053 O’NANCY IN FRENCH “O’Nancy In French” CD

discogs

IMG_8216

Finally on CD!!!  The epic, noise industrial music by a cult duo (known from collaboration with John DUNCAN and his CV MASSAGE) from Japan in 1984. Remastered by Nobuo Ishizaki. The CD was issued in a limited edition of 200 copies in jewel cases including a four-page booklet with liner notes in English and Japanese by Takuya Sakaguchi.

O’NANCY IN FRENCH – Untitled Part 1 (un-remastered version from original cassette item)

050 Frakcja Supramuzyczna Galerii: “Nie-Galerii” “Omniofonia” 3 x CD

przód okładka discogsIMG_7984

Limited edition of 200 hand-numbered copies, in solid, cardboard boxes, including 24-paged booklet with archive photos and Alexander Sikora’s articles about biography, artistic ideas and musical sessions.

The CD set  contains the most seminal examples of sound creation output of  Frakcja SupraMuzyczna Galerii: “Nie-Galerii” (SupraMusical Fraction of Gallery: Non-Gallery).

In FSM GnG we acted somewhat along these lines, albeit without intending to create any closed composition, or considering any aesthetic factors in our work with sounds. Our goal was to improvise (haphazard) juxtapositions of concrete sounds of reality (i.e. sound objects) with sounds made with use of primitive musical instruments (none of us could play any instrument in a conventional sense) – as a way of documenting a contemporary state of our existence and/or certain deeply felt atmosphere of the moment. In fact, we were not creating any.

(excerpt of Alexander Sikora’s text from booklet to this release)

Frakcja Supramuzyczna Galerii: “Nie-Galerii” – Sesja I 04_05.1984 track

Sale

BLIND DATE #16

Name: Aleksandar NENAD
Nationality: Serbian
On the front line: Since 2008.
Activities: DEAD BODY COLLECTION, CREATION THROUGH DESTRUCTION noise industrial / HNW projects; “Pure Nothing Worship” print magazine.

Contact: www.purenothingworship.co.nr, www.creationthroughdestruction.bandcamp.com, www.deadbodycollection.bandcamp.com

My ‘date’ receives anonymous 6 compositions picked by me at random. He/She is supposed to discuss their artistic merits, including strengths and weaknesses of applied means of bruitist expression, structure and composing techniques.

1. HEX MINORA  Predation

from “Ai” (Metamorphosi 1995) cassette

Harsh noise with a lot of static and high frequencies. Sounds like an European project from late ’80s and ’90s but I think this one is coming from mid-’90s because it has analog feeling. I guess this track is made with electronics done with pedal gear and tape manipulations. It’s recorded directly to tape so it gives a little bit harder sound. Classic noise, I have nothing more to add.

2. SMALL CRUEL PARTY  Texture And Transparency

from “Koilos” (Banned Production 2003) mCD-R

This very minimal piece of experimental noise. It starts with weird crunchy static which reminds me of ANW works by The RITA. On 5th minute harsh noise sounds is added to mix which build very unique sound approach. Sounds like some HNW / HN collaboration. On 11th minute everything disappears and all noises are replaced with quiet field recording and it’s slowly go to silence ’till end of the track.

3. EMERGE  Contrition 1

from “Contrition” (Attenuation Circuit 2011) mCD-R

Pure musique concrète track with very experimental approach. Master BRUME comes to mind. Artist mixed a lot of dark sounds in this track. Sometimes we can hear various analog noises, tape manipulation, dark drones, ghost in the machine and maybe some analog keyboard or piano. Everything is very carefully crafted in goal to crate unpleasant feeling while listening to this track. Well done!

4. Brendan MURRAY Hymn Two 

from “Wonders Never Ceasen” (Intransitive Recordings 2007) CD

3 minutes of hard hitting harsh noise. Not to much to say about this track. Sound like some brutal harsh noise of American school with. Reminds me little bit of MACRONYMOHA because sounds are obliviously made with analog gear.

5. AIN SOPH  Untitled

from “I” (Old Europa Café 1984 / 2000) CD

This is some ritual ambient with healthy dose of recording made in some room or basement. I really like those recording but repetitive keyboard note somehow ruin atmosphere. I guess this is European project from Old Europa Cafe family. Very harsh and irritating sound (I guess this comes from keyboard too) will destroy your ears nearly the end of this track. Remove terrible keyboard notes and you will get wonderful and scary track.

6. BIG CITY ORCHESTRA Kroton

from “Edge Of Destruction” (Swinging Axe Productions 1986) cassette

This is really good mix of droney dark ambient with musique concrète. Few parts reminds me of old Maeror Tri or Asianova. This is obliviously old project from Europa. I guess this is recorded during early ’90 with a using of various weird instruments, some old percussions and tape manipulations.

Blind Date #16

BLIND DATE #15

Name: Richard STEVENSON
Nationality: Australian
On the front line: Since 1998.
Activities: Spectrum Magazine (1998-2001) – 5 print issues released; contributing writer to various publications (2001-2006); Noise Receptor Journal: print magazine & blog (2012 – present) – 3 print issues released to date.

Contact: www.noisereceptor.wordpress.com  www.noisereceptor.bigcartel.com  www.spectrummagarchive.wordpress.com

My ‘date’ receives anonymous 6 compositions picked by me at random. He/She is supposed to discuss their artistic merits, including strengths and weaknesses of applied means of bruitist expression, structure and composing techniques.

1. HIJOKAIDAN  No Oslo No Harm

from “Polar Nights Live” (Pica Disk 2008) CD

This is a 26 minute live recording of a ‘noisecore’ type band, or a couple of ‘noise’ musicians (a duo for sure -perhaps a trio?).  The material seems to be based around abstract guitars and screamed high pitched (female?) vocals, but with no discernible riffs or song structure, the guitar distortion is pushed into overblown, chaotic, harsh noise territory.  As such the hectic strumming and/or hyper speed guitar noodlings are fed through distortion pedal treatment to in the most part create overblown, squalling noise (there may even be drums buried somewhere in there – but it is all too chaotic and overblown to tell!).  Both harsh and unrelenting, this is typically not a style I am well versed in (nor actively listen to), which means it is difficult to offer a view on its artistic merit.  Yet the extremely enthusiastic crowd noise at the end indicates it was well received at the time.  A Japanese project perhaps?

2. BRIGHTER DEATH NOW  Meat Improvement

from “Pain In Progress” (Cold Meat Industry 1988/1998) CD

Quite a ‘classic’ northern European industrial feel, where this track sounds like a precursor to what would later become the hallmarks of a death industrial style.  This would also seem to be of a late 80’s/ early 90’s era, rather than being modern and knowingly ‘regressive’ in approach.  The track is built around central pounding mid-paced programed beat, with treated sampled voices and low industrial hum creates a solidly dark atmosphere.  This would be my top pick of the 6 tracks and with early MEGAPTERA coming to mind as a comparison, I am rather intrigued to who this could be!

3. Daniel MENCHE  Furnace Fucker (Part 2)

from “Furnace Fucker” (G.R.O.S.S. 1994) cassette

A long track (in excess of 20 minutes) which presents a subdued industrial noise styled soundscape.  A clinical undercurrent to the tone is present, whilst in the most part the track is based on muffled bass and rumbling waves of sound, mixed with a general mechanical churn.  With a gradual shift in tone and sonic temperament over its length, the track pushes towards noisier realms as it progresses.  Certainly an enjoyable track and definitely of the type of material I actively listen to.  Likewise with a deliberate and controlled pacing of the material, it makes for solid and engaging listening over its length.  I also get a passing impression I may have heard this before – where the Swedish artist JARL definitely comes to mind – but also I am not certain of this (…nor am I going to cheat by digging out JARL’s albums to check).

4. HANDS TO Untitled 

from “Croatoan” (Alluvial Recordings 2001) CD-R

Another lengthy track at 27 minutes.  Very electro-acoustic and minimalist in structure, seemingly based exclusively on natural field recordings, including the rumble of a distant storm, night time sounds of crickets/ frogs and water based sounds etc.  Quite experimental yet also darkly toned in character, with the generated ‘mind’s eye’ picture revealing nature based night time vistas.  Micro-tonal textures and scratching metallic elements are also sporadically used; as are large sections of almost silence (although in these quieter moments late night ‘dead hours’ urban sounds can be detected when the volume is increased).  Given the field recording nature of this track this could perhaps be a track by Francisco LÓPEZ, although in selected ‘darker’ toned moments it brings to mind elements of NIELLERADE FALLIBILISTHORSTAR or OCHU.  Generally enjoyable but I found my mind wandering away focussed listening during various moments.

5. BIG CITY ORCHESTRA  Peek

from “eek!” (EE Tapes 1997) cassette

Well, it seems I have been given the blind date ‘endurance test’, as this is the 4th piece in excess of 20 minutes!!  Another long form minimalist composition (29 minutes), which with its distant rumble and glacial pace might be best described as ‘industrial noise/ isolationist ambient soundscapes’, not too dissimilar to the long form minimalist works of ARCHON SATANI (later solo period), INANNA and NO FESTIVAL OF LIGHT etc.  Actually this is not too dissimilar to the 3rd track reviewed above.  Overall the piece embodies a dank and muffled sound, coupled with distant thuds and general mechanised hum.  The bass addled churn increases towards the later third, including some elements of looped musical tunes being fed into the mix before abruptly cutting out again, although these elements tend to negatively jar the mood of the underlying elements.  An OK piece overall and along the lines of what I like, but also not one to make much of a lasting impression for repeated listening.

6. BRUIT TTV Dissemination (extrait)

from “Bruit TTV” (Bruit TTV 1989) cassette

Goofy improvised music is the central flavour of the final track. Loose strummed and/ or noodling guitars are coupled with junk instruments/ kids toys which are ‘played’ for general chaotic weirdness.  Basically I cannot stand this is the type of ‘experimental’ music, so I was exceedingly pleased that this track is around 2 minutes in length.  Some might question why I choose to listen to power electronics, death industrial etc., but equally I would question who would find enjoyment and merit in this?  Each to their own I guess; but as for artistic merit?  Negligible.

047 KNURL “Acetylphasia” cassette

Now available from Impulsy Stetoskopu!                                                      do internetu 1  do internetu 3 After a long hiatus Alan Bloor comes back with a new release. One of the most evocative and sonically diverse works in his catalogue, it is worth waiting for! Each cassette, wrapped in a sanitary napkin moistened with glacial acetic acid, comes enclosed in a transparent plastic bag. LImited edition of 100 numbered copies.

Attention:Anybody who bought / got this release, please, don’t keep it inside a sanitary napkin moistened with glacial acetic acid and in the folie bag longer than one month.