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With Baird’s deep, commanding voice, Lullaby for Strangers is more likely to induce troubled sleep than peaceful rest. In fact, her hypnotic singing could very well induce trances, if not somnambulance.
Baird is like a siren of the deep woods who can enchant travelers with a few well-chosen words. Songs like “Breaking the Roofs” and “The Last Word” remind me of folk tales in which faeries kidnap humans. “Morning Song #2,” on the other hand, sounds like an organ that’s played late at night in a forest clearing, while everyone else is fast asleep and upon waking cannot account for their disturbing dreams. “Storms Stay Fine” is the song that’s the most like a lullaby, with water and Baird’s soothing singing.
Baird’s only misstep is “Bury Deeper,” which is too overtly morbid and has a vocal melody that’s a little grating at times, but the song is so brief that it subtracts very little from the whole. As further testament to her talent, Baird also plays almost all of the instruments on the album yet makes it sound as if she has many collaborators with their own communication styles. Although the album runs a little short of half an hour, I prefer Baird’s economy of expression compared to an album that’s padded merely to fulfill running length expectations. Lullaby for Strangers proves that she can bewitch in a short amount of time.
samples:
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Auto Da Fe use a number of exotic instruments with pleasant, albeit mostly straightforward results. The singing, however, immediately reminded me of class field trips to the Renaissance Fair, an association I unfortunately couldn’t shake throughout the course of the album.
Despite their attempts to evoke Eastern lands, this medieval European connotation is especially apparent to me on songs such as “Past Times,” “Child of Typhoon,” “Amanda Blaine,” and “Neptune Society Ball.” Sometimes, like on “Little Alili,” “Ne’er Do Will” and “Bao Ba Cha,” I liked the music but couldn’t get past the stagnant vocal melodies. This was particularly disappointing on “Ne’er Do Will,” since the music itself is some of the most transportive on the album. The best vocals are found on “Huaf Weishenme,” because the approach differs slightly from the others, but it’s too little too late.
Almost by default, I prefer the album’s instrumentals, although some of them have a faux-ethnic quality I just couldn’t swallow. “Mao Mcow” and the title track are played well, though ultimately sound too Western to be convincing. “Just Now” has propulsive energy that’s undermined by random shouts that I assume are supposed to be encouraging, but took me out of the song. In contrast I enjoyed all of “Sophie” quite a bit, a piece which sounds like something to be played at a Sicilian mobster’s funeral and isn’t like anything else on the album.
I appreciate the fact that the group’s trying to do something different, but too often their attempts sound forced or naïve. Rather than trying to bring together so many disparate styles, they might do better by exploring one or two in depth.
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Taking a side step from his series of numbered Astral Social Club volumes, Neil Campbell drops a quick two track smack round the head. Recorded live in April 2006, this may be titled after a bolt from the heavens but it’s much less rapturous than his usual material. This is a simpler, sweatier, and less delicately formed ASC release that shows him in a heads down noisier drive.
While the guitar is the central component of both tracks here, it’s used in very different ways. Quickly switching from punchy work which spreads out to an extended guitar squall, the sounds on "Passing Star" are the more frantic of the two. Even so, the track fails to really catch fire in comparison to "Solar Filament" or the Astral Social Club’s previous incredible output.
The stomp of "Solar Filament" has a hell of a lot less high end than its predecessor, taking a thicker thrashier route. Rhythmically stapled through the chest with a cheap wine Mo Tucker bash, this track doesn’t need to sink into really heavy or dubby depths. Instead it remains a fairly steadily splurging digital merge of elements. Like some gut punched and winded organism the stratums breathily heaves under the riffage. The layering of sounds here fails to shimmer like Campbell’s official Astral Social Club volumes, but this punked out path is equally as engrossing. At around the nine-minute mark the main thread is derailed through a burst of FX, a semtex strapped fuzz pedal takes its cue to spill the guitar one louder across the track. At its core lies what is either middle eastern music layered at three times the speed or metal girders attacked by bees; either way it’s a furious melee of notes. Just as the swarming stomp finally threatens to spill over into firework melodies the whole thing zips off into the distance like a tape reel running out.
samples:
 
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The Matinée Orchestra’s debut album is a treat. It is folky and psychedelic but not like the current batch of artists like Devendra Banhart et al. Instead The Matinee Orchestra combines a mixture of traditional folk styles with modern technology and atypical instruments. The result is a wonderful collection of music with only a very occasional lapse in quality.
Arable
The album opens promisingly with “Thanking You for Listening,” which starts off with a beautiful trumpet, xylophone and strings introduction. Before long the song slowly changes instrumentation with each instrument playing around the same basic structure but giving radically different effects. Guitars, electronics and cello all add a distinct layer to the song. It all gels together when a beautiful, distant female singer repeats the title of the song over and over again.
The rest of the CD shows a huge variation in instruments. Banjos, flute, violins, electric guitar, acoustic guitar, a wide variety of electronic gizmos, drums, mandolin, field recordings and various noises all give The Matinee Orchestra plenty of room to manoeuver. No two tracks sound too much alike despite sharing a number of common elements. Style and timings are played with to give enough variety to prevent any risk of boredom. There is a lot going on in each piece but the music is mixed very well so that all the components are given their right amount of space. This is especially evident in the extremely long (in length and in title) climax to the album: “It’s a Fantasy World/Everyone has the Right to Protest even if no one Listens.” The music ebbs and flows over some lovely field recordings with as many instruments as possible appearing throughout its 13 minutes. This may give the impression of a clumsy hodgepodge of a track but it is perfectly composed and performed.
“Run for Cover (It’s Going to Rain)” starts off sounding like nearly every folk artist that’s released an album in the last four years. A strummed acoustic guitar and a vocalist that wavers just a little too much nearly make me hit the skip button every time it starts. Luckily some tasteful drumming, trumpet and electronics pull it up to acceptable standards. Memories of the awful intro are dashed with the next piece; “Pray, Rock, Stone, Paper, Scissors.” A music box gives way to a cascade of trumpets which dance around a slow, pulsing bass and guitar rhythm. It is a stunning, simple piece of music.
The first time I listened to this album I thought it was rubbish. Listening to it again and again made me wonder what was wrong with me that first time. The Matinee Orchestra have made an absolutely delightful album. It is cheery, easy to listen to and importantly has enough depth to keep me putting it back in my CD player.
samples:
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- Chris Zaldua
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From the get-go, the mood is set by the first sample, a rainy thunderstorm. As cliche as that might sound, Ozeanische Gefühle truly is a creepy album. The drones creep into the picture like glaciers, quiet at first but building to throbbing heads that ebb and flow away. This album makes me feel like I'm sitting in a run-down shack in an empty field at night during a rainstorm, but it goes beyond that: it's an engaging,interesting album. Incredibly, there are no boring moments to be found here. I'm hoping Matt Waldrom returns to the unsettling-drone arena again, because he is clearly good at what he does.
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Field recording isn’t just pointing a microphone at your scene of choice and hitting record. There is a skill in capturing the atmosphere and life of the moment and allowing a listener to recreate the scene in their mind in vivid Technicolor. All of the artists featured on Recorded in the Field by… have this skill in spades.
The variety of recordings included on this album is a treat for the ears. The 19 vignettes document a wide array of environmental, natural and human situations. Of course there’s the token recording of crows too. I’m convinced to become an official field recording artist you have to make at least one recording of a murder of crows. Dallas Simpson’s “The Valley of the Crows” is a better than expected variation on this theme. There’s only so much that can be done with crow calls but some recordings have more ambience than others and this is one such case. Far more interesting is “Küstenvögel in Dünen” by Lasse -Marc Riek, a recording of many different species of coastal birds. It is a beautifully clear recording and evokes pleasant memories for me of going birdwatching on the beach.
Most of the recordings make great use of space. Some give the feeling of being right there in the middle of what is being recorded. The best piece is undoubtedly Dronaement’s “Waterbeat” which is the sound of gurgling water in a pipe recorded very closely. It is claustrophobic but intensely pleasurable. On the other hand, “Niagara Falls” by [sic] reduces the mammoth intensity of the mighty waterfall to a tinny rumble. It is a nice touch to reduce something so big and earthly to a sound so thin and otherworldly. As expected, Chris Watson’s contribution, “By Kelso Dunes,” is a masterclass in creative recording. His is the only track without any notes accompanying it so I don’t know what exactly it is but it sounds hot and dusty.
The wealth of wonderful recordings on Recorded in the Field by… made me want to listen to the album dozens of times. I could spend hours getting lost in the individual tracks. A lot of traditional ideas such as the humming of bees are turned on their head or at the very least shaken up a little, in the case of the bees the sound of a helicopter in the distance acts as a comment to man’s engineering versus nature’s engineering. I find that the more straightforward a field recording is, the duller it is. Little twists like this adds a spark of excitement to the piece.
This is one of the most enjoyable and fascinating collections of field recordings I’ve heard in a while. There is no piece that approaches even the remotest outposts of boring. It’s rare to find a compilation of any type of music without a dud track but I feel that Recorded in the Field by… is a damn fine assembly of sounds.
samples:
- Chris Watson - "By Kelso Dunes"
- Lasse-Marc Riek - "Küstenvögel in Dünen"
- Dronaement - "Waterbeat"
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As the title suggests, this album contains two improvised pieces. Each one was recorded live and shows Gaping Maw in great form. The mix is at times unbalanced due to the nature of the recordings but overall this is a fantastic document of two formidable performances.
The album starts off with a deafening roar of synthesiser and an erratic and frantic snare beat. There is no time given to adjust the volume accordingly. Lasting just over half an hour, it is a muscular musical pummelling that left me feeling sweaty and tired. The trio use a collection of synthesisers, basses and a drum kit to make a dense and powerful racket. Tatsuya Nakatani’s drumming switches from very loose and random destruction of the kit to a tight, driving Krautrockish beat. The other two then weave in and out, sometimes creating a strong rhythm (although not necessarily in time with the drumming) but mainly making an incomprehensible but superb mass of treacly goo.
The second piece is much shorter at ten minutes but has all the quality of the first. It is a completely different vibe compared to the first one, it is much quieter and the tension is thick. Bruckmann and Johnson’s synths sound like air flowing through a ventilation shaft. Slowly the music builds up as the drums come in. Nakatani sounds like a ball of energy let loose on the snare drum. The final two minutes sees the music bubbles over into the intensity heard on the first piece. At this point I felt tired giving such rich music so much attention, I needed the break.
This was my introduction to the group and it has made a bloody impact on me. A quick google has given me fuck all information on them, which is a pity because I want to hear more. Two Improvisations is a little patchy in terms of the sound of the recordings. They are not perfect live recordings but they do capture the force and the power of the performances and sound more than adequate to my ears. A more polished recording might detract from Gaping Maw’s clout. As it stands, this album is a colossal lump of top quality noisy improv.
samples:
- Nervous Center 11.02.01>Chicago (Extract 1)
- Nervous Center 11.02.01>Chicago (Extract 2)
- Candlestick Maker 08.09.02>Chicago
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No further proof of noise's validity needs to be made; there are plenty of people in the world messing around in their basements and making annoying sounds that their parents, neighbors, and roommates hate them for. Recorded at the Kongsberg Jazzfestival in 2005, Hana had the chance to annoy a whole crowd of people at once and likely succeeded.
I'm holding on to this disc just for the occasion that someone tells me "anyone can make noise." I suppose, in some way, that's right. Anybody can "play" a guitar and just about anyone can pound out something resembling a rhythm on a drum set, but that doesn't mean anyone's going to want to listen to it. Similarly, just because someone has a guitar, some pedals, and plenty of time on their hands doesn't mean anyone is going to want to hear the results. Anders Hana's noise is bland, a repetitive affair littered with random sounds, but nary a cohesive thought.
Getting through the eight minute opening piece is a chore enough, but finding a way through the final 16 minutes is worse. These evidently untitled tracks sound like a guitar being put through a grinder, though the sound is still definitely that of a stringed instrument. The first choked rhythms and non-melodies are enough to get an idea of what the record is going to sound like: semi mechanical noise with a hint of improvised performance. Some feel that's enough to make certain electronic pieces a cousin to jazz, but I don't.
Although the first track is by far the most chaotic on the disc, none of the calmer bits have anything to offer, they simply drag on longer despite having shorter playing times. I liked the packaging idea Utech had, with the simple cards and semi-transparent sleeves, but the minimalist and relatively eye-catching design (in all its utter simplicity) says nothing about the dull tones kept inside. Had I been at this concert, no matter how loud it was, I would've fallen asleep.
samples:
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Also on Utech, but of more interest than Anders Hana's release, is the multi-instrumental, sound generating outfit Silo. Cello, trumpet, and "traditional Maori instruments" in hand, this group does more than just pump out disjunctive noise; their soundscapes are intriguing and dark, like a stranger episode of X-Files sewn into a blanket and thrown over my head.
Utech
These sound drones have a connection with early "industrial" albums from the likes of Throbbing Gristle or Coil: the instruments and sounds used are open and natural, reverberating with an acoustic and mysterious quality that makes their beauty much easier to take in (or their ugliness, depending on the person). Squirts of near animal sounds or mechanical gibberish are inserted at key points, producing an illusion of biological growth or innate chaos. These sounds can't help but compliment each other; as far as this self-titled album goes, the choice of trumpet and cello as instruments was a good one. The band mixes the two to perfection for nearly an hour's worth of music.
The liberal use of reverb and echo on this record gets a little redundant, until it is mixed so well on the third track that it's application makes perfect sense. This song swells and moves so effortlessly that it's hard not to believe the band was recording a natural phenomena somewhere in the wilderness of the former Soviet Union. The titanic, brass sound that flows out of the speakers on this disc is imperial and crushing, an iron fist slamming down across a land already torn apart by desolation, massive tracts of land making communication impossible or, worse, undesirable. The mood kept across the entire disc is one of loneliness, tempered with a sense of dread. This is some strange hybrid of ambient and noise music; it commands attention but does so with patient breaths and soft caresses. Once the pressure has finally built up through the course of the record, all that softness has somehow turned into a force to be reckoned with.
This is a fine, airy album deserving of attention. Utech again utilizes a very minimaist packaging scheme and, in the case of this record, it doesn't work very well. All the metallic and fantastic sounds used deserve better representation in the visual realm. This, however, is my only complaint. It only marginally mars the face of this otherwise fine debut on Utech.
samples:
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After nearly two years of work the cinematically transcendent debut full
length from Anoice is finally available. Anoice is the first group on
Important to be signed off of a demo. In fact, this album is essentially
that very demo with few studio touch ups and a mastering job courtesy of
Jeff Lipton @ Peerless Audio in Boston (Magnetic Fields/Flaming Lips).
Lots more information can be found on the Important website including
photos/mp3's etc. And in case you're interested in writing this up you'll
find some more info below.
Thanks!
John & Important
Let's get this straight immediately. Anoice is not another instumental
group with strong rock tendencies and an armchair association with
classical music. Unlike numerous contemporaries which they will
undoubtedly be compared to, their goal is not to follow the trends and
make the soft/loud/soft/loud juxtapositions in every song, but to
carefully craft each song with a strong attention to melody, solid
accompaniment, and courteous counterpoint. One of the remarkable
qualities of Anoice is that they truly work as a group, with members who
aren't afraid to remain quiet while others play. Through meticulous
composition Anoice has achieved an unrivaled quality.
While the band isn't intentionally attempting to be cinematic, the
recordings achieve something breathtaking and emotive: imagine the
Rachel's scoring a film by Ang Lee. Anoice's music is anthemic and rich
while being introspective and personal. Each track is preceeded by brief
and dense ambient tracks to clense the audio palate much like ginger in
your sushi boat.
Anoice are a six-piece group based in Tokyo. The band was formed
in January, 2004 by members Ricco (guitar/keyboards) and Taku
(guitars and mandolin), who were soon joined by Yuki (piano), Utaka (viola), Matsu
(bass), and Yossy (drums).While each member cites different musical
influences, it's fairly evenly split between rock (think My Bloody
Valentine meets King Crimson), classical and modern composers (Perhaps
Debussy and Shostakovitch writing together after drinking heavily from
Phillip Glass), jazz and electronic ( Autechre meets Mum maybe?).
Combining all of these influences with their obvious Japanese heritage
Anoice has created an album with an emotional arc, climaxing
magnificently as it ends and leaves the listener determined to press play
once again.
Pronounced "a noyce," the name comes from the Celtic word for "now"
(Anois). Remmings is their debut release and contains four named songs
and five unnamed songs. Cover art by Non Format. Mastering by Jeff Lipton
(Flaming Lips, Magnetic Fields)
"With guitars, bass, viola, keyboards and drums, the six Anoice succeed to
create incredible atmospheres between Sigur Ros, Arvo part and Rachel's."
Rockerilla (Italy)
“Even when all of them are going at it hammer and tongs they act more like an
orchestra with each player adding their own element to the melody. Anoice hit
all the blissful and joyous emotions and only rarely dip into melancholy like
most bands of the same ilk. “ Brainwashed
"Anoice have produced something entirely different and original, a mature record
of great beauty and attention to detail that rises above any clichés and should by
all accounts establish them as one of the leading artists today. "
Rockarolla (UK)
"Anoice Remmings (Important) This Tokyo-based sextet make some really sublime
instrumental music. Monumental and subtly nuanced; they all allow plenty of room
for each other. Mixing guitars, programming, viola, bass, piano, drums, mandolin,
and synthesizer, into the nine varied sonic excursions presented here. Mesmerizing
soundtracks to nonexistant films that bloom in the center of your mind. Ranging from
very small and soft spoken, to toweringly grand and vast. Some pieces have the feel
of chamber music renditions of Mogwai or Spacemen 3 songs; others feel like an
accurate aural description of loneliness."
Dream Magazine
"I was sold this record on the promise that Anoice are “like Rachel’s…but they rock…”
But isn’t that Godspeed? Well, no because whereas Godspeed dangle you worringly
over a cliff for the duration of an album, Anoice frequently drop you, pick you up again
and occasionally even make you float. What’s more, there’s often more of a rhythmic
framework here. The bass isn’t afraid to groove, the drums do ‘Bolero’ behind the
cascades of passionate viola and hammered piano. Anoice, in fact, are as adept at
approaching the rock/classical thing from the rock end as the classical end, which gives
them more than one string to their bow and potentially makes for some celestial live performances.
In places, they sound like an instrumental Arcade Fire. In others – particularly the incredibly
beautiful tracks 5 - 8 – they sound as good as any living film composer worth his salt.
If track 6 (Liange) doesn’t astound you, you are a glacier.
There’s a readymade market for evocative, anthemic, cinematic stuff like this, of course, be
it on the bill of All Tomorrow’s Parties or soundtracking some intense French film noir,
with Emanuelle Beart running down the steps of la Basilique du Sacre Coeur in torrential
rain. Even so, Anoice have that something special that could elevate them even beyond that.
This is not a group, as such. These people are modern composers. "
Glen Johnson - Piano Magic
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During the late '90s, London-Tokyo harsh noise unit Noise/Girl became one of the Japanoise underground's most respected live performers, and renowned for a denser and more complex sound than most contemporaries. Suddenly in 2000, Noise/Girl disappeared. After four years missing and presumed dead, frontman Lucifer has resurfaced with live performances and a CD full of new tracks and unreleased material.
Trevor Brown, a fellow British ex-Patriot in Tokyo, has provided the cover artwork n a signature adorably unsettling illustration. Trevor is known for his fetishistic, unavoidable, brutally disturbing, and highly collectible covers for John Zorn, Dead Pop Stars, Jarboe, Merzbow, GG Allin, Coil, Supersuckers, Brighter Death Now, Whitehouse and Venetian Snares. At 500 copies, the supply of Discopathology will not last long.
This CD is the final epitaph and culmination of Noise/Girl: a super-heavy noise album that you can also boogie to. Deep, harsh, psychedelic noise engulfs disco and funk, which has somehow traveled through the looking glass and into another dimension of howling feedback and brutal bass frequencies.
Featuring some tracks to dance to, some tracks nobody in their right minds would try to dance to, and a remastered version of the legendary 12" single "Discopathology," described by the NME as "a terrifying record n deserves to be a big-room floor-filer...immortality beckons."
The Discopathology CD is loud and harsh enough to satisfy fans of Merzbow or Whitehouse, complex enough to reward repeated listenings, and most unexpectedly of all: it is booty-shakingly funky.
reviews:
Beginning with "Before the Carnival," an uneasy wash of reverb and distortion that is cautiously subdued. The lull explodes into the title track, a rampaging equalizer-killing disco dance anthem. This is where Noise/Girl shines; the mix is clear with high attention to detail. Unlike many of his noise contemporaries, Noise/Girl embraces frequencies across the spectrum, and assigns pockets of the spectrum to various elements of the mix. If Daft Punk traded their skill with the filter-bank for brutal distortions, the result would bow before the dynamics of Discopathology. This shit makes your ass move. Harsh noise has never been so fun. The album progresses with sequential lulls and "dance" songs, ripping samples and themes from well-known tracks, such as "Alive," which bastardizes the classic "Staying Alive." The beats behind the brothers Gibb are thick and unforgiving, relying on a throbbing kick augmented by squealing oscillators. Noise/Girl isn't going to hit the Top 40 any time soon, but the smirk and nod to pop sensibilities found within Discopathlogy lies woven within the power noise eclipses of many stars. - Matt Simpson, Igloo
ouch - WFMU
Even though it's relatively tame by Brown's own fetishistic standards, it's obvious that Noise/Girl aren't expecting this career round-up to be taken into the all encompassing motherly breast of the Wal-Mart family. From the cover art to the song titles and label name it's obvious that the band aren't down with the doom in any serious form; a frontman with the name Lucifer hardly instils fear into the hearts of men in 2005. Having disappeared from view in 2000, this single release is all that's left to sum up the Noise/Girl experience with the project having now come to an official end. The band's greatest talent might well be in the little known field of messed up disco-industrial, but they also more than adequately insinuate themselves into other aural areas after giving them a brush with the white noise wand. The manipulation of funk, black metal soundscapes, rock, and straight up noise means that Discopathology is more than the sum of its separate constituent assaulted and dazed elements. In an expert example of tension building there's a chilling opening track that skirts between something happening down the end of a long dark tunnel and waves of extreme static racing from the speaker. It's this slow bleed that opens the door for a run of relatively palatable but harsh noise, and there's a distant element of both the Mary Chain's Nineties experiments with beats and the now-pointless but once-mighty DHR. Frontloading this LP with the less unsympathetic tracks makes for a less problematic listen for those of a nervous disposition, especially with the swarming pvc hipped title track, which carves out some diva vocals and wah-wah squelch from an imaginary floor filler and then drowns them beneath the swell and heavy tread of the sweatiest shittiest PA club drums. The whole effect is glorious and demands high volume, stimulants, glitter, and blood as recognisable parts briefly break the surface of sound. This trick of adding killer elements of dance music to a swamp of noise (or vice versa) is repeated and rejigged on both the ruff white Junglist mugging of "Smoke 'N' Mirrorz" and the Whitehouse / Bee Gees mash-up of "Alive." This song's squall of looped rock guitar is the most commercial cut here, lying pinned down by a pounding fuck beat and belongs on either NiN's Broken or in the crack fuelled leather clad comedy pantomime of Revolting Cocks. Things become a little detached throughout the more chaotic pieces, wherein the only lightness of touch comes from the hair metal-inspired song titles. Perhaps the LP's finest moment is the demented live take on the soundtrack to Michael Jackson's screaming inner world entitled "King of Pop." If there is a Jackson sample in there it's so damaged, bleached black, and crushed that no copyright lawyer will ever find a big enough trace anyway. It's as insensitive and hard as any Hair Police sonic beating and provides as clear and as full a picture of Jackson's mental health as anyone will ever need to ever mosh along to. - Scott McKeating, Stylus
While I'm hardly the world's foremost noise authority, I suspect Noise/Girl's Discopathology might represent some kind of noise nirvana for aficionados of the genre. Tailor-made to single-handedly incinerate disc players and stereo systems throughout the globe, the disc is a seething forty-minute wail of feedback squall that makes Merzbow sound like John Denver. Noise/Girl, which had made a name for itself within the Japan noise community during the late '90s, disappeared suddenly in 2000. The group's figurehead Luke Cypher recently resurfaced with live performances and a 'final update' of new, rare, and unreleased material issued by Brainwashed on its Killer Pimp label. Peel back the eight pieces' decimating howls and squeals and you'll actually catch faint traces of tribal gabba ("Alive"), breakcore ("Smoke 'N' Mirrorz"), and, yes, even disco ("Discopathology"). Though "Before the Carnival" initiates the album spookily, it's not overly threatening or overwhelming. But gradually the distant screams and whistles escalate into a wave of rippling noise that's awesome in its engulfing magnitude. The title piece then roars in, a gargantuan, bulldozing booty-shaker that flails, screeches, and twitches convulsively yet--unbelievably--is a mere teaser for the merciless onslaught ahead: "Honeyfunk," an insane hailstorm of brutal blasts and violent ruptures. If nothing else, one must at least admire the band's perverse sense of humour: it very well may be Michael Jackson's voice that wails from the depths of the cauldron that is "King of Pop," for example, but it's impossible to tell when it's buried under an avalanche of noise and, needless to say, "Alice in Boogie Wonderland" won't be played at your local dance club any time soon. Fearless masochists eager to brave the trip might want to know that only 500 copies were issued. - Ron Schepper, Textura
He goes by the name Lucifer and he makes a noise that'll stand out among every other noise album in just about anyone's collection. Throbbing Gristle was as much concerned with beats as they were with confrontation and the Noise/Girl project takes that premise a step forward. This is noise for dancing, at least in part, and it's noise that loves chaos in a way that only Satan possibly could. Lucifer's noise is part drone, a layered, demented noise full of psychedelic effects and hazy textures all of which tend to reach a critical velocity before ending. His dance tracks, on the other hand, are just that. It's impossible to resist his dance floor oriented beats, pounding away like a war drum beneath sharp, swirling effects and heavy static. When "Discopathology" hits it's a bit of a surprise. Lucifer doesn't hold back, utilizing compressed melodies, unintelligible vocal samples, and all manner of cut-up blast rhythms that build and build to an orgasmic level, pumping like a well-oiled machine. It's hard not to think of Nitzer Ebb or any of the dance-industrial giants that made similar, but significantly less energetic music than this. It's also hard not to imagine a factory with innumerable gears, gaskets, engines, and cranks moving in perfect time. The first half of the album is prodigiously funkier and voluptuous. "Alive" amounts to the complete destruction of the Bee Gees, a sacrificial burning of their trademark vocals and disco style. A tense reworking of the melody from "Stayin' Alive" is countered by Lucifer's start and stop dynamics. It's an audacious track, especially on a noise album like this one. It might turn a lot of purists off, but it adds a world of dimension to the album, one that is altogether harsh and uncompromising. As the album comes to a close, Lucifer turns the darkness factor up about ten notches, increasing the intensity of his feedback blasts or manipulating the mood of the entire track by incorporating deeper groans and hinting at rhythms somewhere in the distance. Trevor Brown's fantastic artwork fits the mood of the album perfectly. The nurse with her open legs might suggest some kind of welcome gesture, but it'd be the most insane kind of sexual adventure. Lucifer similarly opens this album up for the noise uninitiated and then proceeds to crush everyone and everything sucked in by his whirling mania of dancing feet and chainsaws. - Lucas Schleicher, Brainwashed
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