mandag den 24. februar 2020

Kadaitcha - Tar

Kadaitcha comes from Ukraine and has since 2016 released 4 cassette albums. Andrii Kozhukhar describes his music like this:

Kadaitcha explores organic aspects of the noise, post-industrial and archaic aesthetics.

This album called Tar is the third album and it was released on cassette via U.S-based (Missouri) Powdered Hearts Records, limited to 40 copies. Kadaitcha is actually a two-man act, one being Andrii Kozhurhar and the other being Yurii Samson. How I would describe their sound? Slightly acoustic Swans via the otherworldly moods of Vidna Obmana, not that far away from another Ukraine act called Dispersive Light (see the former review!). A 7 track album, being almost one hour long in length.

First track Idle Hands sets the ears straight! Mysterious electronic glitchiness reveals their alien present while evocative acoustic guitar-work gently sets the atmosphere just right. Distortion being added to the guitar-work later on... which adds that slightly desert-rock´ ish aesthetic. Love the monotone pulsating feel/sound here. A pure mescaline trip to another galaxy going on here. Fans of Ivonne Van Cleef will dig this!.

Second track 2219 F makes sure that something... is trying to open a rift into your own dimension. Something way beyond the normal understanding of physics. Effective and heavy-industrial drone and pure shoegazer brutality collide into the burning sun. From sheer electronic ear-candy to breathtaking violent epicness. VERY good!.

The third offering simply called Ran moves further into stoner/droner-rock territory. Hectic acoustics, noisy hyper-space traveling, pulsating distorted pulse-sounds... Very trippy and very archaic sounding!

Fourth track Saima enters into heavy-dub ambient territory. Fans of early Scorn anyone? Feels like a cloud to rest on, while the world below is witnessing an apocalyptic disaster. Soothing dub rhythms slowdowns the time, with evocative shamanistic vocals and while erratic and multi-layered guitar work adds an interesting pattern to it all. Can u dig it?!!

Fifth track Eclipse warps straight into the heart of the moon. A frightening mind-altering eclipse that is! A quite aggressive and dramatic evocative piece, abstract and moody sound elements suggest the presence of a Lovecraftian outer-god like Yog-Zothoth. A wonderful and frightening abstract piece of apocalyptic doom´ ness.

Sixth track Serpent Hill offers more Lovecraftian horror for those being thirsty for more cosmic horror. Interesting distorted and ritualistic vocals here, warped soundscapes, pounding rhythms... and that is it (and it works). Very creepy and very scary... definitely evil! Kind of Coil/Nww feel here, very otherworldly!.

Last track Yatagarasu is the longest track on this album (and the most challenging), being 13 minutes and 19 seconds long. Yatagarasu?. We are talking about a three-legged Crow, found in various mythologies and arts of East-Asia. A symbol that represents and inhabits the sun. A thorough sound-exploration into industrial-ritual sounds. Has that sort of, Throbbing Gristle-improvisational ritual-feel ( know what I mean? ). Very hypnotic and very effective!. Very good way of ending the album!.

A trip to outer space via industrial-stoner-rock moods anyone?. Might be something new here, forget about drone-metal and kids thinking that Sun (o)))) is the shit. Kadaitcha is the shit!

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lørdag den 15. februar 2020

Interview with Blackhouse

No stranger to industrial music, Blackhouse (not Whitehouse) has been around since the early '80s. The act pioneered (or preached) about being the very first Christian-themed industrial band on the planet. I actually think they are absolutely right. Nothing sounded like Blackhouse, either from the U.S. or Europe. While staying true to the unique sound (Rhythmic scrap-metal industrial and power electronics), the act has also constantly explored other electronic-and experimental based sub-genres. And the thing about Blackhouse is that they are STILL around, which actually makes them one of the oldest (and still active) industrial bands. So yes, God does move in mysterious ways. And as you all can guess, I was curious as to why the project is still active after all these years. Lucky for me, Brian Ladd, the sole protagonist of Blackhouse, agreed to have a video chat with me where we were able to discuss these issues and more. So, ladies and gentlemen, I give you our video chat transcribed for all to read.

You started Blackhouse way back in 1984. What brought it about?

I did it to create something 'new'. I saw all these Industrial bands with their images of Auschwitz, dead bodies, gross sexual titillation... and I found it to be pretentious. People thought that trendy vile stuff was edgy. I found it trite. Whitehouse was supposedly banned by Rough Trade and I thought "what could be more offensive" than Whitehouse?" I mean... what would REALLY tick off the trendy industrial heads? Obviously, I was a fan of Whitehouse, and I was in contact with the band (and many other bands at the time), so, I decided to create Blackhouse. Like in a laboratory. It was an invention. I didn't want anybody to know it was ME, so I created characters for the band, made up their names, created a fake band history and sent out demos of the first recordings I made.

The first Blackhouse profile had a very Whitehouse/Sutcliffe-Jugend/Broken Flag kind of sound-aesthetic to it. Were there any American bands you also got ideas from?

Minimal Man was probably the only US band that inspired me in any way. I got the Minimal Man "Shroud of" record from Subterranean records and got in contact with Patrick Miller from Minimal Man. We both liked what the other was doing. I was also very interested in the Residents - not just for their music, but also for their "theory of obscurity' manifesto. The idea that nobody knew who they were. It just seemed to click in my head.

Minimal Man was great. A punk rockish Throbbing Gristle kind of... Your debut leaned much towards classic power electronics and your second album, Hope Like A Candle, moved towards a more rhythmic scrab-metal industrial feel. What mad you move in that direction?

On Pro-Life, the first album I did, the first side had NO RHYTHM and it was more like a Whitehouse-ish sound, and the second side had my trusty rhythm box and skipping records and stuff. I decided that I liked the PRO-RHYTHM material better and it suited my taste, so I kept it going. I didn't start Blackhouse to just "imitate" Whitehouse, it was more like a tribute, a spark. I wanted to move away from that & create a more rhythmic, powerful pushy sound.

The interest in Blackhouse, did it come from Europe or the U.S?

There were many compilations that I contributed to. They were based in Europe. Here in the US, I was approached to do my first vinyl record by the Massachusetts label RRRecords. That record was called "Hope..." and it had a ... it was sort of a compilation of cuts chosen from both Pro-Life and Hope Like A Candle. The record ended in a locked groove which became a staple of my audio arsenal.

I doubt that bands who have been inspired by Blackhouse are primarily from Europe. Ever heard a Swedish industrial band called Mental Destruction by chance?

I know Mental Destruction. They tributed their first cassette to BH.

Ok, I fell in love with their scrap metal and Christian themed brutality the first time around the same thing with Blackhouse. Although, you have also meddled with ambient and ritual music as well. Do you need to explore a certain style for every album?

I enjoy many types of music and sound effects, and I experiment with different attitudes. I just do the music and see what's up. I am an experimentalist, really. The labels who release my music aren't necessarily experimental though. They stick with one kind of music in a lot of ways.

That's why you started your own label then?

After the Hope album came out, I got a lot of publicity and appeared on many different compilation records and cassettes. Then I was asked to do records for labels in Germany and Japan and Belgium, and so on. It snowballed. But WHILE this was all starting to simmer in the pot, I was also working with my other band Psyclones and was getting interested in that as well. Really the Ladd-Frith cassette label was started before Blackhouse was ever conceived. We started our label to promote Psyclones and other bands. We liked ALL genres - punk, noise, p.e, Experimental, etc.

Again, not many of those cult labels in the U.S at that time. Had any controversial stuff happened with Blackhouse? How did people react to the Christian theme idea?

As planned, some were totally offended by it!!! They were offended by Christ, but not by photos of dead bodies piled in mounds!!!!!!!!!!!! The offended ones despised Blackhouse BECAUSE of the Christian stance. They hated Christ. Their hatred controlled them. Some distributors actually banned me. I was blacklisted from many opportunities because of their bigotry. And those were haters. It still continues to this day. Some thought it was a clever joke - a put-on. They thought they were "in" on some cushy prank! And I allowed them to think that. I became more preachy... more overt... more blatantly Christian! And they thought it was crazy... and funny. And they loved the sounds for sure. That still continues to this day as well, no matter how much I reassure them that my mission is totally blatant & definitely NOT a joke. Other people were totally happy about it, because THEY were Christians as well, and they were glad that finally there was some over-the-top Christian band that not only represented them in their quest for Jesus music but sounded different than all other Jesus bands. That continues to this day as well. The rest, just like Blackhouse for the music and the Christian aspect doesn't matter to them one bit, one way or the other. They just like the sound without the politics.

Do you see a future for Blackhouse reissues? Boxsets?

It just depends on who asks me. I would prefer to issue more new releases, but it's always a game to find a proper label. There are more than a few albums that nobody has ever heard or albums that never got proper exposure. The UK based label Contort Yourself will be releasing a very fine compilation called "One Man's Collection". It will be an LP of choice cuts and the brilliant cover art is by my Daughter. So I'm really looking forward to that. Also upcoming is the ROBOTS 7" record on the ATSLA label out of Canada. That one is all-new material recorded this year, just for that one project. It's got a real "old Blackhouse" feel to it, but it's certainly not an artificial construct. It's a very good record! I wanted the album art to be a tribute to David Bowie's album "Images" and this is it! The Robots 7" is brilliant cover art as well. It will be a picture disc.

Any more future plans regarding Blackhouse. Heard you did your fist live concert in Germany. Plans on doing more?

If you don't have the Live In Leipzig CD, you should get it. It's a very accurate representation of the original Blackhouse "hits" - all recorded live. I've played live many times in Psyclones and all that, but I never did a solo live gig as Blackhouse, so it was very exciting to play at the Wave Gotik Festival in Germany. Will they ask me back? I don't know. We'll see. For 30+ years I refused to do any Blackhouse live event, so I'm not all hung up on doing live gigs, but I would take a proper opportunity to play live.

Any last words?

Yes. I'd just like to say that Blackhouse is an art project. My art project and it's been a very delightful and exciting run. It's not a joke. It's a concept. It's a story. It's the story of my life. Our lives. It's an evolving thing & not a stagnant, fixed idea. Even though it is an art project, I still stand by the things I say. I have pushed Christianity because I believe in it - because I believe in God. That is no joke or anything. And I'm glad it still manages to tick people off. And still manages to make people happy. Confuses them... makes 'em laugh. I'll do it 'til I die. And for 5 minutes after.

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mandag den 3. februar 2020

P.O.V./V.O.E.R - Earth Thoughts Be Silent Now

Two projects, one from Japan (P.O.V.) and one from Sweden (V.O.E.R.) have decided to go together and create a split-release together. This split-release has been released as a sleek-looking and limited digipack thing from Spanish Marbre Negre. Kind of makes it all interesting when all you get is a mysterious title for the album, and the photo of a desert with a clear and beautiful blue sky. I sense a kind of... post-apocalyptic scenario here. How beautiful and peaceful the world would/could be without us humans, that idea also explains the title aswell. 

P.O.V. starts with textured and digital, chunky mind-bending noise. The first track called Death On Credit being a lovely roller-coaster ride through the high energetic noise-thing, which can only come from Japan. Something is constant while something being the opposite. Chaotic and static noise-treaty starts the split. The second track by P.O.V. called Roar and Gospel has an ambient sort of Tg´ ish intro/feel to it. Industrial elements and highly distorted vocals meet up with extra layers of mind-bending electronic-noise. Some of it sounds a bit like warped shortwave radio-frequencies. The kind of radio-noise which one might pick up in some desert after several nuclear bombs have felled. The third track called Nashikuzushi sort of meets up where the first track started, just way more aggressive in a free-jazzy sort of way.

Fourth track Curse 7 with V.O.E.R. moves into grinding heavy ambient-noise. Almost a monotonous melody here, with mysterious and ritualistic Anenzephalia´ish background-vocals here and there. Love the effects on the vocals, very evocative.  Curse 9 being the fifth track follows it up, with even more melodic gloominess attached to it. It does sound somehow familiar in a way, and then again it doesn't. It´s the less is more mood working here, a simple and evocative and slightly melodic bass-line and echoed vocals lurking in the background. Last track And It Will Cleanse The World, has a more death-industrial sound to it. If anyone among you highly enjoyed Dogs of Yama (see former review) then check V.O.E.R. out. 

2 very different projects on one full-length split-CD, Japanoise and death-industrial collide in a post-apocalyptic playground. Go and check it out!

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fredag den 31. januar 2020

Stone Wired - Shadow Conscious

One of the latest Stone Wired releases has hit the street, released via No Labels Interested in a limited edition of 50 copies. A lovely blackened cardboard slipcase being wrapped around the very graphical design inside. Looking closely it reveals to bodies with the top of their heads is open, brains are visible... (I think). A cool looking tape for sure, with it´s A-side and B-side being filled up with 14 tracks! I will describe the 3 first tracks on each side, and will, in the end, give an overall review of this album. 

Side A starts with Black Light, dark-ambient mood piece with paranormal post-Cold Meat Industry touches. The aesthetic is right in the eye, and the sound quality is superb (while maintaining the edge!). Sounds of underwater movement, whispering ritualistic vocals, menacing synth-work and painfull and a distorted and painful sound wrapping it all up. Very nicely done for those who enjoy that classic early 90s Cold-Meat-Industry sound. 

The next track called Frozen a very cold monotonic industrial-drone piece. Ice cold to be exact, sub-zero temperatures while time stands completely still. Cool death-industrial rhythms here, and cool icy-moods. The third piece of meat on the plate Worms Under Skin moves into mysterious Megaptera´ ish territories, a very sacrilegious church-like feel to this. Almost a religious experience if you ask me, ritualistic ambient inside a huge church. Interesting bone-shattering electronic percussion later on here.

 The first track on the B-side Mortified moves into heavy-ambient moods. The kind post-apocalyptic feels you´ll notice in a bleak movie like the Road. The sort of feeling when trees are dead, and the sound of birds is just... gone. The only company being yourself, and you're conscious of course. Ruined factory feel with a touch of melancholy, industrial Raison D´être sort of. Second track Stench offers creepy heavy fog among the tombstones of the dead, while John Carpenter´ ish horror synth lurks atmospherically in the background. Third track Morque gives the listener just feeling... being trapped (or locked) inside one of those drawers in a morgue. Feeling slightly claustrophobic and horrific while trying to keep your calm... WHICH YOU CANT!. Suffocating black-moods and tar-like darkness-of-sound suck you in like quick-sand, just the way how dark-ambient should work.

A perfect death-industrial masterpiece with a superb sound-quality without losing the minimal-edge (Atmospheric rawness would be one way to describe it). A perfect fusion between pure dark ambient and menacing death-industrial. Dark ambient with a more... horror orientated direction?. You shouldn't miss it, seek it out! Contact the artist or the label regarding this release, it doesn't show on Bandcamp or Discogs.   

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torsdag den 30. januar 2020

Gargara - Desjabetze Itogarriak

Means drowning/suffocating expropriations. Expropriations being the ownership that happens when the government overtakes a private property. When that private property is drowning/suffocating, it might mean that the property is a ruin. Something old with a lot of history gets torn down and is then being replaced by something shiny and tall for people 2 either live in or work in (without the history and character of course!). Something which actually happens all-over my Danish town (as we speak!). The project is called Gargara, if it is from the Turkish language then it means... Mouthwash. This new project is another interesting side-project of Miguel A. Garcia, whom I have had the utmost pleasure in reviewing several times! This one is a 1 track (59 minutes and 7 seconds long!), and it comes in a BEAUTIFULLY kind of rough and thin cardboard paper with cool artwork inside. 4 cards with incredible illustrations on! Another footnote would be that the vocals here are done by an Ibon RG (Link below) and the amazing artwork is done by Jon Martin. 

I was gobsmacked, the most beautiful thing I have seen in a long time! Almost limestone caverns look with the illustrations, how the shadows can trick your mind into seeing other things (and people!). And of course, I said to myself, the recording HAS to be VERY interesting! Lucky for me... It bloody is!. The music/recording is a vibrant and living piece of haunting Avant-garde´ness. A pure sound-adventure from the beginning to the end. Torturous (but ambient´ ish) netherworld-vocal-sounds rush up to meet the listener, swirling and otherworldly sounds submerge the listener further down, insect-like chirpings keep your senses alert, eerie violin scratching in the misty background. Not that far away from some of the best moments with legendary Nurse With Wound, or the Journey Through A Body by Throbbing Gristle.  

The greatest thing with this recording is that it sounds like a one-take studio experiment. One of those rare recordings where EVERYTHING clicks magickally into place and it just sounds bloody brilliant! Highly recommendable for those who have a dire need for more mysticism in their grey and boring lives!. Limited to 50 copies, and out on Spanish Marbre. Get it while it is hot!

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tirsdag den 28. januar 2020

Mademoiselle Bistouri - Daily Routine/Solipsism

Released by German-based label Obsessive Fundamental Realism last summer (2019). Limited to 50 copies, and here is the exact description of the actual physical release (From the label):

Cassette and one single-sided insert come in a white plastic bag closed by 2 metal fasteners with a photographic print attached to the front with four metal fasteners and a label sticker attached to the back.

A lovely and cool design concept which the label has chosen to follow on their cassette releases, I like that a lot. So what do we have from Italy this time? Depraved and brutal industrial-harsh noise with tons of feedback, layers, and reverb!

I must be honest, never been a fan when someone is using pornographic-themes in context with extreme music. BUT! When it´s well done, I do tend to forget the pornographic ideas and start focusing on whatever is recorded. 

The first thing that you´ll understand more clearly than the provocative cover-artwork, would be on what is on the tape (like I said earlier). The cover-artwork shows someone's bottom with something stuffed inside, some kind of robe maybe? It could look like the work of some sort of sexual-disturbed serial killer, as the Italian serial Killer Monster of Florence? Genital mutilation, being a ritualistic fetish act for the perpetrator (or something else, nothing is certain). 

When you do press play and hearing the noise inside, somehow... it makes "sense". Whatever is on the tape is brutal and human... in a very... inhuman way. It´s recorded attitude is recognizable (in a way), and somehow it opens something inside the listener? Whatever is going on inside the "disturbed" mind of a serial killer, is clearly being described here purely in sound.

So there you go. Brutal atmospheric industrial harsh noise, not for the faint of heart!. For fans of Taint, Macronympha and Brighter Death Now (Innerwar). You can get it via the labels blogsite (No Bandcamp, see link below). Otherwise, check out Mademoiselle Bistouri´s Bandcamp site!

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mandag den 27. januar 2020

Damien De Coene - Sans Titre

Damien was reviewed back in 2018 and even got on the best-years of 2018. Now he is back again on Anoxia Records with Sans Titre. A limited 1-cassette release which comes in a box intended for... 3 cassettes I think? This boxset (and tape) has been bound by a golden string, in a very intriguing and mysterious way. Inside you´ll find a nice looking golden-looking tape.  Sans titre means untitled in French, and the album is one hour long containing 4 tracks (3 in 10 minutes and the last in 30 minutes). 

First track defines the style chill-noise-wall. Sounds (sort of) like hearing microscopic rain inside a tent, while a small portable TV producing relaxing pink noise. Get´s your ear's attention, very pleasant to hear if you ask me... pure ear candy!  

Second track pumps more noise into the grinder. When your record player has caught too much hairy dust while playing. Or the recorded sound of a storm outside... close to the sea. Or the gentle sound of an MP3-player recording while being inside a rotating drying-machine. A very multiple picturesque sound-vision here.

The third track might just be the most... microscopic glitch track here. An incredible mind-stimulating experience going on here. Traces of something hidden between the distorted clicks. For some reason, my mind (and time) stops!... and enters a static sense of pure delight. The smallest moments matter in the big scheme, as this track proves it. 

Last and fourth track on the album ends it in a way more brutal fashion, also, of course, being the longest track. The motors of drag-racers, jet-engines, blow-torches? Or the "everlasting" sound of a burning sun? It challenges the listener with its 30 minutes!.

An HNW/ANW album which offers all that which noise-wall can (or will) delivers. Brutal effects with tons of sound and gentle rain-drop clicks offer the delight of silence. A "gentle" introductory release for anyone who wanna get into HNW. Recommendable! Do go and explore on Damien´s Bandcamp site (link below), tons of releases there!

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