Friday, 27 July 2007
Northampton Wools
Northampton Wools is a duo comprised of Thurston Moore and Bill Nace, two of my favourite axe-shredding fools. Therefore I was very excited about receiving this debut release in the mail, a double cassette blow-out.
Four sides of bombastic, violent amp-confrontation tempered by some eerie lull that closes down side 4. An almost power-electronics level of unremitting heaviosity is achieved throughout.
The packaging is very nice as well, minimal and eloquent, which is a pleasant suprise as sometimes these underground cassette joints come in decidely sketchy packaging.
Tuesday, 29 May 2007
Le Weekend Sunday night review
Next was a screening of a film about Cornelius Cardrew and the Scratch Orchestra. It was edited to give it a sort of punk rock/fluxus vibe that I found quite appealling. The Scratch Orchestra, it seems, ultimately became overly concerned with politics. Cornelius Cardrew's extreme leftist leanings alienated the more bourgeious members. Anyway, by the end the film had sort of painted a picture of these guys as self-indulgent pompous dickheads. It's like they struggled to get laid or something and directed all this misplaced energy into some sort of abstract, inconsequential psuedo-political movement. I guess that sounds sort of harsh.. there was something cool and admirable about their initial anti-consumerist approach to music, it just seemed to get all blown out of proportion.
Then there was a performance by Nagasti Ne Te. I think that's what they were called. They were.. an odd choice for a self-proclaimed experimental music festival. Two chicks on bass and drums and a dude on guitar with harmonised vocals. Sort of struck me as the Japanese equivalent of Yo La Tengo cept with less dissonant rock moments. Their music struck me as slightly straightforward and dull. However, they were really polite, mild-mannered people so it was hard to bear any ill will towards them. The dude seemed sort of awkward and clumsy, carefully activating his pedals. He announced one song as "Me on the Beach" cept he pronounced it so it sounded like "bitch." Hilarious. Later, we surmised that that was what made them experimental - the marriage of sacharine melody to obscenely crude vocals, a nuance that was unfortunately lost on an English speaking audience.
Next up was Justice Yeldham. Second time I've seen this fool. Seeing the sheet of glass sitting in an instrument stand before he came on was getting me pretty amped. We looked around at the audience of middle-aged, self-styled intellectuals and I speculated that mass hysteria might erupt with people getting stampeded as everyone rushed for the exit. Then it would turn into an orgy but it would be a really depraved sinister orgy. People getting held down and cut while everyone stood around masturbating and watching. People writhing around in pools of blood and semen, headbutting each other. Me and my pal rapped on this theme for a while. We may be completely immoral and insane.
Justice was totally great. Not much variation from last time I saw him but still absolutely captivating. Dude delivers a completely visceral performance, really cathartic. The sight of his face pressed flat against a sheet of bloodied glass as he writhes around frantically combined with the inhuman processed howling and moaning that it creates is really exhilirating.
Finally, we had the Thing + ZU which I was anticipating highly. Unfortunately it sucked.
OK, it didn't totally suck. First the Thing came out and started off as a trio for about 10 minutes. Real high energy free jazz. I was getting completely psyched thinking I was witnessing one of the best things ever. Then ZU came out. They looked like nu-metal dudes. The bassist sort of had a rock/metal sensibility which I found a tad crude. Same with the drummer. And the ZU saxophonist didn't really contribute much I felt. Mats was on fucking fire tho. And the Thing drummer was awesome as well.
They played all these rock covers including a Lightning Bolt tune which had everyone cheering. Shame it was quite clumsily executed. Then for the encore they did a more subtle improv thing that was sort of more interesting than their actual set.
I bought the Monster Movie LP by Can from the Monorail stall then we went home.
Sunday, 20 May 2007
PRURIENT / HOTOGUISU - Snail on a Razor CD review
playlist
NIRVANA - BLEACH
UNWOUND - S/T
UNWOUND - NEW PLASTIC IDEAS
BLACK DICE - MILES OF SMILES
WHITEHOUSE - NEVER FORGET DEATH
BIG BLACK - SONGS ABOUT FUCKING
Monday, 14 May 2007
TOP 30 SONIC YOUTH SONGS
The Incomprehensible Outpourings of a Solipsistic Obsessive
Pattern Recognition
The way it all becomes completely unhinged towards the end.
The Sprawl
Ditto. But more balanced between screaming harsh chaos and blissful melody.
Word Looks Red
Frenetic slide guitar work. See live video for evidence.
She’s in a Bad Mood
Atonal one-chord drone opening.
Brave Men Run
Bohemian vocal wail married to guitar chime sickness.
Society Is A Hole
Turgid, choppy, slow-motion maelstrom of 1980s folk noise.
Death to Our Friends
Nightmare race on dark roads
Shadow of a Doubt
Midway thru, guitars build up momentum and churn, hum like burning ghosts. Ambient anguish.
Tunic
Pretty monolithic guitar riff drift pinned down with a steady, hypnotic beat.
The Wonder
The ‘solo’ is sort of revisited in a much brighter form on Incinerate.
Stereo Sanctity
Superb P K Dick vocal evocation, thundering/splintering zen drum chug whilst guitars sound like failing engines.
Cryptic, evocative lyrics issued with poetic nonchalance. Tumbling drums with best fill ever. You know the one I mean.
Female Mechanic Now on Duty
Midday anguish, grinding motion of construction/machinery.
Skink
Slow, heavy, and mesmerising, just how we like ‘em.
Dude Ranch Nurse
Ditto, but with more axe wailing which introduces a whole ‘nother element.
Sympathy for the Strawberry
Swelling mass of sonic fog – chilling wind chime tinkle.
Helen Lundeberg
No wave art rock (and roll???) Could be the ultimate Sonic Youth song, a real pleasant surprise at this stage in the game.
JC
Heavy, thick zaps of suburban summer thunder.
Bull in the Heather
Sci-fi zaps, robotic belches and maraca enhanced drum breaks.
Sweet Shine
Alternative universe diva whispering amidst guitar shimmer.
Winner’s Blues
Totally dig the reverb soaked vocal.
Becuz
Totally dig the noise intermission, specifically Thurston’s measured use of wah-wah. See live video for evidence.
Washing Machine
Haunting and tumbling in equal measures, initial unease is created with tunnel vocal and then dissolved with long mind baker of a noise meltdown
Sunday
62 Jazzmaster… rolling slow and smooth… Culkin’s lips… swinging hair… horse paintings... detached gaze
Contre Le Sexisme
Western epic dissonance
Marilyn Moore
Complete submerging despair, clanking guitar, insane shepard alone on isolated hill at midnight.
Blink
Really warm… bass mewls like a cat by a warm fire of slowly burning guitars…
Tom Violence
I’ve picked more songs from EVOL than I realised I would. This has very gradually become my favourite Sonic Youth record; initially I was actually quite underwhelmed by it. TV is teenage soul scream.
Expressway to Your Skull
All the mysteries of existence compacted into infinity minutes of rock affirmation – hysterical scree – eerie hospital ambience… (I refer to vinyl locked groove track length)
Early American
Wednesday, 2 May 2007
Recent disks I've been enjoying
No New York (an atonal yet dancable staple)
The New Blockaders - Gemantnichtswerk (disc two is crazy)
Mouthus - The Long Salt (heavy heavy electronic jungle dirges lost in falling rain)
stuff I look forward to jamming in the near future:
Merzbow/Giffoni/O'Rourke - Electric Dress
Vampire Can't - Key Cutter
Skaters - Dark Rye Bread
Starving Weirdos - Harry Smith
Brotzmann Octet - Machine Gun
Monday, 2 April 2007
Text of Light - Metal Box review
Track two is rooted firmly in sci-fi sound effect territory, a cauldron of modulated electronic signals and bleeps accompany Ranaldo’s trademark delayed guitar. It sounds reminiscent of another recent successful Sonic Youth side project - Four Guitars Live. Patterns, melodies and sketches of structure may emerge briefly but are quickly blown away in a hurricane of noise. There is no definitive path, everything is shifting and subjective, just like Brakhage’s films.
Track five features slabs of drone with notes and tones flickering briefly like flashes of light illuminating an empty auditorium.
Disc one closes with a 17 minute voyage to nowhere. It begins with ominous foghorn sounds, crashing cymbals like waves and a slowly melting saxophone. The sounds evoke bleak plains with ink black birds scattered across an empty grey sky. This is the group at their most filmic, a sound they will revisit more centrally later on. Wide open sonic architecture is erected to accommodate Brakhage’s images.
Disc two also includes an excerpt from the group’s most recent set in Brussels 2005. A more minimal approach is utilised here with heavy slabs of drone intercepting each other. The main difference between the way the group sounds here as opposed to on disc one is in the percussion department. With William Hooker at the helm in 2001, Text of Light had a more scattershot, fierce free-jazz strategy. Later shows featured Tim Barnes replacing Hooker. Barnes, who also features on Sonic Youth’s tremendous SYR6, is concerned with a lighter, more subtle approach. Tinkling bells and chimes leave the guitars and sax to create wide open vistas of atmospheric noise. The overall result is possibly more satisfying than the group’s earlier experiments which, at times, seem to lack focus and cohesion.
Also included here are live studio sessions from 2002 which find the group without a drummer. Instead DJ Olive and Christian Marclay feature on turntables. The results are generally impressive although at times the sampling seems slightly arbitrary, leaving the other musicians tentative, seemingly unsure as to how to engage with the turntables.
Disc two closes with an excerpt from a Berlin gig in 2003 with Ranaldo, Licht, Krieger, Barnes and DJ Olive. Again, Barnes percussion is magnificent. He seems to know when to be more prominent and when to hold back and has a great array of tools for the job. DJ Olive’s work here is inspired as well, his short samples of foreign voices, explosions and general destruction lend a grim atmosphere to the piece. In contrast the guitars are quieter, placid, almost verging on melodic at times.