Ah, only a month too late. The Bellicose Minds spent the month of November touring the American West Coast with a couple of European punk bands. TBM is a PDX quartet that decided to make post-punk music due to their bassist's inability to play hardcore. Obvious influences come to mind (the Cure, Joy Division, etc.) but they also manage to keep it interesting by juxtaposing early positive punk percussion with well produced synth.
The next few posts are dedicated to bands I discovered during my short stay in Portland. Besides their Portland residency, I know next to nothing about Funeral Parade. They played some shows in October of this year, but I'm unsure about their status as a band. Their solitary release mixes For Madmen Only-era drumming with bass lines reminiscent of Pornography and abrasive vocals. The result is a surprisingly up-beat and goth-tinged punk sound that is ideal for a brisk morning jog through Lone Fir cemetery.
It has been some time since my last post. My absence can be attributed to the following two reasons First, I've been on vacation; second, XTG got my Mediafire account suspended after I posted their most recent double album. As you've probably noticed, most of the links are unavailable. I will not make an effort to re-upload each and every file, but requests are always encouraged. The format of this blog will change a bit in that I will not post as much new music, and I will try to make posts more thematic. I am also entertaining the idea of posting reading material. Thanks for your continued patronage.
Nico’s third album, “Desertshore” saw her bleakly personal images and ever-droning harmonium once more framed exquisitely by John Cale’s unobtrusive arrangements that succeeded in bringing a greater sense of organisation and expansiveness to her performances. As with his background stagings on her album of the previous year, “The Marble Index” Cale’s arrangements maintain the same marvelous sense of depth and shade although on “Desertshore” they cast a different leaning over the proceedings by replacing the former chill of “The Marble Index” with a climate more arid and at points lightening many of the tracks’ woefulness with glimmering luminescence.
Quarter Turns Over A Living Line is the debut album by Raime. It follows the duo's self-titled 2010 EP and two subsequent 12" singles, 'If Anywhere was here we would know where we are' and 'Hennail'.
Moving away from the sample-based strategies that characterized their early work, Joe Andrews and Tom Halstead have looked increasingly to live instrumentation for their first full-length, mounting intensive recording sessions for percussion, guitar and strings before painstakingly piecing the album together at their home studio. The gothic and industrial signifiers in their music remain, but more submerged and oblique than ever - no more pronounced as influences than jungle's rhythmic dynamism and doom metal's oppressive weight, or aspects of techno, modern composition and dub.
Ceramic Hello was formed in 1980 by Brett Wickens, in Burlington, Ontario, Canada. Having just left future-Canadian-pop-sensations the Spoons, Wickens teamed up with Roger Humphreys, recording just one 7" single, followed quickly by "The Absence Of A Canary", in 1981. The music was inspired by the contemporary synthpop sounds coming out of the UK (OMD, John Foxx, Gary Numan, et al), but the production was decidedly more lo-fi, and combined with Humphreys' neo-classical contributions, the result was a unique electronic pop sound.
Drenched in romanticism and soaked in themes of solitude, mortality and love,
Tropic of Cancer's music forms a strangely hypnotic connection with its listener.
Camella Lobo's majestic vocals, warmly cradled by waves of ascending synths,
plangent guitar, and foreboding beats, summon the listener into a world of dark
decadence and delicate beauty.
In one of their early post-Throbbing Gristle chapters, Chris & Cosey's "Heartbeat", among many such examples of the time, demonstrates the immediate beauty and the power of synthetic minimalism. The album established the duo's independence, further developing the careening sequencer settings which Carter had welded into TG, and feeding into a new wave of post-punk pop with uncompromising minimalist aesthetics and a darkly crooked intent.
Ten year in the making follow up "album" to Children of the Black Sun (yes, that is a Nazi allusion). Notice that the word album is in quotes because if we take a closer look at the track listing, we'll notice that this is actually a collection of rehashed material with a few fresh things sprinkled in. There are five new studio tracks (through one is a filler reprise); the rest of the songs are split between previously available recordings, live tracks, and a poor cover of "Warm Leatherette." Furthermore, everything here was recorded by 2010, so why the big wait? The months of hype, the extensive European tour, and the mention of Wes Eisold left me under the impression that we would be presented with something of substance. Instead, we are left with another nail for the cash-grab coffin. At this point it wouldn't surprise me if Boyd and GP-O teamed up to publish a book of their Facebook/Twitter flame wars. Let's just hope that the upcoming XT-G record doesn't disappoint.
"Memories still vivid in my mind. June 1988. A gloomy, hot, humid night..perfect setting for a DM concert. We get the pleasure of other acts: Wire, Thomas Dolby,OMD..they finish..but we want the MODE. and around 7;30pm...the crowd awaiting for the quartet to take the stage start getting impatient. What happens? The biggest FOOD FIGHT in concert history errupts. Hot dogs, buns, shoes and an assortment of snack bar goodies flying through the air. It subsides and.. Whats that? The lights are dimmed and PIMPF plays in the air. Ther intro finishes..then with 2 loud bangs.. a recognizable bass is heard.. 'Behind the Wheel' starts this night of black celebration. Then as the song plays we hear Dave with the first verse. He sings but where is he? We can't see the band as they are behind a massive curtain. Then swiftly the curtain drops! There they were. DM. Right in front of our waiting eyeballs. The 65000+, black clad, new wave crowd goes nuts. We lost it. Couple of the most most memorable highlights were when they performed 'Blaspehmous Rumours'. Anyone that was also there remembers. During the performance a dark clowd formed above the Rose Bowl, then a loud bang of thunder, and it rained on that hot June night..heres the eerie part..only for that song! Freaked the hell out of our crowd man. Then when they performed 'Never Let me Down", Dave had all 65000 pairs of arms moving side to side. I cant really describe what it was like. The energy and the vibe was outrageous. Dave was feeding of fthe crowd. At one point he held his face and started crying. So much emotion for the band and us. Never again have I expereinced such a concert. In my mind and many others..one of the best in concert history. DM FOREVER."
Section 25 have been forever trapped- between austere Factory cultishness and the actual thrust of this amazing, other music. Encouraged by Ian Curtis and Rob Gretton, Blackpool's Section 25 (comprising brothers Larry and Vin Cassidy and Paul Wiggin), entered the studio in autumn 1979 and cut tracks for their debut single for Factory Records. Predictable Joy Division comparisons notwithstanding, Section 25 were castigated for perceived similarities to PIL's then-new dub-heavy sound, despite recording the tracks two months earlier than ‘Metal Box’. Undaunted, the band set about recording the follow-up with Martin Hannett, who understood their inherent ambiance and effectively translated them in the studio. Subsequently, Factory passed on the brilliant "Charnal Ground/Haunted" single and farmed the tracks and the the next single out to their European satellite, Factory Benelux. Roughly one-third improvised, ‘Always Now’ has a sound closer to a Can hybrid, but no one wanted to notice.
I never thought I'd grow up to be the kind of person who liked bands with goofy names and line-ups consisting of anorexic guys in eyeliner, but here I am. You can attribute my aversion to the ridiculousness of it all: elder goth pretension, Victorian aesthetic, pseudo-paganism synchronized with modern technology, and the overall notion that a few alienated people felt the need to mimic Bela Lugosi just to fit in. And yet when I listen to this album, I feel compelled to dye the cat black and break into my mother's make-up kit. Invoke some of the same sentiments this Halloween weekend.
Ornamented Walls' is the most intense, brutal and, in many senses, most substantial work from Dominick Fernow's Vatican Shadow project yet. Released to coincide with his first tour of Europe, the album incorporates the live mix rehearsals of 'Operation Neptune Spear' with tracks made in their aftermath, recorded straight to tape and mastered by Matt Colton at Air Studios.
I had no intention of posting a lot of Danzig on this blog, but something about this time of year compels me to do it! What can I say about this album that I haven't said before?
4p is a swan song of sorts, an idea reinforced in the songs that mostly focus on death and departure. Perhaps it reflects the turmoil that the band was experiencing at the time as this is the final album to feature the original Danzig line-up, as well as a point of disembarkment for many fans. That it's a hit or miss record is understandable, since it's not as riff heavy or upbeat as its three predecessors. But what it lacks in energy, 4p more than makes up for in maturity and introspection. The band has never sounded as tight or polished; the drums have never been as audible. Glenn is at his vocal prime here, listen to "Dominion" and "Going Down To Die" and tell me you disagree. In fact, I'll go out on a limb and say that 4p starts off stronger than any other Danzig album. I can't skip a single one of those first six tracks. Unfortunately, the same can't be said about the second half of the album, which is applicable to the rest of Danzig's records (How The Gods Kill might be an exception). But a couple of filler tracks and small annoyances (vocals are underproduced at times, the sirens at the beginning of "Bringer of Death," etc.) notwithstanding, 4p is a crucial listening experience for anyone looking to embrace the darkness within themselves.
Featuring two sidelong tracks each clocking-in at over
20 minutes, Homage is dedicated to the highly influential artist
Josef Albers. Eleh return with their battery of vintage modular analog gear to produce a recording of pure tone, pure sound,
pure volume and pure analog.
Eleh was formed to pay tribute to the pioneers of audio minimalism such as La Monte Young, Terry Riley, Eliane Radigue, Pauline Oliveros and Charlemagne Palestine. The tidal rumblings of Eleh will appeal to fans of Sunn O))), Om, Oren Ambarchi, etc. This is drone with density.
Homage to the Sine Wave is the second
release in the sound wave series following 2008’s sold-out LP,
Homage to the Square Wave. In a fashion similar to Square
Wave, the elemental approach to construction of the pieces
on Sine Wave is influenced by Josef Albers, the visual artist
best known for his color studies embodied in paintings of
Both faces feature sidelong compositions at just over 20
minutes each. Side A holds “Together We Are One,” a piece
that begins floating in the ether but gently lands on a field
of rhythmic bass pulses before dipping below the horizon.
“Beneath the Silver Sun” on the B-side is a meditation on
the night with a consistent delivery and subtle transformation
that is dually tranquil and exhilarating. Volume reveals detail.
"Homage To The Pointed Waveforms" is the final release in a series dedicated to specific sound waves. Following "Homage To The Square Wave" and "Homage To The Sine Wave", "Homage To The Pointed Waveforms" explores composition with triangle and sawtooth waves through studies of a dense modular system. Variations were performed live in Barcelona, Brussels and Madrid during spring 2011 but this LP is the next step.
Side A contains a version of the piece that was conceived for the shows, which evolved during the three performances as it was continually reworked. Mixed with travel memories, the two tracks on side B are reflections on the arrangement.
Part of Berlin's vigorous, Wall-shadowed counterculture, Die Haut's abrasive mix of sexless funk and doomy guitars suited then-neighbor Nick Cave as The Birthday Party began to dissolve. Cave added vocals to four tracks on this, Die Haut's long-lost debut.
King Dude returns hot of the heels of his prolific debut album Love, giving listeners a preview of two new tracks poetically titled You Can Break My Heart (which will be featured on his upcoming full-length Burning Daylight on Dais Records next week). An exclusive unreleased b-side of Devil’s Tail wraps up the old world backyard gospel that King Dude has cemented himself in over the past year. Serves tribute to both sides of the coin, both sides work equally, paying service to the ones we’ll never understand.
Years On Earth were a little known Northampton electronic duo consisting of Bob Roke and Kevin Mebz. Bob and Mebz began experimenting with electronics in the late seventies, making custom built modular units and treating guitars. This is the group's final tape before abruptly parting ways the following year. Unfortunately, I am only able to share the few tracks that VOD reissued earlier this year due to the scarcity of the original tape.
Black Antlers marked a departure for Coil moving away from pure electronic sound to the inclusion of acoustic instruments. With the release of The Ape of Naples, a somewhat muddled affair cobbled from sessions some 13 years old, Black Antlers is perhaps a more accurate reflection of Coil's latter musical direction cut short as it was by the tragic death of John Balance. Given that only one of these tracks surfaced on The Ape of Naples then these may yet become the definitive versions of these tracks. In hindsight, Black Antlers is strewn with veiled premonitions of Balance's impending fate no more tellingly than on 'Sex With Sun Ra' where he casts off the comment that "most accidents occur at home". The queasy electronics of 'The Gimp (Sometimes)' where the layered and effected voice of Balance expresses a deep sense of self-loathing in the lines "sometimes I hate myself". There's also the emotive reading of the Appalachian lullaby, 'All The Pretty Little Horses' where Balance delivers a powerful and mournful vocal take to the marimba backing that is almost swallowed up by the searing and soaring electronics. It's a beautiful song and its poignancy cannot be missed.
"I went and tested for hiv at an anonymous site, after 10 weeks post exposure period. My finger was pricked with a needle. The nurse applied a band aid on my finger which was bleeding from the needle prick. There was only an interval of less than 2minutes betwwen each patient. My question: if the nurses gloves were dirty with blood from the previous patient who was HIV positive, then can I get HIV from the wound because of the needle prick, while the nurse applied the band aid for me? Is the needle pricked finger wound large enough and possible for HIV contaminated blood to enter my body via the dirty gloves of the nurse?"
Patrick Leagas was a founding member of Death In June who was responsible for some of the elements that made Nada! so popular. Ironically enough, Leagas left the group soon after the release of that album. He moved to London where he began to make music under the moniker of Sixth Comm. This tape is the first Sixth Comm release and consists of a combination of old remixed Death In June tracks and other material recorded during 1984-86.
In autumn/winter of 1969 Edgar Froese, founder of Tangerine Dream, met Klaus Schulze and Conrad Schnitzler. This trio formed the line-up of Tangerine Dream to record the debut album Electronic Meditation. The band was supported by two other musicians: Jimmy Jackson (organ) and Thomas Keyserling (flute), but both were mysteriously left out of the credits of the original album.
The group rented an old factory building and started recording on an old 2-track Revox tape recorder. A demo tape came out of this, and it was handed over to Rolf-Ulrich Kaiser, who had just founded his record company -- Ohr Records. Kaiser was extremely enthusiastic about their music and offered to make an album with Tangerine Dream on the condition that they accepted his suggestion for a title and what the cover should look like. Of course, Tangerine Dream went along with this offer even though the title, Electronic Meditation, is rather misleading; not a single real electronic instrument is used on this album. In music and sound it describes (maybe?) the journey of a brain through different states of mind from birth to death.
Klaus Schulze: "We recorded and toured Electronic Meditation. That for me is the primary electronic album. Edgar played guitar, Schnitzler organ and me drums through loads of effects. We were experimenting with a lot of random stuff and were making up our own sounds. I remember Conrad had this metal cup full of these bits of glass in which he stuck a microphone attached to each machine. I played a lot of different percussive sounds that were then altered by machines. It was just great to be in a band who were open to so much experimentation."
Dominik Fernow and Chris Lapke hit the mark dead on with their Christian Cosmos collusion; a shocking fusion of the finest elements from their respective efforts as Prurient, Vatican Shadow, and Alberich. Essentially it's all noisier than the Vatican Shadow releases, but more synth-heavy than the Alberich sound, arriving at a beautifully imperfect junction of the two.
"On December 23rd 2002 Throbbing Gristle release 'TG24', a CD issue of the '24 hours of Throbbing Gristle' cassette box set, originally released in 1979. This set is 24 live CDs, all 60 minutes in length. The hand finished box will also include a sealed file containing a myriad of new and unique artefacts and information provided by all four members of Throbbing Gristle. This CD is a 1 hour sample taken from the various shows featured in the box set."
Los Angeles' love for pseudo-dark electronic music comes to an all time high this weekend with BACK to BACK live performances from some of the genre's leading artists. It looks as if I picked the wrong year to purge myself of my Kompakt and Fabric catalogue.
Anyway, here's new material from a man who will be at both of those aforementioned shows. Silent Servant - former Tropic Of Cancer and Sandwell District producer, Juan Mendez - makes his stunning album debut with the poised fusion of epic techno, primitive post punk, and industrial electronics on 'Negative Fascination' for Dominick "Prurient/Vatican Shadow" Fernow's Hospital Productions. Now nine months since he stopped recording with Sandwell District, Mendez has explored his divergent yet compatible tastes to their fullest, recognising and reconciling their congruent rhythms, atmospheres and intentions with alchemical ability
This was Pulp's final single before signing with Island and embarking on the road to international superstardom. "Razzmatazz" is pop irony at its best with its overtones of malevolent incest and teenage pregnancy. The remaning three tracks are a chronological retelling of Susan's shenanigans. From her pre-pubescence to her end as an unfaithful spouse, the whole thing is a combination of trainer bras, the smell of rabbits and hidden love bites in one unholy mess of hormones on red alert.
In 1977, Roman Polanski drugged and raped a 13 year old girl. The a-side of this 7" is dedicated to Roman's sexual endeavors. Useless trivia of the day: the song was used in a mid-90s Volkswagen commercial.
The B-side, credited to Thee Temple Ov Psychick Youth and entitled "Neurology," contains a message from Mr. Sebastian, a spokesman of Thee Temple Ov Psychick Youth, as well as collaged speeches by Charles Manson and Jim Jones which run simultaneously in different stereo channels.
TPM is split into two tracks. The first being "Cold": a 23 minutes cacophony consisting of a choppy looped riff with loads of found sounds spliced in as effects. The b-side's "Colder Still" begins thunderous and moves through various chilly and captivating moments throughout the duration, much like a surrealistic acid-trip influenced horror film score.
Today we have tremendously diverse kinds of music. This album leads you into the world of Exotik music. Each track pulsates with the vigour of the uninhibited, fulfilling the esoteric and titillating the uninitiated. A stimulating musical adventure.
SOME SOUNDS ON THIS ALBUM ARE AT A SUBCONSCIOUS LEVEL.
This is a compilation consisting of Italian synth bands from the year 2056. Manmask, a time travelling salesman tired of breaking his ass for the Intergalactic Music Federation, infiltrates an IMF controlled secret location. There he discovers the contents of this compilation alongside the mummified bodies of Brian Eno and Joe Strummer, whose vital juices are being used as fuel by the central computer that powers the IMF. Unfortunately for Manmask, his spaceship was shot down by IMF ships before he could make it to Earth, but not before he sent this compilation back to the year 1983. There it was received by Vittore Baroni and pressed onto vinyl with hopes of spreading Manmask's crucial message: Terrestrial music has no future!
German Army is Paul Kneejie (The Pope, Submissions, Bipolar Bear) and Greg Toumassian concocting an experiment in ambient and atmospheric jungle minmal music. The duo will be playing next month at Complex in Glendale alongside the amazing YOUTH CODE.
YC is Los Angeles' newest anti-cop EBM group packing their BPM intensive tracks with more throbbing muscle and pelvic-tingling hate than a Tom of Finland book. Check them out below:
Kaleidoscopic Vibrations is a premier recording utilizing electronic music in the poular field. The main electronic instrument used is the Moog synthesizer whose facilities are capable of producing any combination of sounds within the range - and indeed, the credibility - of the human ear. The other instrument employed is the Jenny Ondioline, an electric keyboard instrument resembling a tiny parlor organ.
"There is no thing in nature created or born that does not reveal its inner form outwardly as well, for the internal always works towards revelation. Thus in the signature there lies great understanding in which man not only comes to know himself, but may also learn to recognize the essence of all beings."
Dieter fuckin' Moebius, one third of the holy trinity (alongside Schnitzler and Roedelius), will be gracing us with his immaculate presence at the Echoplex tomorrow night.
Blue Moon is Moebius' second and final solo (this one being the first) album released through Sky Records, and serves as the soundtrack for an obscure German film of the same name. This is the only instance of Moebius writing a film score and as such it's defined by certain parameters which mark it from the rest of his work. The eleven tracks were created to fit the timing of the scenes, and are generally shorter, measured, rhythmic miniatures of pure synth music.
Mannheim native NDW group takes you through a petrochemical journey on their debut release. On the surface it entices you with its minimal synthpop melodies backed by unusually strong drum machines reminiscent of DAF. Hermann Kopp lends his violin for the second half of the EP as the group delves into an improvisational sound; one that I imagine is only conceivable after inhaling the fumes of a melted PEZ dispenser while listening to Tuxedomoon.