Month: October 2014

BLIND DATE #13

Name: Andrew SEAL
Nationality: American/German
On the front line: Since 1997.
Activities: PRAYING FOR OBLIVION (1997-present); TOTE STADT (2002-2004)
Contact: http://www.freewebs.com/prayingforoblivion/home.html

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. DE FABRIEK Ruckehr
from “Trabbi – Music” (De Fabriek 1991) cassette

Distorted pop music. Blurred and obscured by a pitchshifter pedal or effects rack, I think. Looping, glitchy trip-hop feel. I have no idea who this project could be. Its pleasant in a disposable dreamlike kind of way, but not something I would listen to normally, or pursue interest in.

2. MISSING FOUNDATION Kill The Hypnotic Bastards
from “Missing Foundation” (Restless 1987) CD

Starts of with some annoying repetitive voice sample and moves quickly into some quasi doom-y sounding guitar and drums and screaming vocals……My initial impressions of this track are somewhere between old Norwegian project THE END, and Neurosis. Now a phase of the track with panning in/out vocal sample bits, and ends abruptly. Not a bad piece, if you like experimental/doom/scream-o type stuff…..

3. ATRAX MORGUE No-End Torture
from “Lesion 22” (Less Than Zero/Slaughter Productions 1996/2004) CD-R

This is more my taste in stuff. Harsh, simple rhythmic noise. Minimal and straight to the point. Basically just a drum machine some distortion and feedback. At some point this reminds me of some of the work from my good friend Daniel’s project Flutwacht, but I don’t think this is exactly his area of sound, because the production on this track is very minimal and stripped down; a simple interchange and mix between the rhythm and feedback. Nothing groundbreaking here, but not bad.

4. SIGILLUM S Incstant Of The Obsession
from “Sigillum S” (Sigillum S 1986) cassette

Track starts very minimally, a pulsating and ominous ambient atmosphere with some electronic sound like crickets outside…..About a minute in the sound is punctuated my some echoing shouts and “singing”……then vocal samples from some speech(?). I can sort of imagine this entire track being the actual audio from a movie; not the just the soundtrack itself, but the sounds of the action on screen as well. For some reason I envisioned a desert landscape in my mind,at dusk……..I wouldnt consider this dark ambient; the vocals lend some “shamanistic”, ritual tones. A bit on the long side, but a nevertheless interesting piece to imagine a visual accompaniment to……cool track.

5. JGRZINICH / Seth NEHIL The Distant Edge
from “Confluence” (Intransitive Recordings 2002) CD

Horror vacuui. Like a philharmonic tuning up in hell, or being trapped in a traffic jam on LSD; in fact I think the sound source is in fact, car horns honking through some delays etc. and I can clearly hear people talking in the mix of things, pedestrians on this particular street in hell……perhaps the local football club has just won the championship ? Car alarm sound, police whistle, more car alarm sounds, more whistles……My honest and best comparison to this type of overwhelming vortex of sound would be certain pieces from Boyd Rice/NON but I know isn’t that. Honestly no clue who the composer of this strange tape cut-up / loop track could be ?

6. 1348 Untitled
from “Crystal Night” (Korm Plastics 1988) cassette

This piece starts off very minimally, with a looping and quiet clock-like mechanical sound, giving rise to another layer of mechanical vibrations similar to listening to the motor of large machine or vehicle from the inside. Another loop, this one more rhythmic. Very hypnotic and precise mechanical sound, almost oddly danceable (?) The only comparison to other material I can give is that this piece reminds me of a quieter, denser version of the project Désaccord Majeur on the album “L’Immobile Point Vibrant”. However this has more of a vaccous and hypnotic quality to me. The loops that have build for the first 9 minutes begin to shift toward the 10th minute, and we are left with a minimal scraping beat that abruptly ends……part 2 ? Well, this track kept my attention and interest for the first half, but now is back with a very minimal percussive loop sounding like a wood block and scraping metal. Primitive rhythm. “Part 3” begins around the 15th minute. Elements from the previous two segments are present, but now with a new accompaniment of mechanical/factory ambiences. A bit on the long side to be one continuous track, dividing your listening of this piece into 3 distinct segments is necessary. While not bad in total, It tends to drag a bit, with the 1st and 3rd segments being the most interesting.

Blind Date #13

Advertisements