Elma is Ueda Hido, based in Japan, this project has been releasing since and creates rapidly shifting blasts of Harsh Noise. There have been around 37 solo and split releases in this time. There is a hiss and sharp sound heavy blast, making for a cutting sound.
The sound gets fuller as bass like noises kick in, making for a bigger explosion that vibrates heavily. The sound continually squeals and chokes as if at war with itself. I like the all-out attack of both works, this is good work making for an impressive tape overall. I feel we are hitting a new era of excellence here, with Wovestribe being one of the new leading lights in the UK.
Deceit uses ruthless repetition of electronic zapping sounds for noises and samples to use as a base to go off around. This really holds back and simmers as if building a landscape on which to base the album. As the sound faulters out lower level distortion and shouting builds up. Field recording of nature begin Consume, until a sharp blast of distorted noise takes precedent. The underlying bass roar wavers as does the lead distortion and noise whilst vocals are buried into the sound.
The work really finds its pace here and we have an excellent sound that is forward thinking Power Electronics. The distortion wavers into everything, the vocal shouts in like articulate blasts as the work changes frequency, breaks up and explodes in a continual cycle. Wolvestribe is heavyweight, no doubt about that. Entre Vifs — Incidents Session 50A Entre Vifs — Spasmotronics Session 34A. Both acts featured on this disc have been featured on North Fuller Avenue before, so they need no introduction.
The album features three separate tracks by each artist and a collaborative piece, all were made by exchanges of sound files. The booklet text -One- is by Zorin, it is cut up from texts of Rueigo and photos of different landscapes fill the inner pages. I read the text before playing, it seems to me to be about Art and life; how the two can be hard to combine or co-exist.
The clang of the self-made instruments of Entre Vifs kicks in, I find the opening session 50A-1 to be confrontational and raw in its language. The rawness comes from it being a lot more cut up than other tracks or cut into with stops and starts , like the text.
The usual complex sophistication of the sound eventually grows and builds up. Session 51B is abrasive like the first track yet the noises contrast each other massively, the exchanges are tense and form a fractured sound.
As the busyness caused by build ups of noise increases and decreases the tension of sound is always shifting separately to this. The oddness of the primal sound, dynamics and tension also create a rich atmosphere to the sound throughout each session, Spasmotronics is a key example of this as it shifts and changes.
The cuts in the sound occur via a deep, farty, vibrating sound that goes off throughout the track as if to break the flow of the scraping noises. Throbbing noise and explosive distortions combine to make a choppy barrage of noises. This is most prominent on Each One A Witness, the build-up is slow and elements of sound interact as if in constant experimentation.
As more abrasive elements come in, even on a quieter level the impact is significant. As the restraint is loosened the sound is immense. The low-level noise passages are good, there are dramatic build ups and explosions of sound going off.
The sound continually seems to change and not stay in one place too long making for an ever shifting landscape of sound. Both artists enhance the others qualities. Each track follows on from artist to artist very smoothly and all works tie in well with the other — it flows perfectly. Looking at the cd before playing, it seemed impossible for two so seemingly different artists to match up, but they do, the tracks are clearly thought out and considered making for an airtight, excellent release.
Out soon on Aussaat. Oil of Vervain. Strange Lights. Non-Human presence. But Oil of Vervain is quiet in comparison to his other work. It has the delicate sound of guitar strummed and picked; I am not sure if other sounds are overlaid. This is a very solid pairing, with the two tracks both displaying good ideas, and complimenting each other.
See Through Buildings is changeable and noisy, here, whilst the e. Both pieces operate at quite a distance from the idea of pure, monolithic harsh noise wall, but still clearly know and use its terrain.
The temporal nature of the walls come and go in the work and allow shifts, mixtures and fights to happen between the different noises - it functions like an ever-shifting blast of sound. Fecal Vomit is from Serbia and has been active since under the Nundata and Fecal Vomit monikers.
The distortion, hum and sharp noise play together effectively as the samples periodically breath through and work in conjunction with the noise. The noise wavers, warps and pulsates a lot and seems to flip out at the end of the track to dominate and die. Genres of music shift in the background to work with and over the voice samples. The distortion is left to do the noise work, the shifts and chop in samples combine with this. I admire how the samples are left to take prominence at times and allowed to work by themselves as they playfully shift into something else.
Fecal Vomit demonstrates some excellent experimental quality, Low-Fi brilliance. This is a bass heavy wall that crackles and demonstrates tonal shifts inside, whilst the outside remains dense.
This is a good wall with strong shifts within, not lazy, just right. Vilgoc — Twierdza. Vilgoc is Sebastian Harmazy from Poland.
Twierdza is a slow, low bass end wall piece which gives off a good deep crackle with soaring hisses of sound that jutt out of the wall at times. Through a collection of mostly self-released tapes, TROU has been delivering obsessive and absolute static buzzing drone works. The often unchanging and monolithic aspect of TROU's releases let one surmises that Harsh Noise Wall goes amongst the likes of the Frenchman, while the sonic material itself has more to do with monolithic synth waves.
On this new tape here, TROU offers what can be considered as one track divided in two static sides, as the second track of the cassette, called "Ni", is a variated continuation of the first side and track "Sans".
Stage 1. Stage 2. Stage 3. The nineteen tracks on this CDR are merely 'ideas' of what Kerley could do with the various apparatus or digital tools he has, but he is not necessarily busy creating finished compositions.
Sometimes it works out nicely, in vaguely shimmering, ambient patterns, but at other times its merely doodling around with some sounds. Get rid of those, rework the good ones, and bring this album back to a good thirty minutes of truly experimental electronics.
Then re-release it. Labelboss Adam Baker is known for quite some time now as Deadwood. His work too can be classified as 'varied' - both in musical terms as in quality terms.
Starting out in a more noise related territory, the later work is more microsound, but it doesn't always work out well. The typical ambient glitch, transposed sounds, pitched up and down instruments, all set to minor, low notes.
Some crackling rhythms, ring modulation on them, and such like, its not bad, but somehow its all not very engaging either. It stays a bit too remote, too far away and never seems to touch the listener.
For his latest release he uses 'sound taken manipulated cut-up and pasted re-arranged turntablised and so changed into a hyper-electro-acoustic chaos', which is exactly true. Three tracks, all a bit longer than on his previous releases, but still not extending the thirteen minute mark, but its surely enough for one day to handle.
Spruit plays a heavily chopped sound, with lots of changes and abrupt cuts in his music, which is right in your face. Maybe its all acoustic, taken from vinyl, but no doubt it must have been a whole bunch of vinyl, to gather so many sound samples to be used here.
Not 'easy' music to digest, as there is a lot of things happening here at the same time in a jumpy, quick manner. A fine good, short and to the point noise release. The previous two I really liked, so the low presentation is forgiven. Eleven tracks in ten minutes, the shortest being twenty-one seconds and the longest two minutes and three seconds.
Merely sketches. No more shoegazing electronics here, but sampled techno, white hiss, cut short to do what exactly. It doesn't grab the listener as its over before you know it. What Lugano Fell doesn't realize, in my opinion, is that its more difficult to create a good composition of forty second than it is of three minutes. The whole thing is over just over ten minutes. What a pity. I hope his forthcoming release on Baskaru sees a return to form. This one was released in an edition of 38, for whom I don't know.
Not for me, that I do know. But if the mail consists just of three cassettes, it makes me wonder: the cassette as a format to release music is really back. Ting Ting Jahe has two cassettes as a private release, even when they look strikingly like a release on Winds Measure Recordings. That label released their first release '18 16 ', which was reviewed in Vital Weekly Side A of 'Ending Minutes, Sinking' takes some time develop, and then suddenly you realize they use guitars in quite a densely layered piece of music.
The b-side is a bit harder to define, as to what it is that we are hearing. Some more drone related sound, and some acoustic objects being used - that what it sounds like.
But somehow it seems like drowned in some mildly distorted sound. The a-side here drones out even more than the b-side of 'Ending Minutes, Sinking', without even more obscured distortion and no input mixer feedback, but in the end its not a great piece.
The b-side here returns to the use of guitars it seems, in a more open ended, 'freaky' sound, hovering on the edge of feedback due to some extra amplification and strings are played with objects. From the ever obscure world of Ophibre comes a new cassette, and this time the credits are just better.
Now we know who's doing what and what the titles are. A big step forward. On the first side the Ophibre project themselves. A fine, well rounded eighteen minute piece. I never heard of Hunted Creatures, but they have some live pieces from August last year.
They too have a somewhat distorted drone sound, but seem to be operating from a more rock like perspective, with the absence of drums however.
The unlabelled black shelled cassette came in a red, grey & black scribbled cover- sadly this tape is now all sold out, so ones only option(aside from Discogs if your lucky!) is a digital download. First, up on side A we have the Bruising Pattern track- this is untitled, and it’s a nice example of subtle developing & building wall duconrerirebon.merolmimordelararetergioluti.infoinfog: Julien Skrobek.