1.25.2015

GREYMACHINE



























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"Disconnected"
Year:  2009
Country:  UK
City: 
Label:  Hydra head rec.
Format:  CD
Tracks:   9
Time:  60 min.
Genre:  electronic , rock
Style:    Harsh Noise      Doom Metal





































Does Justin Broadrick ever fucking sleep? It would be impressive enough that the guy puts out more music in a single year than most artists do in a five, but even more incredible is that pretty much all of it is awesome. It must just be in the dude’s DNA to make great music. Broadrick’s latest project is Grey Machine, a collaboration with Isis’ Aaron Turner (Jesu’s Dave Chochrane and Diarmuid Dalton also contribute.). For anyone who misses the days when Broadrick’s music used to be on the heavier side of the spectrum (as opposed to the soothing, repetitive aural waves of Jesu), this is the perfect music for you: it’s obviously not Napalm Death, but it’s definitely more in the vein of Streetcleaner-era Godflesh. Which is not to say it sounds JUST like Godflesh – but that might give you some idea of the direction the group seems to be heading in.
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1.23.2015

ANIMAL MACHINE




























https://ia802705.us.archive.org/1/items/animalmachine-2015/ANIMAL%20MACHINE-EXEDO-cove%20Kopie.JPGANIMAL MACHINE +
EXEDO
Year:  2013
Country:  Peru , Germany
Label:  Attenuation Circuit
Format:  CD
Tracks:  4
Time:  40 min.
Genre:  electronic
Style:      Harsh Noise





























ANIMAL MACHINE release next to EXEDO is an almost 40 minute album of chaotic, disorded and ultra dynamic harsh noise that change non stop, which should surprise no one at all. His output of late has felt very similar – I keep coming back to his release on the norwegian label "Ambolthue Records", also his "Killing Wheel", where all tracks sounded almost completely the same irritable extreme harsh noise. I’m don´t know why the EXEDO influence is absent, there is no EXEDO influence, in the sense that this austrian project use to make noise close to ambient / drone landscapes and a slowier tempo. Here both projects show us its wild side, its extreme side. Pure chaos but whatever the case, this release is certainly a slab of pure synthetic and electronic harsh noise that show light from all corners. Here there is a sound sharp and my ears can to percive a great chaos sensation in the background of ambiance. There’s little room within the wall for milion movements – the dynamic is stoic, the noise is stoic – and so the result is something that evokes a total universal explosion. If you like the japanese masters don´t miss this split. Energy, Eclosion and Noise!
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Front Cover"The final war"
Year:  2008
Country:  Peru
City:  Lima
Artist:  Enrique Bohorquez
Label:  Ambolthue rec.
Format:  net
Tracks:  4
Time:  30 min.
Genre:  electronic
Style:      Harsh Noise



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1.16.2015

TORE HONORE BOE





























Front Cover"Viscum album"
Year:  2003
Country:  Norway
City:  Oslo
Label:  Ambolthue rec.
Format:  CD
Edition:  100 copies
Tracks:  6
Time:  36 min.
Genre:  electronic
Style:      Silence      Noise




























During the last twelve years TORE HONORE BOE has developed the acoustic laptops, which he uses for microacoustic sound exploration and performances, but also shares via exhibitions where they stand plugged for the visitors to play, or in workshops where young and old are invited to create their own. Various acoustic laptops are on permanent and temporary display at galleries, other musicians are using them, and Boe travels continously to present them in any way and venue possible. His experiments with sound, noise and silence has became in interestings recordings like this one here "Viscum album", a work which start almost in total silence and develope to noise. The musician recorded these tracks between 2002 / 2003 but was "Ambolthue Records" the label which made and distributed the CD in 2007.
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1.15.2015

TETSUO FURUDATE



























"Wozzeck"
Year:  2003
Country:  Japan
Label:  Menstrual rec.
Format:  CD
Edition:  50 copies
Tracks:  2
Time:  70 min.
Genre:  electronic
Style:     Ambient     Noise






























Wozzeck is a live performance project by actors play with experimental sounds of Tetsuo's improvisation. It was performed 23rd of November 2003 in Berlin at Podewill contemporary art center. Actors are Max Urlacher as Wozzeck and Sigrid Maria Shnuckel as Marie, both important actors on TV and movies mainly in Germany. They are also developing into other fiels of the arts. Tetsuo based his work on the text of Alban Berg's opera. It means he did not use the original text of Georg Buchner , he selected only the monolog and dialog parts of Wozzeck with Marie from Berg's opera. Tetsuo did not care about the sound of Berg's, Tetsuo's sounds are close to noise and industrial with very lyric voice of actors. This is a live recording, which is the only one documentation of this one night performance. We have no documentation photos nor video on it, since Tetsuo did not want to use any light for this stage.
Only few of the audience - who have good eyesight - could see the super performance on the stage.
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1.13.2015

HIVE MIND
























http://images.junostatic.com/full/CS438647-01A-BIG.jpg"Elemental Disgrace"
Year:  2011
Country:  US
City:  Los Angeles
Artist:  Grey Holger
Label:  Spectrum spools
Format:  LP
Edition:  200 copies
Tracks:  2
Time:  20 min.
Genre:  electronic
Style:      Ambient Noise Wall




























“Elemental Disgrace” is an album that needs to happen now. Finally, the next phase has arrived – a stunning double side-long record of some of the U.S. best underground synthesizer music we have heard here at the Spectrum Spools headquarters.  Whatever rise to the synthesizer came later on in the 00’s is hardly of any concern to Greh Holger and his Hive Mind project. Having released private press cassettes of solo synth works as far back as 2002, Hive Mind exists as enigmatic in world of new-jack synthheads and the tidal wave of “neo kosmische” that goes with it by flying far under it’s radar.  The silence is now broken and here we are treated to some of the most unique sounds Spectrum Spools has yet presented. No blisscapes to be found here. No soaring latched arpeggios, no cosmic vistas. Not a single melody. This is two sides of ancestral ruin in its clearest and most focused presentation. The brutality of the Earth and the harsh reality of all that it holds. Unknowable sounds – that of the dawn of the Earth, or perhaps the sound of its demise. A toxic swamp of chemicals and mutated organisms left behind long after man has wiped himself away for good. Field recordings from the end of the world.  While others are racing for the stars, Hive Mind’s tetonic plate shifting and brutal rumble will give you a brand new way to look at modern synthesizer composition. With a focus on textural sounds and shifting frequency registers, this album gives the listener the a full range of listening possibilities with infinite replay value.  It’s worth noting that Spectrum Spools as a label would not exist without Hive Mind. An inspiration and a pioneer in the modern U.S. synthesizer circuit, it’s with pleasure and honor to release “Elemental Disgrace” into the world. First 250 copies on stalactite yellow colored vinyl. One of the best Grey Holger works.
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These are some photographs which took Grey Holger in February 2004 in Chicago at the Garfield Park Conservatory. One of these shots found its way to the Hive Mind "Vade Mecum" CD cover, and a few others were / are slated for the as-yet-unreleased "Elemental Disgrace" LP cover.








































































































"Eidolic & Opaque"
Year:  2009
Country:  US
City:  Los Angeles
Artist:  Grey Holger
Label:  Tone Filth rec.
Format:  cassette
Edition:  100 copies
Tracks:  2
Time:  20 min.
Genre:  electronic
Style:      Noise      Minimal




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http://f1.bcbits.com/img/a2181027537_10.jpg "Beneath triangle and crescent"
Year:  2008
Country:  US
City:  Los Angeles
Artist:  Grey Holger
Label:  Chondritic Sound
Format:  LP , cassette , mp3
Tracks:  2
Time:  30 min.
Genre:  electronic
Style:     Ambient     Noise



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HIVE MIND
"Ashen geometry"
Year:  2007
Country:  US
City:  Los Angeles
Artist:  Grey Holger
Label:  Throne heap
Format:  casette
Edition:  75 copies
Tracks:  2
Time:  20 min.
Genre:  electronic
Style:     Ambient Noise Wall


























Hive Mind is the searing creation of a Michigan resident named Grey Holger, who also runs the stellar "Chondritic Sound" label as well as the website and the forum under the same name. There have been 30 to 40 "Hive Mind" releases since 2003, mostly ultra-limited cassettes and CD's, the biggest exceptions being 2004's dark, 38-minute single-track Sand Beasts on PacRec/Chondritic and this year's Death Tone on Hanson, whose overhwelming attack even convinced digi-phobes B.Coley and T.Moore to briefly relax their anti-CD regimen. The closest parallel to Hive Mind's thunder is the thick drones of Double Leopards, but where that Brooklyn quartet stays mostly murky and blurred, Greh lets thinner sounds and clearer textures emerge from his cavernous mix. I've spent the last week glued to Metallic Thaumaturgy, a Chondritic CD-R culled from a 4-cassette box set of 2004 live recordings, and after about 25 listens, it remains awesomely tough to pin down. There's practically a cinematic progression here, as Greh's ideas gradually multiply and expand for 80 minutes like ballons that can procreate, but there's something else happening that words can't imprison. Parts are echoey and actually scary, circling ears like a hurricane's eye; other sections are finely granular, with sandpaper-like texture and infinite detail. On the final two tracks, Greh mercilessly scalpels his diligent drones using bumpy glitches and warped loops that sound like blindfolded robots marching into a fire. "Hive Mind" will play on the middle day of the 3rd No Fun Fest, whose lineup is now totally set. Way too many great things this year to choose from, but I'm especially peeled for White Rock (Mouthus + Double Leopards), Fat Worm of Error, Shackamaxon (Double Leps + Son Of Earth + Pete Nolan), and the ultra-rare apperance of the legendary Smegma... (review by "Noise Week" blog).
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1.12.2015

CCCC






















http://www.sputnikmusic.com/images/albums/158481.jpg"Love and noise"
Year:  1996
Country:  Japan
City:  Tokyo
Label:  Endorphine Factory
Format:  CD
Tracks:  3
Time:  60 min.
Genre:  electronic
Style:     Noise





























Japanese noise act formed in 1989 by adult actress Mayuko Hino and her ex-husband Hiroshi Hasegawa. The group became inactive in the late 90s, but reformed in 2010 with a new lineup and now called simply Cosmic Coincidence.
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TAKESHI KAGAMIFUCHI























https://ia902700.us.archive.org/27/items/takeshiglitchnoise-2010/kv.jpg"Kvant"
Year:  2010
Country:  Japan
City:  Tokyo
Label:  Hz rec.
Format:  net
Tracks:  7
Time:  30 min.
Genre:  electronic
Style:     Glitch     Ambient     Noise





























GLITCH is a style of electronic music that emerged in the late 1990s. It has been described as a genre that adheres to an "aesthetic of failure," where the deliberate use of glitch-based audio media, and other sonic artifacts, is a central concern. Sources of glitch sound material are usually malfunctioning or abused audio recording devices or digital electronics, such as CD skipping, electric hum, digital or analog distortion, bit rate reduction, hardware noise, software bugs, crashes, vinyl record hiss or scratches and system error. In a "Computer Music Journal" article published in 2000, composer and writer Kim Cascone classifies glitch as a subgenre of electronica, and used the term post-digital to describe the glitch aesthetic. TAKESHI KAGAMIFUCHI is no doubt a talented artist specialized on glitch and small noise with a sound very clean, well produced and totally electronic, artificial and synthetic. Can you imagine old electronic band Kraftwerk mixed with some japanese noise influences? I think TAKESHI  KAGAMIFUCHI walks into these lands. Minuscule noises, strange electronic failures and mistakes, and often even landscapes they can remember ambient and drone music. I know that the musician has only recorded two works at date, but are both highly recommended.
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