Name: Turgut KOCER
Nationality: German
On the front line: since 1998
Activities: ambient-/drone-project WARDROBE MEMORIES; label manager vinyl-label SHHHH; label manager experiemntal tape-label VOLUNTARY WHORES; German translation help for Terre Thaemlitz’ “Soulnessless”; scolopendromorph research, collecting interesting music on physical format.
Contact: or

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. K2 / GRUNT Untitled (K2 With Grunt Contributions)
from “Gears And Shafts” (Freak Animal Records / Kinky Music Institute 1997) LP

This sounds to me like a symmetry of post-war and the interim time frame between death and afterlife. If there is any ascending to something unnatural without the necessity to morally judge on what happens after death (not the established way of thinking about heaven and hell like many other listeners would associate) this could work as a soundtrack to a twin world and travelling between two worlds. It feels like sitting in an empty room and craving for an item being located in the other room, separated by a wall and an easy accessible not locked door. if you take the door, the item disappears – hence you are thinking about a way to enter a different time frame or dimension of the strange room you desire. The most obvious way to enter a room would be going through the wall. This implies a certain way to get rid of your physical capsule and ascend to something which is not bound to meat, flesh or material. The disadvantage is too obvious: you could enter the room after your death – at least you would be able to see the item (without it disappearing after you entered the room), but still you need to be in a physical capsule to take it in your hands. Mislead and discrepancy galore.

2. TERROR AGAINST TERROR By Any Means Necessary
from “Psychological Warfare Technology Systems” (Paragoric 1992) CD

What I find the most impressive thing about commercial rhythmic industrial is the fact that it always sounds like german schlager, disco or foxtrot-music if artists don’t vomit on the production. Isn’t it funny that commercial rhythmic industrial music can only be separated from their hostile counterfeits by smell? The bassdrum thing is mean: In past I always thought that first recording of this kind of thin bassdrum was established by a guy (who obviously had a bad day), spit on the floor, recorded that spit, equalized it (hence turned on the bass) and voila: perfection of dirt! After a while the track feels like a gangster hip hop side project with a police siren coming to surface (and fast driving cars in the bronx?). But the most awkward thing about this piece of music is the fact that it’s still pussy enough to establish a kind of pseudo-groove. Maybe that’s the thing I hated most in the 80s.

from “Spójrzcie Пожалуйста, Jakie Piękne Macie Gęby” (Die Schöne Blumen Musik Werk 2002) CD-R

Maybe this is Rudolf Eb.Er, who knows? Interesting cut up stuff that only exists to make people nervous and commit suicide. I like the esthetics of committing suicide, so I deliberately listen to all those amplified farts, speech fragments, crunchy rapes and metal object manipulations in a nihilist context. Though this kind of style always felt like drum ‘n’ bass to me: Focus on production, not the black lodge in our inner self. If there is a fitness center in experimental music, these kind of cut ups would be the soundtrack to unloved muscle assholes like Arnold Schwarzenegger pretends himself to be. The first few minutes are pleasant – until a stupid march enters the acoustic abuse I really don’t like the comfy aspect – too funny. Though I would love to meet those creaming ghouls in person. By the way: The most interesting part of this piece of music is the first seconds

fromV/A: 4 IN 1 (Grafika Airlines 1983) cassette

True ghost music – sounds very balkan peninsula-esque. I really wonder about the desperation and nihilism some people can add to emotional ambient music. This sounds to me like a masterpiece. Impossible to classify – vast and demure at least. I have never joined a satanistic ritual, but I can imagine this music could be effectively played after the ritual is over – and only the night and stars are falling down on earth. If Tyrannosaurus Rex would have ever used lipstick, I could imagine it looked like the sounds of this howling guy in delirium. I am quite sure the sweat of the artist smells like root beer.

5. CTEPHIN & GX JUPITTER – LARSEN The Shards Of Turin – The Second Coming
from “The Shards Of Turin – Second Coming” (Roil Noise 2006) mCD-R

Oh – quality noise ambient. Reminds me on a possible collab of Kevin Drumm and Daniel Menche. I know lots of noise records – and the most annoying thing about noise music is the fact that every fucking retard thinks that noise production is easy to make. That leads to a market overflooding of really shitty noise. This one is different. It seems that the artist is really capable of what effective noise means. Very rich sound, absolutely intense “suck my sould into the void” atmosphere and transitional-world-atmosphere. Probably I’d buy it.

6. NOOSFERA Black Cloud
from “Jungian Epiphanies” (Oktagon Records 2001) CD

Sounds like a cheap atmospheric hybrid of Labradford and Sophia. Overall a very interesting outcome and production, but the song quality is missing. Remember you suicide-prone gothic zombies: Committing suicide is much more exciting than a whiny singer exhaling the obvious. Death is not romantic. Well – at least the electric guitar has a cool sound. More than I could ever expect.

Blind Date #8


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