Name: Stephen CAMMACK
Nationality: English
On the front line:  Since 1979.
Activities: Industrial projects: IDEAS BEYOND FILTH, DIETER MÜH Contact:

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. Bruce GILBERT Music For Fruit (Edited)

from “Music For Fruit” (Mute 1991) CD

This is a bizarre track; it is around ten minutes long and has six short sections contained … random non-cognitive sections, rather like playing the first minute or two of each track on a new LP. The sounds contained aren’t very listenable either. Starting off with random noise/guitar and tippety-tappity metal cutting in to polychords and progressive dramatic organ sounds. Not a style or sound I would chose to listen to.

2. MERZBOW Nil Vagina Tape Loop No. 0

from “Nil Vagina Tape Loops” / “Merzbox” (Extreme 1982/2000) 50 x CD

Another track that has too many changes in it. This one kicks off likean early piece by NON or something from the Rice/Tovey album “Easy Listening For The Hard Of Hearing”. Loop sounds. Organic loop sounds. Loop sounds and feedback with the feel of old vinyl. Back in 2009 I saw Aaron Dilloway making a noise very similar to this at the ICA in London. Tape being manipulated across magnetic heads – pulled, paused and looped. I’m dancing to this one, and then about a third of the way in it all changes. Instead of constructing and layering it goes frantic on the play/pause button, tries to find another loop with a distorted voice pattern and has someone rattling loose change in an old bean can. A couple of more minutes and the sounds have collapsed and I’ve lost interest. This track is far too long and never recaptures the brilliance of the first three to four minutes. A shame.

3. IRR. APP. (EXT) The Voice Of Reason In The Mouth Of Insensibility

from “An Uncertain Animal, Ruptured; Tissue Expanding In Conversation”            (Fire Inc. 1998) CD

This is the first “complete” piece. Complete in construction and direction. Dadaist / Musique Concret? Breath sounds. Human & Feline, frequency drone, running water, searching through the cutlery drawer. A day in the life. Inventive. Imaginary and I like it.

4. SOL INVICTUS It’s A Beautiful Day (Instrumental Remix)

from “The Angel” (Tursa 2003) CD

This track comes straight in like it should have “Part 2” or “Part 3” after its title. It is straight in with jazz piccolo, melancholic bass line and acoustic guitar. The music travels along with interruptions from a voice sample saying, “it’s a beautiful day”. I think it is from the film “Fargo”. (Could be wrong). It all ends with discordant strings and wild Theremin. I do a fortnightly radio show here in Devon and the programme before mine plays progressive rock / jazz-rock, and this track would not sound out of place on his show.

5. Roland KAYN Tarego I 

from “Tektra” (Barooni 1984 / 1997) 4 x CD

Orchestral sounds. Repetitive strings in a Bernard Hermann style, horns and mass drums. Loud and immediately gripping. Electronically sequenced pulses weave in and out of the piece. Brilliant. Three names spring to mind: Steve Reich, Gilbert Artman and Glenn Branca. At 15 minutes this piece is just abbout the right length. (Probably part of some symphony / opus)? I have a feeling I have heard this before and probably have somewhere in my collection.


from “Voodoo Killers” (Old Europa Café 1996) cassette

Again, a familiar sound. In some ways it sounds quite dated with WASP Synthesizer sounds and angry shouty-shouty vocals (Whitehouse have a lot to answer for), but then sounds quite fresh in crystal clear sound quality. It has a feel like it was recorded live in a wind tunnel. Vortex Electronics. There’s a lot of reverb and even has Classic FM tuning inand out. Whether it is called power electronics or harsh noise wall, as a rule this style of noise always has more impact live.I used to listen to a lot of this “style” in the mid 1980’s but not so much now. At six minutes it is just about long enough to be listenable. (Again, I probably have this somewhere in my collection).

Blind Date #12


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