc closes out with the four songs from Streets All Amped, which are all classic Dälek, mixing straight ahead lyrics with dusty grooves and layers of grime. Dälek are easily one of the most pioneering acts to come out of the hip hop world in years. For those unfamiliar with the accolades that the band gets overseas for playing in the experimental/noise sandbox, this disc is a welcome primer.
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Yeh approached his source material with a desire to be transparent, even literal, and to avoid straightforward narrative. The literal is there in the deceptively matter-of-fact track titles — “Drone”,“Voice”, “Shrinkwrap from Solo Saxophone CD”, “Two Guitars” — but knowing which sound source is buried beneath these tones does little to remove 1975‘s sense of enveloping mystery. This is sensual abstract music with a light touch, a confident minimalism that only reveals its unsettling depth, sharp corners, and playful malevolence with repeat listens.
For fans of Eliane Radigue, Hecker, Pita, or Kevin Drumm.
Born in Taiwan, and now based in Brooklyn NY, C. Spencer Yeh is the one constant of the “band”Burning Star Core, whose other members have included Mike Shiflet and Trevor Tremaine & Robert Beatty of Hair Police. He has collaborated with a staggeringly diverse range of artists, including John Wiese, Tony Conrad, New Humans w/ Vito Aconcci, Aaron Dilloway, Okkyung Lee, Evan Parker, Yellow Swans, Greg Kelley, Paul Flaherty, Don Deitrich (of Borbetomagus), and Chris Corsano (to name just a few)."
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Unofficial, hand-made second volume of Marissa's favorite covers.
01 Winter Lady [Leonard Cohen cover]
02 Learning to Fly [Tom Petty cover]
03 Birds [Neil Young cover]
04 Farewell Angelina [Bob Dylan cover]
05 You Don't Miss Your Water [William Bell cover]
06 The River [Bruce Springsteen cover]
07 Motel Blues [Loudon Wainwright III cover]
08 Distortions [Clinic cover]
09 Sara [Bob Dylan cover]
10 The Book of Love [The Magnetic Fields cover]
11 Avalanche [Leonard Cohen cover]
12 All My Trials [Traditional]
13 I'll Be Here in the Morning [Townes Van Zandt cover]
More info here.
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There's something undeniably irresistible about Maximilian Hecker's sugary sweet breathy falsetto and captivating pop melodies. The love for his music is a vice, like cigarette smoking or alcoholism: your first exposure feels rather disgusting but at some point, it becomes quite addictive. Soon, you're not allowed to be around your friends who don't indulge while you feel the need to indulge. It's embarrassing.
 
Kitty-yo
You begin only indulging in certain places like the car or at home alone, late at night. Luckily, Max Hecker won't rot your liver or give you lung cancer. You will inevitably feel guilty. Hecker was discovered as a street singer in Germany doing Brit pop covers, played every instrument on his 12-song debut, but makes the big bucks modeling, or so the legend goes. Many of the songs are lyrically repetitious but are endearing enough to be thoroughly enjoyed. The pretty piano, acoustic guitar, and vocally over-processed melodies are something pop radio needs more of. Don't bother playing this around your über-macho jock friends as they'll surely laugh at you. Fuck it, I'd rather be a sissy and enjoy fun music.
 
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This full-length CD shares only a tiny amount from the 12" released earlier this year which bears the same name. (For my praise of those four songs from the first side, see issue 31 from this year.)This version opens with something so far beyond politically incorrectness but then breaks into a charming acoustic guitar bit. Of course it moves quickly on to of Cex's more well-developed electronic cut-up fuckery, with the occasional scatterings of kitchy sketch comedy (which Tigerbeat6 artists seemingly are becoming more known for), and only a subliminal hint of rap. Not what I was expecting from a guy whose live shows have had some fierce freestyle rapping lately. It's strange, that at first I was kinda set off by his rapping and comedy, but now I'm kinda wishing there was more of it on this disc. This is a truly fulfilling disc, however. Mr. Kidwell has got a keen mastery of mixing the elements just right for each song—low grooves, fun breaks, enough glitchery to make it interesting and not too much to make it laborious. A brilliant bit ends the disc on the theme of a high school crush shining through a mix tape. It may lead some to wonder "Is it real? Is it staged?" The pretentious European electronic music critics might not get all the jokes but Cex is surely more entertaining than nearly all of the critically acclaimed noodly drivel littering the shops.
 
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- Destination: Sexy
- Eleven Million Dollars Worth of Bearer Bonds
- Florida [is shaped like a big droopy dick for some reason]
 
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Stichting Mixer is a 2-year-old foundation for minimal electronic/acoustic music, it's goal "to start and stimulate initiatives which encourage the encounter between sound and other media". Its recorded output, from knowns and unknowns alike, is released through the Mixer label. This disc is the first release on CD, limited to 500 copies.Battery Operated, apparently the duo of TomKz and Wade Walker, "chase" (i.e. DAT record) sound signals in 8 architectural non places, those modern structures of repetition such as airports, rail stations, hotels and shopping centers. Thus, they use the spaces themselves to construct soundtracks for them. The 8 tracks are roughly 5 to 6 minutes apiece and the digipack offers only the abstruse clue of a greyscale texture for each location. All sorts of unidentifiable sound tidbits are churned up and around, molded into quasi-rhythmic patterns and ambient-ish soundscapes. Tracks 3 and 8 are the real standouts though, simply because they're the most musically dynamic. The former in particular perfectly segues between cluttered and calm moments. Good stuff. Future Mixer releases I'll be keeping an ear out for include a split LP by Pimmon and K?n and a double 7" by Kaffe Matthews.
 
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