044 LINEKRAFT “Delusional Disorder”

Now available from Impulsy Stetoskopu!  

okładka przód jpg      IMG_7382

We are proud to present this release from one of the most interesting modern Industrial / Noise acts from Japan (and probably in the world). Limited edition of 200 hand-numbered copies CD in metal boxes.


043 The Archive Of Polish Industrial Music Presents: SOMA – STRUCTURE (WUNDER BAR & SCHISTOSOMA 1986-1996)

Now available from Impulsy Stetoskopu:

The next part of “The Archive Of Polish Industrial Music Presents: “ series.
Limited edition of 100 hand-numbered copies 4 x CD-R in a 16×16 cm solid box with a 16 paged booklet.

naklejka na wieczko     IMG_7379

In the mid 1980s Polish independent music was at its peak. Apart from Tri-city, Wroclaw and Cracow, the southeast of Poland, including the city of Rzeszów, was the place of exceptional activity from young artists associated with new wave, post-punk, and avant-garde rock music. Located somewhere on the fringes of the country’s music underground, the flurry of creative atmosphere which emerged there gave rise to bands like 1984, ONE MILLION BULGARIANS or WAŃKA WSTAŃKA.

It must have acted as a catalyst for creative, artistic thinking in many young people who had first-hand experience of those times and events. One of them was Wojciech ŻMUDA (b. 1964), a versatile artist, devoting his explorations to the refined avant-garde dating back to the interwar period rather than rock aesthetics dominated by punk rock revolt. In 1983 he started experimenting with sound, much in a spirit of musique concrète using a simple cassette recorder. He mixed field recordings with sounds of everyday random objects: lids, suitcases, safety razor blades, sheets of paper, etc.

A short extract from a biography by Rafał Kochan (translated by Przemek Chojnacki)


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


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


Name: Pentti “UMPIO” DASSUM
Nationality: Finnish
On the front line: since ca. late 80’s punk awakening
Activities: Runs NEKOREKORDS. Multi-instrumentalist, focusing on junk metal percussion, self built nonstruments and junkstruments after many years of guitar and bass in several punk rock and experimental bands. Also a self-taught sound engineering and recording enthusiast who has recorded, mixed, and/or mastered over 100 finnish underground releases, and travelled with several bands as a FOH engineer.
Contact: http://www.umpio.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. CONTRASTATE In Absentia
from “English Embers” (Dirter Promotions 1994/1996) CD

This is just annoying. Horrible pastel-colored major seventh chords, painfully
slow pacing, and too much bad reverb, bad flute impro and somebody
shaking their car keys for ritual bells. If this turns out to be some
legendary kvlt artist then he/she/they sure make it impossible for me to
dig it. Argh. Maybe it was more interesting for them than it is for me.

2. MASONNA Untitled
from “Mademoiselle Anne Sanglante Ou Notre Nymphomanie Aureole” (Alchemy Records 1993) CD

Well, MASONNA. Nowadays I wish it was recorded through amps in a room
to avoid the line-in hygiene, but you can only worship the crunchy
moments when it shifts and collapses and crunches like a hippo coming
through the wall. Makes me think also of that Yamatsuka EYE video from
early 90’s where he’s alone with a 58 and a pedal on stage…. Lucas
ABELA is carrying this flag amazingly, mike muncher with fx belt!!

3. CHAOS AS SHELTER Seven Steps Towards The Rainbow
from “Devil’s Brothers” (Ignis Records 2000) CD-R

I like dark ambient stuff a lot, but, as crazy as this sounds, this
has too much reverb again to my values of grumpy old man. As with some
of my own older works, I wish there was some outside ear telling
me/everyone else too to make the ambience on a compositional niveau
instead of turning up the echo fx. The “ahlams” at the end make me think
of MUSLIMGAUZE… Also a twofold blade, cos nowadays i really hate all
this intifada-melancholy (?or whatever “etno”?) element in music, but
sometimes it’s just so necessary to listen to eastern masters like Rabih
Abou-Khalil or Nusrat Fateh Ali-Khan and forget all misery created by
humanity, which is a fuckin lot. Anyway, I like my eastern mystics
separate haha.

4. INCAPACITANTS Peony Crackers Pt. 6
from “Pariah Tapes (Eternal Paralysis Part 2)” (Freak Animal Records 2006) 5 x CD

Guitar noise…. The deepest swamp. Hmm, as a one-take-recording jam
there’s a lot going on, but I would totally recommend taking this piece,
splitting it in half and layering the parts to create wilder dialog, and
make it shorter. Look man, I started with guitar myself, but nowadays
it’s uninteresting for me. Maybe sometime next decade or so, who
knows… But as a display of wierd pedals and fx this is amusing. And
much better to have it like this than the dooooomy metal riff thing. And
what’s with the wierd military episode towards the end? Also, it’s more
fun to see what’s goin on than “just” listen.

from “Inside Agitator” (Complacency 1992) CD

Ah this started so well… The dystopian electroacoustix, the
narrative, the choice of sounds, just what the doctor ordered….
Until…. the embarassing EBM/lederhosen episode starts and flushes me
back to remember why I hated “industrial” music for so long. If this
track/album was like the beginning part, then it would be awesome! I
like much more the aspect of music that helps me forget the existence of
human beings than the elements that remind me of it.

6. TAINT Gross Postmortem Mutilation (Extract)
from VA: DUST CLAIMS DUST (Hyde Recordings 1992) cassette

Xlent lofi crumble! Here the repetition/looping is not annoying at
all, cos there is so much destruction and lunacy on top of it. Howlin at
the moooon, reminds me of ETANT DONNES…. this is really tasty stuff
and easily my favorite of the bunch. Dirty and insane disco from hell!!

Blind Date #10

LE SYNDICAT & SEKTOR 304: Geometry Of Chromium Skin – Review

LE SYNDICAT przód okładka LE SYNDICAT tył okładka

Geometry Of Chromium Skin
Rotorelief 2013

This release brings about many reflections. Not only those about its aesthetic aspect but also those referring to its cultural significance, as it seems to be located somewhere on the fringes of contemporary independent music. That is considerably due to the distinguished French industrial music veterans LE SYNDICAT, recently revived although about 20 years ago the project seemed to have definitely ceased musical operations, having used up its potential. Active since 1982, it has evolved stylistically in the directions that didn’t necessarily satisfy audiences. The group’s undisputed leader, RUELGO, has meandered in his pursuit after the optimal language of bruitist expression into various areas, see ‘Festin D’Acier’ and ‘Propagation’ released in 2010, which rather dampened than aroused the initial enthusiasm about LE SYNDICAT’s comeback after a long hiatus.

It isn’t him, however, who was the prime mover behind this album but a drummer João FILIPE of the SEKTOR 304 duo (where his partner is André COELHO, also of KULT, and others), dealing in the means of expression of the industrial avant-garde of rock music. While their relation, initiated following a long-time fascination of the two Portuguese with LE SYNDICAT’s work, is exclusively of virtual nature, the artistic result of this long-distance co-operation seems generally successful for a number of reasons.

Firstly, it deftly marries digital sound processing and electroacoustic collage techniques with analogue sound of conventional acoustic instruments and metallic sounds of self-made percussion instruments. Secondly, its multi-thread and elaborate sonic narration is painstakingly executed, with moderate use of loops and repetitions. And thirdly, considerably owing to guest appearance from a promising avant-garde drummer Gustavo COSTA, it makes a versatile use of irregular rhythm sequences of varied tonality.

Rhythm also serves another, possibly a greater purpose here. It acts as a bonding agent between the chaotic ambience sounds and a wide palette of dissonant feedback, processed vocals, dark reverbs and low-range electronic static. This, however, raises doubts related to a broader issue in industrial music: is rhythm a formally justified tool for control over noise? This release clearly shows an effective and impressive instance of taming of noise but that in turn may make you wonder whether the chief attributes of noise – rawness and unpredictability aren’t eliminated as a result. The concerns mount up if you give a closer look to the role rhythm plays in particular tracks, its forwardness (‘Geometry Of Chromium Skin’), and synthetic tonality in some places (‘Fallout’). Although the rhythm here is structurally irregular and sufficiently varied, its dynamics seems to overwhelm the other elements of sonic expression, as in ‘Mannequin,’ a composition which evolves splendidly but only up to a certain point.

The album is a contemporary homage to the industrial music artists of the first half of the 1980s, retaining a modicum of stylistic autonomy. You can’t miss the references to EINSTÜRZENDE NEUBAUTEN, S.P.K., TEST DEPT or to LE SYNDICAT itself, whose bruitism was permeated with human sweat, dirt, and lunatic spontaneousness. Sadly, it is also a bitter reminder that the industrial music of the 1980s is irrevocably gone. It is one of the anonymous many that are a testament of a kind of cultural decline, resulting from overproduction, information overload, and blind pursuit of technological progress.

Paradoxically, the cultural decline is the chief theme here – the atmosphere of civilisational barrenness and soulless technologisation, leading to unavoidable disintegration and annihilation. The eschatological aspect of the album is emphasised through spoken vocals from Manuel NETO, vocals from Antonia REIS intertwined with antimusical textures, which imitates religious transcendence, and references to Nordic mythology (‘Valhalla Errectum’).

Standard packaging. The artwork, indicative of the musical content, was designed by the members of SEKTOR 304 and is a colouristically minimal collage of wrecked cars, fingerprints, abstract deformations, and subtle yellow and red colouration. The liner notes provide exhausting information on the background of the album, mastering, personnel, and instruments and devices used.

Total: 6,5


Name: Christopher SIENKO
Nationality: American
On the front line: since 1991
Activities: Associate Editor, “As Loud As Possible” magazine.
Contact: alap.usa@gmail.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. SHEIK HI-FI I Like To Touch

On first listen, with just the guitars raking, I thought, “Oh Christ…save me from ‘free rock.'” Freeform rock has a hell of a time maintaining my interest. But that’s a subject for a different date. The tom-heavy drums arrive and the guitar scraping starts to organize around the beat, it turns into a compelling, stumbling bit of songwriting. Once the French vocal arrives, I’ve pretty well signed on, and after the two vocals make an attempt to harmonize, or at least sing different parts, I’m fully invested. (I wish more rock acts [however loosely you wish to use that term] would attempt *any* form of vocal harmony, or at least dueling shrieks.) This was a surprising selection for this project. I was expecting all noise and industrial and power electronics fare. But this was good. A preemptive palette cleanser.

2. DARUIN Scum ‘N’ Database
from “Fake Professor Of Japanese Pipe” (The Locus Of Assemblage 2004) mCD-R

Wonderful composition, this one. The sounds are expertly arranged and layered. If this were an abstract painting, I’d say it has “great lines.” All the motion in this piece moves your ears toward specific focal points. It’s using a wide sound palette and, amazingly, doesn’t repeat its tricks that often, which is paradoxically harder to do when you have more sound elements rather than fewer. Because of the thick, syrupy digital delay, it doesn’t score high on the “sharp edges” register. It sounds to me like a modern, digital example of what people like RLW, Lionel Marchetti, or Christian Renou (Brume) do…it keeps one foot planted in classical musique concrete terrain, with its predetermined constructions and environmental cul de sacs, while still showing its claws like more modern noise music. It has a very specific atmosphere, which is impressive considering how much digital delay there is. Digital delay tends to make everything sound like digital delay.

from “Sylissäin Oot” (Qbico 2005) LP

I’m going to guess that this in nmperign. I love nmperign. I’ve seen them live at least a half-dozen times. Joel St. Germain recommended them to me as “like Runzenstirn & Gurgelstock, but with instruments,” which even after 15 years of evolution and refinement of sound still describes them pretty well. Just as R&G have honed and refined their sound, becoming more R&G than ever, so has nmperign. Both groups understand the impact of silence to contrast the brute force. The range of sounds the two have discovered in “conventional” instruments, and their ability to play against one another without stepping on the other’s good ideas is pretty mind-boggling. A performance by nmperign with Jason Lescalleet (Neon Marshmallow Fest, Chicago) was one of the five best experimental/noise performances I’ve ever seen, combining elements of AMM, Borbetomagus, and Hermann Nitsch. Dave Phillips and Neil Campbell were there too, and at the end of that 30 minutes, we all assisted each other in collecting our jaws from the floor. (There’s a video of the performance on Vimeo, but it doesn’t convey the impact of the live experience.)

4. John EVERALL / Mick HARRIS Mesmeric Enabling Device Part 1
from “Mesmeric Enabling Device” (Soleilmoon 1999) CD

This sounds to me like mid-period Crawl Unit, maybe a part from Vs. Silence or something. This does something I wish more noise/experimental music had the will to do: remain still. I mean, it does change throughout…there’s an ebb and flow, and the discrete pieces come and go and slightly different times, like planets criss-crossing in three different-sized orbits. But the piece has confidence in its minimal materials. It doesn’t introduce anything new during its long duration. It has chosen its palette, its three primary colors, and remains loyal to them the entire time. When you have confidence in your materials, and the pieces are set into motion audaciously, there’s little need to tinker. I’ve heard too many long-form pieces that, midway through, suddenly lost their nerve and felt the need to add new elements, or escalate the intensity, bringing the piece to a shattering, unnecessary climax. A piece like this, held in a focused, tight middle area of tension and (slight) release, can be so much more satisfying when done well than the usual march off the highest cliff.

5. The HAFLER TRIO Untitled
from “Fuck” (Touch 1992) CD

This sounds to me like Altar of Flies, specifically circa The Permanent Cavity. This might even be the final track from The Permanent Cavity. I’ve been on a massive Altar of Flies kick lately. It’s a project that has shown me a new way through the wilderness, tying together noise intensity/orthodoxy with more classical musique concrete techniques. I like that the track can stop to change gears in the middle while not drastically altering the mood or ruining the momentum. Subtle details are mixed farther back in the mix; it’s nice to see people who know not to foreground every single sound. Even when nearly all of the elements are pushed to the back, with just a few squeaks and ghostly voices punctuating the rhythmic BOOMs, the piece never loses its drama. Whoever this is, I was held rapt throughout.

6. Alvin LUCIER Music For Solo Performer
from “Music For Solo Performer” (Lovely Music 1982) LP

This is another style that I can’t get enough of — a piece that sounds like it was built out of several repetitive (but unrelated) sounds, giving the impression that we’re listening to the inner workings of some giant, incomprehensible machine, like Picabia’s paintings of devices that would grind themselves to death if they were ever activated. The sound of useless machines. As AMM said, “What is there in uselessness to cause you distress?” This sounds like it could have been created by an algorithm that was created to generate these endlessly asymmetric lines, a product of futurist automation rather than performers kicking out non-associative ruckus via an exacting score. It has that alchemy that’s very hard to explain to non-believers: there are no repeating patterns, it doesn’t progress, it doesn’t resolve, and it goes on for a very long time. And yet, I wouldn’t change a thing.

Blind Date #9


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: betty@voluntarywhores.de or shhhh@shhhh.eu

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


Name: Jason B. BERNARD
Nationality: British
On the front line: since 1998
Activities: inter alia: solo act SKULL:AXIS; runs the Peripheral Records / Peripheral Minimal labels and distribution.
Contact: http://www.peripheralrecords.co.uk

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.

from “We Count These Prayers…” (Corpus Hermeticum ‎2001) CD

This track starts off with a clanging metallic sound that continues into a fairly constant drone, at first only punctuated with the occasional creeping echoes of icy synth, other sounds slowly seep in, a whirling ambient sound heavily reverbed alters the atmospherics, becoming more lucid, a dreamscape perhaps. Further along, more disturbing sounds filter in and the metallic scraping slowly fades, to reveal something a little more sinister, a ritual or a rite of passage. It’s a beautifully understated piece of droning ambience with obvious comparisons, but stands alone against other perpetrators of drone or dark ambient.

2. Bob OSTERTAG Getting A Head
from “Getting A Head” (ReR Megacorp ‎1980/2000) CD

What initially starts as an almost ‘Kraut-Rock’ intro., quickly becomes a surreal melange of sounds, akin to Nurse With Wound’s distinctive early free improvisations. Then the sounds become more fragmented, with speeded up and slowed down tape noises / loops, followed swiftly by bizarre and absurdist acoustic sounds that penetrate the chaos, before string scrapes and random noises finalise the proceedings. Unfortunately I find this piece to be overly long winded and it soon becomes a little tedious!

3. SMEGMA Semi-Incongruous Morass
from “Nattering Naybobs Of Negativity” (Harbinger Sound 1988/2007) CD

An all together peculiar intro., creepy animal sounds and a random selection of ‘traditional’ instruments open the track, then slowly alter and oscillate, before becoming almost cacophonous! Again it has the elements of an NWW track, an ambivalent piece of improvisation, that thankfully keeps itself to a reasonable length.

4. WILL TO LIVE Lying In Bed
from “Will To Live” (FLESH Records 1986) 12″ EP

This in my opinion has a more interestingly developed intro. Detuned shortwave radio sounds that flitter around, but ultimately don’t seem completely random, there is thought and technique involved, that reminds me of a covert cold war recording. Besides that a creepy vocal intonation is injected into the wall of sound, almost gasping sinisterly. The ‘Conet Project’ springs to mind immediately, an historic set of recordings from another era. Ultimately an accomplished piece of sound-art.

from “Dead Last” (Soulworm Editions 2002) CD-R

The track opens with an almost inaudible drone, that even at the half-way point doesn’t develop much. Eventually a slightly more tangible sound creeps in, metallic tonal washes soon penetrate the silence and give the piece an almost transcendental atmosphere, or conversely the sound of a distant factory that reverberates across a distinctly urban landscape. Perhaps a piece of work destined to be background music, unless the volume is turned up to the maximum, possibly the best way to fully appreciate the ambience.

6. KEMIALLISET YSTÄVÄT Sata Salamaa Iskee Tulta Ja Koko Elämä Räjähtää
from “Alkuhärkä” (Fonal 2004) CD

The opening chords of this track begin with a rhythmic metallic drum sound combined with spacey analogue synth whooshing and what sounds like a distressed feline, that quickly descends into another piece of random surrealist improvisation, it has all the de-constructed hallmarks of free-jazz. Perhaps something more for the ‘art’ sound crowd.

Blind Date #7


Name: Phil JULIAN
Nationality: British
On the front line: since the mid 1990’s
Activities: CHEAPMACHINES, Authorised Version label, group/duo/solo improviser, sound artist, composer.
Contact: http://cmx.org.uk

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 Ogkr
from “Ab Ovo” (Mute Records 1996) CD

Modulating drone with what sounds like improvised delay sweeps. Could be an older electronic/computer piece or someone deliberately going for a slightly primitive feel. Some nice background detail and the main drone section moves in an interesting way for the most part. Some of the adjustments seem a little ham fisted but could be a result of whatever device is being tweaked rather than anything else. Seems nicely unedited.

2. HERMIT Untitled
from “Ashes Of An Ancient Civilization” (Pulp Mill Records 1995) cassette

Bit of everything here. Found environmental news reports, raw electronic feedback, noise improv that seems to feature a sax at one point, oil drum percussion… this kind of anti-compositional tape edit sequence track is fairly difficult to do while retaining any kind of interesting “whole” but this is haphazard enough to hold up.

3. SUJOY Vulture
from “Brand New Day?” (Far From Showbiz 2007) CD-R

Overloaded filter sweeps which thankfully jump to something more interesting around 1:22 which saves it. An odd, distorted ice cream truck melody that somehow manages to be subtle and ear-rinsing at the same time. Disorientating once it gets going.

from “No One” (Nefryt / 90% Wasser 2011) 3 x CD + 3 x LP

Droning strings and bowed/struck metal percussion or objects. Organum / Jackman / NWW related perhaps… nice spatial recording, lots of great detail and overtones. Slight whiff of the thighbone trumpet at the end which does little for it. Does a really good job of inhabiting the space its given (up to the “reed” section at the end) which is what good “drone” music should do.

5. PRAYING FOR OBLIVION Runefilledmind
from “Turm Schweigen” (Obscurex 2010) CD

Decent bass-heavy gritty loops that get broken down before they get too tedious… I’ve never done much with short, repeating loops as it’s a tricky one to pull off and keep interesting, plus for a while in the late 90’s when I started up it was an overused trick. This is good though. Slightly disappointing “collapse” ending perhaps considering the tracks momentum and general visceral quality. That said, “It’s big and it moves” which is pretty much all I want from music.

6. Tom RECCHION The Real Strungaphone
from “Freak Show” (Pinakotheca 1982) cassette

Echo chamber guitar(?) drones… There’s a strumming/chugging detail throughout which detracts a little and the track starts to feel slightly on the long side as a result. From a boring, technical standpoint the reverb sounds quite artificial on the whole. This played in a large, naturally reverberant space would sound fairly amazing I’d imagine. Nice detail throughout and some subtle momentum build-ups keep it interesting enough. Cold and monotonous, in a good way.

Blind Date #6