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This is kind of an excitedly anticipated album in some circles, as it is the first solo release from the man behind the influential L.I.E.S. imprint.  Morelli's resume is deceptive, however, as Spit is a very backwards-looking, primitive affair rather than a dispatch from the cutting edge or a bold statement of intent.  That said, it is still quite a likable one–it just sounds more like a home-recorded industrial experiment from early '80s Sheffield or Manchester than anything resembling underground dance music circa 2013.
Morelli himself has been quite open about Spit's humble origins, describing it as "stress music jammed out quick and recorded," which is exactly what it sounds like in some ways: it is very grimy, simple, and direct.  In other ways, however, it is a lot better than that sounds, as almost all of these bashed-out variations are built upon very good ideas and there are occasional flashes of playfulness and humor to be found as well.  Also, some pieces are legitimately bludgeoning and heavy, such as the unrelenting machine-like crunch of "Sledgehammer II." If Spit has a shortcoming, it is only that Morelli never allows any of these pieces to expand or evolve beyond their initial motif.
The "Sledgehammer II" vein turns out to be one of the most fruitful threads on the album, as Morelli successfully returns to heavy mechanized rhythms two more times with "No Real Reason" and "Crack Microbes" (which sounds like a darker, blown-out twist on Nurse With Wound's "Steel Dream March of the Metal Men").  Aside from those, the other highlights come right at the beginning of the album, with the brooding, throbbing, and plunging "Radar Variations" and the absurd polka-beat-preset-on-an-old-Casio groove of "Modern Paranoia."  I especially loved the wobbling, sickly, out-of-control synth anti-hook in the latter.
The remainder of Spit is a bit of an unpredictable and perverse mixed bag.  "Slow Drown," for example, is a bit of grinding metallic ambiance, while "Fake Rush" is one of Morelli's ostensible "House variations," though it amusingly undermines its groove with a queasily disorienting and obsessively repeated non-hook.  The most aberrant piece of all, however, is the brief "Director Of...," which combines a jarringly pitch-shifted and willfully annoying synth "hook" with echo-heavy, distorted voices.  I probably would not describe either "Fake Rush" or "Director" as "good," but they are at least interesting and unusual.
I am very curious to see how this album goes over, as I enjoyed it quite a bit, but I tend to enjoy both early '80s industrial and deliberate obnoxiousness much more than most people.  Also, the small pleasures of Spit might be curdled for some people by their expectations, which is a shame, as this album would probably be universally hailed as a minor masterpiece if it were an obscure reissue by Minimal Wave rather Ron Morelli's debut album.  Obviously, I would love to hear what Ron could do if he put some serious time and effort into his work, but that might be a way off, as Hospital already has two sequels in the pipeline.  For now, however, Spit's ramshackle, tossed-off spontaneity is quite endearing in its own right.
 
 
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New CD(r), in handmade cover with woodcut and linocut print.
One long track (1hour, 6 minutes 16 seconds):
Weather-beaten time
Exhausted
Returns through crimson spread
It's towering body
Makes deepest twitching night young.
Sliding on whirlpool dreams
Gallops decomposing transmutations away.
Dark-cloaked ignition pillars
Move each creviced moment
Through farmer's saw-toothed snores
Around infant whimpers,
As goose and gander
Stand asunder
On yelping canal banks.
price € 20,- includes shipping from: www.aranos.org
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The Iron Soul of Nothing will be released on 11/29/11 by Ideologic Organ.
Finally, available now as double vinyl set this is a must for fans of both of these legendary sonic travelers: Steven Stapleton & Colin Potter twist SUNN O)))’s 2000 album “ØØVOID” inside out on Nurse’s dissection table.
"In 2007 we commissioned Nurse With Wound to re-work the masters of SUNN O)))’s second album “ØØVOID” to be included as a bonus CD on the Japanese reissue of said album released a year later on Daymare Recordings. We dug up the original 2" reels from the 2000 session, had Mell Dettmer bake the tapes, made the multitrack transfers and send the drive over to IC studios. The intial brief was to hopefully come up with to come up with something in the veiin of Nurse’s legendary Soliloquoy for Lilith set (my favorite release of the collective). What was returned was way beyond our expectations, completely transformed and rediscovered material, including highlighting formerly obscured vocals of the legendary Pete Stahl (Scream, Wool, Goatsnake). A vast creepy sonic journey some part drone/depth of SUNN O))), other part concrete weirdness of Nurse, third part just downright out there in surreality and obscure referencing." —Stephen O'Malley
More information here.
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The most important audio recording released in the nineties wasn't a collection of songs by a self-tortured alternative star. The most important recording released in the grunge era was entitled SHUT UP LITTLE MAN! It was a covert audio recording of two older drunken men living in a small flat in San Francisco, who spent their available free time yelling, screaming, hitting and generally abusing each other.
The phenomenon began in 1987 when Eddie and Mitch (two young punks from the Mid West), moved next door to Peter Haskett (a flamboyant gay man), and Raymond Huffman (a raging homophobe). This ultimate odd-couple hated each other with raging abandon, and through the paper-thin walls their alcohol-fuelled rants terrorised Eddie and Mitch. Fearing for their lives they began to tape record evidence of the insane goings on from next door.
In recording Pete and Ray’s unique dialogue, the boys accidentally created one of the world’s first ‘viral’ pop-culture sensations. Their tapes went on to inspire a cult following, spawning sell-out CD’s, comic artworks by Dan Clowes (Ghostworld), stage-plays, music from the likes of Devo and a Hollywood feeding frenzy. For the newly famous Eddie and Mitchell, this would be a life-changing experience that would see them ingested into the belly and fired out the orifice of the pop culture beast.
In this first feature to come out of the SAFC’s FilmLab initiative, Matthew Bate (What the Future Sounded Like, Mystery of Flying Kicks) explores the blurring boundaries between privacy, art and exploitation.
Info here.
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New issue out now.
Treriksröset, Boyd Rice, Slogun, Militia, Gnaw Their Tongues, Perispirit, Mika Taanila, As Loud As Possible, ILIOS, Black Boned Angel, KE/HIL, Control. Insider look at the new forces of American Power Electronics, “For Little Box” by: GX Jupitter-Larsen, The Essentials with Sick Seed, Haters and Night Science/Chrysalis. Art by: Waltteri M. (Armon Kuilu). Now bigger page size and more pages!! B5 (18x25cm) / 68 pages with full color cover!
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Dani Siciliano’s second album starts out well, but it has trouble maintaining both the momentum and the high standards set by the first couple of tracks. While her voice sounds better than ever, unfortunately the music doesn’t always do it justice.
The album starts with a couple of playful, danceable songs with good beats that only get better as they unfold. It’s a great beginning, but the extra effort seems to have drained the energy from the songs that follow. Siciliano spreads herself thin when she tries to get serious, and the transition from the silly "Why Can’t I Make You High" to "Frozen" is abrupt and painful. This vacillation between having fun and being serious additionally causes the album to lose focus.
It’s also too bad that she relies on the music to carry the ideas as much as she does, because it’s her voice and the vocal melodies that are the real draw here. She’s at her most sultry and intriguing on the otherwise overly repetitive and static "Be My Producer," yet she’s much too restrained on "Think Twice." Far too frequently, she introduces musical elements that detract from the song, like the cartoonish accents on "They Can Wait" or the rising synth on "Frozen" that grates rather than builds tension.
The electronics don’t always serve her well, and there are some spots where her voice seems out of place among them. The few instances of acoustic instruments included on the album are a good foil for her vocals, and she comes across as more confident and natural in their presence. While dance music is pretty forgivable as far as lyrics go, many of the album’s lyrics aren’t very compelling, like this line from the title track: "If you speak, then speak your mind/Use your head, not your behind."
This album has many enjoyable moments, but its inconsistency hampers any potential greatness.
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Southern Lord’s reissue of Clown Alley’s classic album Circus of Chaos is very welcome. Never available on CD before, this album has long gone under the radar. While not completely fresh sounding after 20 years, the album still packs a powerful punch.
Southern Lord
Clown Alley deserve more than the footnote in musical history that they’ve been afforded. Guitarist Mark Deutrom founded Alchemy Records who, in addition to originally releasing this album, also released the debut albums by Melvins and Neurosis (who both have a lot to answer for with regards to modern metal). Deutrom produced some of the early Melvins releases and later joined as bass player. Clown Alley’s bassist, Lori Black, changed her name to Lorax following this release when she too joined the Melvins as their bassist. Unfortunately Circus of Chaos was consigned to history when the Melvins hit it big.
Of course, with this spiderweb of connections in the Melvins universe it’s easy to overlook Clown Alley’s music. While not the revolutionaries that the Melvins were, Clown Alley were still somewhat ahead of their time. They combined the punk of Dead Kennedys and Black Flag with a fresher and tougher sound. Listening to “On the Way Up” it is possible to hear sounds that would become staples of '90s alternative rock; the likes of Lard, Helmet and Tomahawk were definitely taking notes while this album was playing.
The music is fast and powerful (certainly a lot faster than Black and Deutrom would be playing later in their careers. The punchy bass and machine-like drumming push the songs along at breakneck paces while vocalist David Duran spits out the words like he was trying to get some nasty taste out of his mouth. “Pet of a Pig” is the kind of song that would make me want to get into the centre of a crowd and jump like a fool. The playing from all quarters is crisp and precise, the production is quite sparse. Aside from a tiny bit too much compression, the entire album sounds like just a band playing in a rehearsal room, there’s no jiggery pokery with unnecessary studio techniques to colour the music. There isn’t a wide range to choose from here but Clown Alley do one thing and they do it well (that’s play tight, blistering hardcore infused rock).
In addition to the full album, also included on this reissue are a bunch of live tracks and some radio material. The radio material consists of a promo and an interview, neither of which are worth listening to more than once. The interview lasts 10 minutes but could have been done in one. The only interesting bit is where Deutrom starts getting excited about future releases on Alchemy and tries to explain that exactly how heavy the Melvins are: “imagine Metallica if they were men.” The live tracks, although sometimes of quite ropey quality, were worth including on the disc. The power being put out by the four of them is white hot. Even though at times the music melts into one noise (such as on “Unplugged”), the rhythm still stays intact.
Although it does sound a little dated 20 years on, Circus of Chaos is well worth listening to both as a great album and as a document for fans of the Melvins who are interested in hearing what two of their better bass players did before they joined. I’m delighted to see this being re-released as I’ve never been able to find a copy of the vinyl and have had to make do with a crappy MP3 rip of it. Southern Lord deserve thanks.
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The latest release from Matthew Bower’s Skullflower crushes all the competition. Making very rough rhythms and drones from slabs of noise, Bower has put together one titan of an album. The noise he evokes rakes out my ears like few others do.
Crucial Blast
Starting off with the pretentiously titled “Lost in the Blackened Gardens of Some Vast Star,” Tribulation begins like a kick to the face and keeps kicking. Bower uses the bare minimum rock setup of guitars and drums to make his compositions, but it’s hard to tell as there is so much distortion and dirt all over the music that it all forms one black mess. (It’s a glorious black mess however.) Sometimes, like on this first track it is possible to hear bits of guitar squawk through the layers of feedback but most of the time the wall of sound is all consuming. Like an awful lot of noise releases, Bower shows a strong metal influence. “Black Wind” has a black metal tinged riff repeating through it while tons of feedback creates the black wind of the title. Black metal always strives for icy coldness but rarely achieves it, when I play this piece, the temperature drops in the room.
One thing that isn’t quite annoying but is a little irksome is the way that all of the pieces just stop at the end and immediately the next piece begins. After the eight minutes of aural assault of the title track I am only beginning to get into a good trance when (the admittedly awesome) “Void of Roses” all of a sudden begins at a different volume, knocking me back into consciousness. This is probably intentional, lulling the listener into a comfort zone and pulling the chair out from under them.
The music is disorientating and overwhelming as Bower makes good use of stereo, channelling different sounds into different ears and at different volumes. On headphones many of the pieces have a much stronger impact; the sounds coming in at different levels resulted in me cocking my head to one side like I had a creak in my neck. The dizzying array of noises on offer makes each listen sound as fresh as the first. Even within one piece Bower utilises a wide range of sounds. For example there are three main elements to “Dwarf Thunderbolt:” a slow and doom laden guitar, a wall of shrieking feedback and what sounds like a piano being demolished. Any combination of two of these elements would have made a powerful piece on their own but the three together is tremendous.
One thing that struck me about Tribulation is that as overwhelming as it is, it is never overbearing. After many noise albums I want to put on something a little more sedate but when this album finishes I’m ready to go again after a short break. This is a fantastic album and definitely one of the best from Skullflower.
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Jazzfinger's openness to sounds and attention to emotion, minimalism and fluidity contradicts and even somehow incomprehensibly dismisses their defiantly lo-fi two-track sound.
The balance of distance, depth and intimacy that seems to delicately merge within the songs is also evident on the LP's magnificent extended card packaging. These almost biological alpenglow hallucinogenic watery images are almost like looking down into some hyper-psychedelic liquid abyss, plus it towers above the rest of my CD collection so it's hard to ignore.
 
 
 
 
 
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Nikkie Van Lierop changes her look, her style and her name withvirtually every project she's part of. In the brief and inbredBelgian "New Beat" scene she was "Jade4U," singing and sharingcomposition and production duties in Lords of Acid and 101. Thenshe became the darling of European ravers as part of Digital Orgasm,Praga Khan's entourage, and the production company MNO. As"Darling Nikkie" she released a solo album with an ecclectic mix of'40s crooning, electronic dance and bare-faced spiritualintrospection. She either has a short attention span or a love ofvariety...whether all of this band-switching has helped her career,however, is up for debate.www.goddessofdestruction.com
When she retreated briefly to have a child and spend some time being amom, I worried that she'd return with a bloated album of bland,acoustic tributes to the joys of a baby's smile and the fertility ofher womb. Would Nikkie Van Lierop lose her innovative edge? Would she become a sweetness-and-light stereotype? Would her nextincarnation be a thoroughly embarassing "Goddess of Childrearing?"
No indeed! As vulcan-eared superhero "Cornelia RedStone" (!) shehas become "Goddess of Destruction," and this is her harshest projectyet. In the video clip "To the Limit," she, and barely-audiblebackup-singer Lucy Dark, enter a post-apocalyptic arena, postureaggressively at a bunch of beer-bellied bikers, and then beat up somepoor guy who has barbed-wire wrapped around his head. Keepingwith this theme, many of the album's songs have a "deal with it or getthe hell out" sound to them, where RedStone makes "wrongers" pay fortheir multitude of crimes: spousal abuse, greed, deception, and...well,Elvis impersonation. That last one is a particularly heinousoffense in my book, Max...go get 'em.
Leaving the "I am Cornelia RedStone from Planet Xylox" piece of cheese behind, Goddess of Loveis as strong, punchy and nasty an album as its "beyond Thunderdrome"video promises. Van Lierop is a creative programmer who knows howto keep you interested, and her keyboards are as fat and fuzzy as aballsy autumn caterpillar. Her production is virtually flawless,and her voice has lost none of its repetoir; she can pull off the nastygrowls of "Addicted To Sin" and "Goddess of Insanity," as well as theoperatic sweetness of "Soulmate," the repetitive rave-yelling of "Tothe Limit" and the R&B diva vocals on "Behind Smiles" withoutbatting a single spooky eyelash.
There are certainly cringe-worthy moments here: as on her past soloalbum there are times when her voice self-destructs on the highernotes, the lack of irony in the lyrics can make them painfully sincere,sometimes the production gets a bit TOO wacky, and the guestguitarist's licks are perilously close to cheap classic rock. Butthe overall album is made up of solid songwriting, conception,performance and production. I can dance to Goddess of Love AND I can sit quietly and enjoy it.
After heaping all this praise on the album I have to wonder: will VanLierop finally get her due now? Is it basic sexism that's kepther from rising as high as she should have? I'm hopeful thistime...I'm pretty sure that the ecclectisim of her last album kept itfrom really catching on, but Goddess of Love, while still retaining some of that variety, is a bit more comforting in its electronic rawk consistency.
Most importantly, though, it's not about breast-feeding or buying baby togs and that alone is a blessing...thanks, Goddess!
samples:
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I started keeping a list of random ideas and sounds in the newestKattoo record because by the fourth track, the record was already goingall over the place. I'm a huge fan of sample-based music and thekitchen sink approach to constructing records usuallyworks, but here it plays like a hackneyed collection of obviousinfluences that don't add up to anything greater.Hymen
The opening track is a melodramatic piece of orchestra music played allby the canned synths that plague the entire record. People learned inthe '70s that synthesizers made to simulate acousticinstruments were more interesting when they were just being used tomake their own weird sounds, but that's something Kattoo still hasn'tfigured out.
Some of the arrangements are touching and themelodies can be pretty hook-filled, but they are all hamstrung by synthpresets. Electric piano is flat and drenched in reverb so that itsounds almost exactly like the piano tones in Windows XP that tell youwhen an application is finished installing. Strings and synth brass(does anyone seriously try to get away with synth brass these days?)are excruciating and while the songs might have been great had theybeen recorded by a real orchestra, Kattoo seems not to have thatluxury.
Movie samples dot the record and add texture andoccassionally meaning, but they never sew the songs together intoanything cohesive. The effect usually comes off like someone adding Aliensdialogue over a new age record which sounds like the kind ofexperiments everyone I knew with a sampler and a love of Wax Trax werebanging out in 1992.
When there are beats to break up themovie-score melodrama, they are either pulled from the same cannedcollection as the synth patches or cut up in an annoying way in anattempt to posture as contemporary. Take away some of the buzz rollsand micro-edits and you have an Enigma B-Side collection here, onlywith less interesting instrumentation.
When the samples aren'tobvious and overly indicative of the genre aesthetic to which Kattooseems tied, they are so completely out of any context that it sounds asif the author is simply passing through channels on a TV and capturingwhatever bit of randomness catches his fancy. I swear there's even abit of the Alien 3 score lifted or re-created here. Kattoo's haphazard approach tries to throw samples from Logan's Run,anime dialogue, beatboxing, middle eastern melodies, and war moviesound bytes together and if it were trying to be funny, it might justwork. Unfortunately, there's no obvious tongue in Kattoo's cheek.
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