PAIN JERK – SPITFIRE (LP by Harbinger)
Probably the rising band from the land of the rising noise. Gradually Pain
Jerk is finding a place next to stars as Merzbow, Aube, Masonna or any
other I may forget right now. This UK release is a re-issue of a cassette
that was released last year. The LP is packed in a xeroxed DIY cover which
adds nicely to the total. The record divided in two sides (hey that not
something new), is also divided in two musical parts. The two tracks on
side A roughly cutted noisy, rhythmical tracks of sounds, synths, noise,
metal crsuhing. These are looped and has the Pain Jerk touch (which is more
rhythmical then his Jap noise brothers). The other side has also tracks,
and are like monochrome drone/noise paintings. A hugh wall of sound with
minimal changes throughout. If Merzbow and Aube are a pain in your wallet
but of sonic interest, then check Pain Jerk out, as he hasn’t had much
releases and provides a likewise sonic assault.
Address: 55 Crossman Street – Nottingham, NG5 2HL – UK
AKITA/AZUMA/SAKAIBARA/HASWELL – ICH SCHNITT MICH IN DEN FINGER (12″ by Mego)
Oh no, Merzbow (the first three names of the people who worked on this),
teamed up in a viennese studio a year ago with bloke named Russell
Haswell, of whom I never heard (but I figure is important, since he made to
the Blast First Merzbow remix CD). The four recorded directly onto hard
disc 6 improv tracks, using ‘devices, dd1100, theremin, su 10, stuff,
vocals and jews harp’. The title was given because Reiko Azuma cut her
finger will recording.
The result is a highly monochrome affair. In each track the theremin, with
it’s electronic farting sound, takes the lead and noise is faded in. Rather
then a usual Merzbow record, this is much more a collage of sounds being
faded in and out, carrying nevertheless Masami Akita’s signature all over.
There is a certain lo-fi quality to this, despite the fact that it is
recorded to hard disc. Although there is low end rumbling here and there,
that may take the shape of a rhythm, it never turns anywhere close to a
dance record. And that is probably the most daring about this record being
released on a ‘dance’ label like Mego. Merzbow fans know what to do: run to
the record store and get it, as it is different from the usual Merzbow
stuff. (FdW)
Address: <pita@mego.co.at>
BRUME – DRAFTS FOR COLLISIONS (CD by Crowd Control Activities)
Brume has been around for many years and looks at an extensive discography.
But things have been quiet on his part for some time. Over the years Brume
developped his own style: his multi-track is stuffed with sounds of all
sorts, environmental and electronic, aswell as acoustic. While mixing the
multi-track tape, and adding sound effects, the Brume sound is full of
abrupt changes, strange intervalls, telling a story. The opening piece of
this CD is such track: fire sounds, outdoor sounds and strange voices. But
yet as of track two something new is happening. Most the following tracks
take drones as a starting point and the sounds are more sequenced. It seems
as if Mr. Brume is more into composing track as opposed to sketching out a
track of loosely recorded sounds. Next to the drones, percussive sounds
play an important role on this CD. Mostly highly drenced in reverb, but it
gives the whole a more accessible character and hints at times to, say,
Muslimgauze. As a total result, Brume steps forward, so if you hven”t been
following his steps for a while, it is time to renew your interest. (FdW)
Address: <crowded@ezlink.com>
LIFE GARDEN – PLUTONIAN DUB (7″ by Drone Records)
I am not sure if I ever was a hugh fan of Life Garden. Their music was too
much a cross-over of gothic reverb in combination with new agey sounds.
‘Plutonian Dub’ start out with simple rhythm and reverbed female vocals
chanting while doing the dishes. Half way through nothing seems to be
happening but then hell breaks loose. ‘Chaos Lullaby’ has wordless vocals,
and swirling synths resulting in pounding drums and feedback guitars. Maybe
twice the same idea employed… and two tracks seemingly not going
anywhere. Or maybe just not my cup of coffee. (FdW)
Address: <DroneTroum@aol.com>
THE TASSILLI PLAYERS – AT THE COWSHED (miniCD by De Konkurrent)
The Cowshed is a legendary recording in Amsterdam that has firm roots in
punkrock. It is closely linked to a distributor called De Konkurrent, who
sells (too?) much guitar music, but with firm eyes open for new music. Now
they are hosting a series of mini CD’s of acts they like and happen to be
around for recording at the Cowshed. The Tassilli Players are neither
guitar nor new music, but they are well to my liking, so some nice words
are in place, I guess. The Tassilli play nice digidub with firm roots in
classic dub music. The first three are nice laid-back rhythm doodlings with
horns all over, and the fourth (and last track) is down right dub with
sounds swirling in and out of the mix. This last track features the skills
of Hyware/Technoise on the knob-fiddling. Summer sounds for this rainy
evening looking good. (FdW)
Address: <konk@xs4all.nl>
SUBMERGED 2 (CD by Incoming!)
CEE-MIX – LOW FLYING FRAGMENTS (CD by Incoming!)
More summery sounds from the label that pushed digidub into new areas. On
Submerged 2 they compile their non dub stuff however. Many of the artists
grab their interest from jungle, break-beats and techno. But most of them
in laid-back atmospheres (or is that called intelligent – I never could
figure that one out). Some of my favourites are Avatar, Dwarf Electro,
Trigger and Kong Fu. Names that are entirely new to me (as the rest of
them!), but leaving a good mood behind.
Cee-Mix’s second disc for Incoming! is a move forward from their previous
CD. This moves away from the classic digidub too, and Cee-Mix comes up with
a pretty varied disc of sounds, ranging from easy tuned dub (in Drive By)
to sampled horn blowing in ‘Cocobong’ and breakbeats. My favourite is
‘Interlude 1’ with it scratchy sounds. Most of the stuff is laid-back and
suited for late night listening, (FdW)
Address: <incoming@compuserve.com>
BERNARD GUNTER – IMPOSSIBLE GREY (miniCD by Metamkine)
And Bernard… well, he points the microphone down to the ground, as if he
is listening through a microscope the inaudible worlds. ‘Grey’ as the
mixture between white and black, not one nor the other, is a good colour to
note the music of Gunter. It is a far away world were sounds twist your
speakers (or in my case headphones). Sometimes bearily audible, and
suddenly a crackle or hiss, or maybe even something that is an instrument.
This music can’t be listened to while doing something else, as you just
won’t note all the microscopic changes. If you do take your time it is a
rich world. And the format (being a small disc with a length of 18 minutes
and 34 seconds) is o.k. I forgive you if you want to play Merzbow right
after it… (FdW)
Address: <106547.3446@compuserve.com>
ARCHON SATANI – THE RIGHTEOUS WAY TO COMPLETION (CD by Cold Spring)
Mikeal Stavostrand divides his time between Innana and Archon Satani, the
latter just delivering a new CD of material recorded last year. This is a
continuation of his usual dark style, with large washes of synth sounds,
pounding drums and creepy sound above and below. Not cheering you up, but
the bare essence of life (and death, looking at the skulls) itself.
Frightenly dark. (FdW)
Address: <coldspring@thenet.co.uk>