Monday, May 25, 2015
Label: Steinklang Industries – SK81
Format: CD, Album, Reissue, Remastered
Style: Experimental, Industrial, Power Electronics, Tribal
1 Hymn Of Heaven 2:56
2 Robotomy Operation 2:22
3 Body And Flesh 3:12
4 Transfer-15 2:34
5 Holocaust (Live) 3:37
6 Ginny Voice 2:10
7 Fair Warning 3:09
8 White Hospital 3:11
We Wish You A Merry X'mas
9 We Wish You A Merry X'mas 4:59
10 White Christmas 3:51
11 D.S. Propaganda 3:55
12 Red Wedge 3:32
13 Dirty God 3:46
Label: Ganesha Recs – Ganesha 004
Format: CD, Album
Released: 30 Nov 1996
Genre: Electronic, Rock
Style: Modern Classical, Neofolk
1 The Dark Age 2:40
2 Dreamworld 2:52
3 The Scourge Of Their Flesh 3:42
4 Trumpets Of Gold 2:47
5 The Dust Of My Indifference 4:30
6 Resplendent In Divergence 5:05
7 In The Woods 3:42
8 The Inner Light 4:00
9 The Inner War 4:02
10 The Balance 2:38
11 The Fourth Way 5:39
12 Hands 2:00
13 Heart 1:55
14 Soul 1:49
15 Discipline 3:22
16 Be'elzebub 5:37
Collaborative effort of three Berlin projects. Released on the excellent German Das Cassetten Combinat label back in 1981. A mix of new wave and experimental, you can't go wrong.
A1 Akcam La
A2 Que Pas
A3 Noch Lange Nicht
A4 Längst Fällig
B1 Aber Hallo
B2 Urlaub Für Ganz Berlin
B3 Gong A Minute
Sunday, May 24, 2015
From the back cover: "Recorded in Roma in March 1981. This is the last studio recording by Throbbing Gristle […] It was recorded in five days, a day per body section. No tracks were re-recorded or added to after their day. Each was mixed immediately after recording. No tracks were pre-planned, all tracks are invented directly onto the tape. This record is dedicated to TG, now a terminated mission. […]"
1b Catholic Sex
2a Exotic Functions
2b Violencia (The Bullet)
2c Oltre La Morte, Birth And Death
Originally released in a limited edition of 500 copies in 1982, it is now a collectors item. You will not believe this little gem came out all the way back in 1982; saying that it's 'ahead of its time' kind of does no justice to it. It was light-years ahead of its time. Monoton was founded in 1979 by hypermedia wizard Konrad Becker as an art project that underwent various transformations and collaborations in its exploration of psycho-active sound. A pioneer in experimental electronic music, Becker continued to break new ground in electronic media. Highly recommended!
A1 Tanzen & Singen
C1 Tanz Auf Dem Strom
C2 √1 = 1
D4 Wo Bin I Da?
D9 Hz. Waltzer
Due to the wonderful generosity of iDx we are able to enjoy a true rarity. Mission of Dead Souls is a recording of the final performance of Throbbing Gristle before their initial breakup. The concert took place in San Francisco on 29 May 1981. Throbbing Gristle's personnel on that night were Genesis P-Orridge, Peter Christopherson, Cosey Fanni Tutti and Chris Carter. This is a Binaural recording, previously unavailable.
A1 Dead Souls
A2 Guts On The Floor
A3 Circle Of Animals
A4 Looking For The OTO
A5 Vision And Voice
B1 Funeral Rites
B2 Spirits Flying
B3 Persuasion USA
B4 Thee Process
B5 Discipline (Reprise)
Saturday, May 23, 2015
Jeff and Jane Hudson are a duo who are still collaborating to this day. They are known for their classic minimal synth album entitled “Flesh” released in 1982. Jeff and Jane Hudson jump across styles and sounds. Their album Flesh featured industrial echoes and absorbing synth.
A1 3 X 3
A2 Fat Of The Land
A3 Mystery Chant
A4 G.S. III
A5 Operating Instruction
B1 Pound, Pound
B2 Up From The Hell
B3 Help Me
B4 Small World
B5 Los Alamos
C1 Cat Scan
C3 The Girl From Ipanema
D1 Special World
D2 Mother Told Me
D3 No Clubs
Seriously some of the best minimal synth from the very early 80's. Yet this particular recording remains criminally unknown. Time to remedy this.
A2 Gonadotropic Synthesis
A3 Subway 49
A4 Communication Off
B1 Approach On Tokyo
B2 Digital Delight
B3 Model Type A
B4 Radioactive Mist
Excerpt from her book 'The World Turned Upside Down: The Global Battle Over God, Truth and Power' which you can buy here: http://www.amazon.com/The-World-Turned-Upside-Down/dp/1594035741
In America, there are an estimated 2,500 cults involving between 3 and 10 million people. Their techniques of mind control are many and various. They include food and sleep deprivation; trance induction through hypnosis or prolonged rhythmical chanting; and “love bombing,” where cult members are bombarded with conditional love, which is removed whenever there is a deviation from the dictates of the leader.
Such cults often promote bizarre theories about conspiracies by agents of the modern world or by extraterrestrial forces. These theories cross political divides, linking neofascist, New Age, Islamist and green groups. Millions of people—including many who wouldn’t have anything to do with any cult—now appear only too eager to believe that the world is controlled by dark conspiracies of covert forces for which there is not one shred of evidence. Once, such theories would have been seen as indications of extreme eccentricity. Now, growing numbers of people treat them as legitimate subjects for debate, creating an infectious kind of public hysteria.
Examples of these conspiracy theories include the notion that AIDS was created in a CIA laboratory, that Princess Diana was murdered to prevent her from marrying a Muslim, and that the 9/11 attack on New York was orchestrated by the Bush administration, in some versions (particularly popular in the Muslim world) aided and abetted by the Israeli Mossad. These notions are all advanced in press articles or in television documentaries as hypotheses to be seriously entertained. The ninety-minute documentary Loose Change, which posits the 9/11 conspiracy theory, was shown on television in the United States and the UK, and was discussed as if it presented a reasonable hypothesis. Although the film was denounced in some quarters as risible, its thesis is believed by a significant number of people and has generated what is known as the “Truther” movement. According to opinion polls, more than a third of Americans suspect that federal officials either facilitated the 9/11 attacks or knew they were imminent but did nothing to stop them, so the government would have a pretext for going to war in the Middle East.
Similarly, thousands of people apparently believe that Princess Diana was murdered at the hands of a conspiracy involving the Duke of Edinburgh, Prince Charles and MI5. The overwhelming evidence that she died because she was not wearing a seat belt when her drunken chauffeur crashed while speeding through a Paris tunnel did not prevent British public opinion from forcing a three-year investigation followed by a long-drawn-out inquest at enormous public expense—all to test out a conspiracy theory that belongs to the realm of fantasy.
On a steadily enlarging fringe, fevered discussions of UFOs, aliens and mind control veer into allegations of conspiracies by hidden elites in the Bilderberg Group of foreign affairs specialists or the Rothschild banking firm, heavily laden with antisemitic paranoia about the alleged sinister power of the Jews.
Books by David Icke, the former soccer player and TV sports presenter who has announced that he is “the son of God,” are bestsellers advancing a mixture of New Age philosophy and apocalyptic conspiracy theory. In these, he argues that Britain will be devastated by tidal waves and earthquakes, and that the world is ruled by a secret group called the “Global Elite” or “Illuminati,” which was responsible for the Holocaust, the Oklahoma City bombing and 9/11, and which he has linked to the iconic text of Jewish conspiracy theory, The Protocols of the Elders of Zion—despite the fact that this was a hoax fabricated by the tsarist secret police at the turn of the twentieth century. Icke has said he is guided by beings on “higher levels” to make such information available to the public.
Meanwhile the forces in the U.S. citizens’ militia movement that were indeed responsible for the Oklahoma City bombing are themselves fueled by similar paranoid conspiracy theories involving hidden elites, secret societies and international organizations and plots featuring everything from UFOs to gun control, Freemasonry to AIDS.
The postreligious Western world is struggling to adjust to a profound loss of moral and philosophical moorings. A consequence of this radical discombobulation is widespread moral, emotional and intellectual chaos, resulting in shattered and lonely lives, emotional incontinence and gullibility to fraud and charlatanry. There is an increasing tendency to live in a fantasy world where irrational beliefs in myths are thought to restore order to chaotic lives, and where psychological projection creates the comforting illusion of control.
In the Western world, there have been two notable instances of this mythmaking in recent years. The first was the fantasy woven around the personality of the late Princess Diana, and the extraordinary passions unleashed by her untimely demise in the Alma tunnel in Paris. It was only with the death of the “People’s Princess” that the extent of Britain’s transformation—from a country of reason, intelligence, stoicism, self-restraint and responsibility into a land of credulousness, sentimentality, emotional excess, irresponsibility and self-obsession—became shatteringly apparent.
Princess Diana was an icon of the new Britain because she embodied the latter characteristics. In a country where epidemic family breakdown and mass fatherlessness testified to a society oblivious to the lethal downside of its culture of instant gratification, Princess Diana—herself the product of a family broken by divorce, a pattern she then replicated in her own marriage breakdown—became a symbol of dysfunctionality redeemed. Her bulimia and the story of her apparent unhappiness with a purportedly cold and unfaithful husband and an unfeeling and callous royal family confirmed her as the national emblem of victimhood. But she was also beautiful and rich, a fashion icon and a future Queen of England. And in her reported stand against the supposedly remote, rigid and repressed royals, she stood for “real” values such as love and kindness. So she became a mythic personality onto whom the public projected the fantasy that she was just like them in the chaos of her personal life but had transcended it all to become a near-sainted figure, laying her hands upon AIDS sufferers or campaigning emotionally against land mines.
It was all rubbish, of course. No one actually knew what she was really like; people just thought they did. Only later did her deeply disturbed, manipulative and selfish behavior become apparent. But since people were unable to distinguish between the true and the ersatz, her death unleashed an orgy of sentimentality. People sobbed in the streets and buried the gates of Kensington Palace, where the Princess had lived, under mountains of cellophane-wrapped bouquets. Indeed, reaction to the death took an explicitly religious form: the shrines of flowers, the praying, the hushed and reverent atmosphere.
This was all vicarious feeling, however. In postreligious Britain, it was devotion at a distance by people who no longer possessed what they still deeply longed for—belief in something beyond themselves, and emotional health and support. It was kitsch emotion over someone they had never known; grief for the death of an imagined personality, which sanctified the elevation of feeling, image and spontaneity over reason, reality and restraint.
Feelings were associated with being a nice and good person, while restraint was seen as evidence of callousness. But feelings were deemed to exist only if they were visible. Tears were good; stiff upper lips were bad. Accordingly, people carried their mourning bouquets like badges of moral worth. The Queen and the Prince of Wales, by contrast, were judged to be cold and heartless because they weren’t weeping or emoting. The scene threatened to become ugly when the public turned savagely against the Queen for failing to fly the Union Flag at half-mast over Buckingham Palace and were mollified only when the monarch, alerted to the dangerous public mood, allowed the people to see how deeply the family had been affected by the tragedy.
This “Dianafication” of the culture is essentially empty, amoral, untruthful and manipulative; eventually people see through it and realize they have been played for suckers. But while the mood lasts—and it can last long enough to create presidents and prime ministers—reason doesn’t have a chance. Warm, fuzzy feelings win hands down because they anaesthetize us to reality and blank out those issues that require difficult decisions. This disorder raises up political icons who achieve instantaneous and unshakeable mass followings of adoring acolytes because they permit the public to suspend judgment and avoid making any hard choices, indulging instead in fantasies of turning swords into ploughshares.
The second conspicuous example of postreligious mythology was the election of Barack Obama to the presidency of the United States—although buyers’ remorse and disillusionment appeared to set in within a few months of his inauguration and soon threatened to swamp his period of office altogether. Obama came to power as a mythic figure, like Princess Diana, who seemed to sublimate and transcend the public’s various cultural traumas. By virtue of the fact that he was half black, he allowed people to fantasize that he would both redeem America’s shameful history of slavery and racial prejudice and bring peace to the world. After all, did he not embody in his own history a fusion of black and white, Muslim and Christian?
Brushed aside were highly troubling details of his personal history: his ambivalence about his fractured identity, his efforts to conceal or misrepresent crucial details about his background, and a pattern of unsavory or radical associations. The fact that his pre-election statements were intellectually and politically incoherent, frighteningly naive or patently contradictory was of no consequence. In his personal story and troubled family background, people imagined they could see someone who had overcome adversity by force of character. Like Princess Diana, he appeared to have emerged from this troubled past committed to spreading peace, love and reconciliation. Instead of waging war, he would bring harmony simply through his personality, charisma and will.
Reason was suspended for the duration; emotion and sentimentality took over. People didn’t want to hear about the anti-white, anti-Western church to which he had belonged for twenty years, nor about his questionable associations with people in Chicago’s corrupt political machine, nor about his friendships with and tutelage by anti-Western radicals. The appeal of the myth he embodied, with its capacity to redeem America, was simply too strong.
After all, the American public had just endured the global ignominy of a president—the embodiment of their nation—who was reviled as a cretinous, bigoted, warmongering, inarticulate, gauche and incompetent cowboy. In Barack Obama, by contrast, they had a political rock star, a global icon and the epitome of cool by virtue of his handsomeness, elegance, laid-back thoughtfulness, apparent intelligence, blessed articulacy (they ignored the teleprompters) and charisma. And he was black to boot. And so by electing him to the presidency they were redeeming both America and themselves, upon whom his reflected glory would shine, illuminating the virtue of those who had the moral clarity and insight to vote for him. Aghast at the murderous and apparently hopeless complexities of defending America against the Islamic jihad, they were seduced by his promise that the exercise of reason would bring an end to conflict. He made them feel good about themselves; he stood for hope, love, reconciliation, youthfulness and fairies at the bottom of the garden.
Obama himself did nothing to dispel this impression. He suggested that he would win the wars in Iraq and Afghanistan. He was going to break the deadlock in the Middle East. He would change the climate (literally). When he won the Democratic Party nomination, he declared that this would be seen as “the moment when the rise of the oceans began to slow and our planet began to heal.” 
Presented with this absurd display of hubris and narcissism, Americans reacted by junking rationality altogether and elevating Obama not just to the presidency but to divinity. Early in the election campaign, Oprah Winfrey proclaimed Obama to be “the one. He is the one!”  She herself was likened to “John the Baptist, leading the way for Obama to win.”  A poll taken in January 2009 just before his inauguration found that his popularity was greater than that of Jesus Christ, Martin Luther King and Mother Teresa.  According to Susan Sarandon, “He is a community organizer like Jesus was, and now we’re a community and he can organize us.”  A Chicago art student, David Cordero, made a papier-mâché figure of Obama as Jesus, complete with blue neon halo, titled “Blessing.” Cordero explained: “All of this is a response to what I’ve been witnessing and hearing, this idea that Barack is sort of a potential savior that might come and absolve the country of all its sins.”  And after Obama’s speech in Cairo in June 2009 reaching out to Muslims, Newsweek editor Evan Thomas declared on MSNBC: “I mean in a way Obama’s standing above the country, above—above the world, he’s sort of God.”  The Norwegian Nobel Committee appeared to agree. In October 2009, it caused almost universal astonishment and derision by awarding the Nobel Peace Prize to President Obama for having “created a new climate in international politics,” even though he had not achieved any perceptible advance towards peace anywhere in the world. 
The urge to impose some artificial order through myth and fantasy is not confined to the “Princess Obama” syndrome. The climate of unreason has also profoundly affected attitudes on the big issues of the day. Obviously, there are always differences of opinion and interpretation in which one side of an argument will think the beliefs of the other side are false. What is notable about some of today’s debates is the extent to which it has become all but impossible for factual evidence to make any contribution, with pre-existing assumptions framing the discussion and permitting no deviation. Facts are simply ignored as if they didn’t exist, or denied on the grounds that those who bring them forward are either evil or deranged. What follows is a brief examination of four deeply controversial issues from which evidence, reason and logic have been exiled in favor of irrationality, ideology and prejudice—issues on which much of the Western mind has been closed tightly shut.
1 Scripps Howard/Ohio University poll, January 8, 2006, http://www.scrippsnews.com/911poll
2 David Icke, The Robots’ Rebellion: The Story of the Spiritual Renaissance, cited in Nicholas Goodrick-Clarke, Black Sun: Aryan Cults, Esoteric Nazism and the Politics of Identity (New York University Press, 2003), pp. 29–92.
3 Text of Barack Obama’s victory speech, June 3, 2008, Associated Press, http://www.breitbart.com/article.php?id=D912VD200&show_article=1
4 New York Daily News, December 10, 2007.
5 New York Times, December 9, 2007.
6 Christianity Today, February 22, 2009.
7 The Hill, January 21, 2009, http://thehill.com/leading-the-news/stars-heap-praise-on-obama-2009-01-21.html
8 MSNBC, April 3, 2007, http://www.msnbc.msn.com/id/ 17927102/
9 Newsbusters, June 5, 2009, http://www.newsbusters.org/blogs/kyle-drennen/2009/06/05/newsweek-s-evan-thomas-obama-sort-god
10 Norwegian Nobel Committee, citation for Nobel Peace Prize 2009, http://nobelprize.org/nobel_prizes/peace/laureates/2009/press.html
Trisomie 21 is an on again-off again act consisting of brothers Philippe and Hervé Lomprez. The band formed in the early 1980s and takes its name from the condition known as trisomy 21, an chromosome imbalance that causes down syndrome.
1. The Hazy Ridge
2. Sunken Lives
3. There's A Strange Way This Morning?
4. Sharing Sensation
5. The Rickshaw
6. The Fairylike Show
7. Some Twenty One Miles From The Coast
8. Magnified Section Of Dreams
9. The Clencher
10. Million Lights
Friday, May 22, 2015
One man's journey to Senegal to investigate a tribal cure for depression
I’m not depressed now — but I was depressed for a long time. I lived with blinding depression and had long stretches when everything seemed hopeless and pointless — when returning calls from friends seemed like more than I could do, when getting up and going out into the world seemed painful, when I was completely crippled by anxiety.
Thursday, May 21, 2015
Released in 1984, through record label K.422. It is also referred to as "Raping a Slave" and "I Crawled", but is officially referred to as Young God by the band.
Young God is considered by critics to be one of Swans' most brutal releases, similar in sound to the band's first two albums, Filth (1983) and Cop (1984), but slightly more experimental, and with subject matter exemplified by the title track, from the point of view of serial killer Ed Gein. One notable element of the release is the use of a chain and metal table in the percussion section.
A1 I Crawled
A2 Raping A Slave
B1 Young God
B2 This Is Mine
Swans is a band from New York, United States, active from 1982 to 1997, reformed in 2010, led by singer, songwriter and multi-instrumentalist Michael Gira.
Marginally associated with the no wave scene at first, their original sound was slow and extremely heavy, with live performances that were often so brutal and physical that in a number of instances certain audience members were made ill, police were called and venues were shut down. This early physical sound is possibly best heard on the live album Public Castration Is a Good Idea.
Their initial style shifted a little by the time Swans released seminal twin albums Greed and Holy Money. The music had sped up, at times being even more punishing than their earlier output. Drum machines and samples were slightly more prominent. Michael Gira was joined vocally by Jarboe which gave the band a broader sonic range. Tracks featuring Jarboe were often quieter, even pretty, acting as counterpoint to the more harrowing themes on the albums. Over time, this style would come to dominate Swans’ output, although they somehow seem to have been able to make a strummed acoustic guitar seem as brutal as their earlier amped-up assaults. The lush instrumentation of their albums from the late 1980s and the 1990’s anticipated the birth of post-rock.
Swans eventually broke up in 1997; Gira went on to release some solo work, later forming the band The Angels of Light, who continue many of the themes and styles found in (later) Swans. Jarboe releases solo work and frequently works with other bands and artists; recently she released an album with Neurosis, a group clearly heavily influenced by Swans.
Tuesday, May 19, 2015
Danish electro-industrial/EBM group founded in 1991 and named after the Birmingham Six, a group of Irish men mistakenly imprisoned for the Birmingham pub bombings. Members include Kim Løhde Petersen and Michael Hillerup.
They took on the name as they focused on injustices worldwide, but particularly in western democratic society. Their lyrics have often been controversial and some radio stations have banned airplay of their songs, while other groups refused to be associated with them.
1 Birmingham 6
2 Israel '94
4 All Around The Watchtower
7 This Girl '94
8 Who Do You Love? (Evil)
Ravenous is a synthpop/electro band from Germany, formed in 1995. Side projects consist of Funker Vogt in conjunction to Fusspils 11 and also Fictional. Recommended.
2 Between The Worlds
3 Shooting Star
5 Drowning Land
6 The Abbey
7 Lost In The Dark
8 What Would It Be Like...?
9 My Name
10 Heart Of Stone
A collaborative East/West project between programmer Steffan Schuhrke & vocalist Dennis Ostermann (In Strict Confidence).
Formed in 1995, Controlled Fusion has been paving the way to a new form of underground music. With roots grounded in the 80's, Controlled Fusion has worked hard at creating a perfect "fusion" between the sounds of yesteryear & the progressions of the new millennium. If this is any indication of things to come, then Controlled Fusion is well on their way to bridging the gap between generations & setting a new standard for things to come in the not so distant future.
A1 Destroyed Hopes
A4 Technique (94-Mix)
A5 Fusion Ray
Sunday, May 17, 2015
Berezka / Monkey Lament is a split LP by two acts from the realm where acoustics, electronica, and drones meet. I haven’t held the actual LP, so I can’t provide any details on its production and presentation, but the music alone is in this case reason enough to look into this release.
Russian, currently Moscow-based, project Gultskra Artikler covers side A with three fascinating experimental tracks that combine crackles, samples, drones, and otherworldly melodies. Elements like these are combined in such a way that it reminds me of different musical styles, yet it all remains somewhere in between. This is precisely the strength of these tracks, which are varied but consistent in high quality. Difficult to describe, but “electronics and acoustics in an exciting mix” comes a long way.
Lanterns I’ve heard before, whilst appearing with them on Larkfall‘s Reynardine compilation, and now these English improvisationists are back with two extensive tracks of folky drone. I understand that Lanterns tracks are live jams, and that each depends on a certain magic happening during the recording. Well, this is definitely the case here. “Snake Ice” is based more on a synth drone, while “Dir Tup” has heavy guitar and flute overtones, but both are interesting, albeit not extremely original drone tracks.
It should be clear that this split LP is certainly recommended if you’re into freefolk, drones, experimental electronica, or ideally all of the above. Two promising projects have joined forces on an excellent offering here.
1. Pervie Gusli (4:15)
2. Figase (5:08)
1. Berezka Take 2 (3:19)
4. Snake Ice (7:57)
5. Dir Tup (4:44)
Originally released in 1977, this is the re-mastered 1991 version.
Recorded in their rehearsal space and at various grubby gigs onto a Sony cassette recorder in a defiantly lo-fi manner in 1977, Second Annual Report makes an oddly recalcitrant candidate for a remastering job. Music this deliberately weedy was never going to please audiophiles, and the wags at Industrial Records know that even today this record is a tough sell. For sheer sangfroid, it's hard to beat a press sheet that boasts, "Contains three different versions of 'Slug Bait', a song about eating a baby." Talking about killing people isn't necessarily interesting (hello, Foster the People), but when I hear Genesis P-Orridge describe a businesslike psychopath butchering a family ("I cut his balls off with my knife (KNIFE); I make him eat them right there in front of his pregnant wife (WIFE)"), I still blink and twitch a little. The creeping dread "Slug Bait" achieves lies not in the lyrical body count but in the hiccupping repetition of trigger words as Gen's vocal longjumps from a casual speaking voice to a garbled shriek, and in the deliberate misfit between the vocal's desperation and the detuned pastoral synths smeared underneath.
It's hard to say whether this was a raising or a lowering of the bar, but the bunker mentality of "Industrial" subculture as a power-obsessed stance of aesthetic nihilism wedded to nasty, lo-fi noise was born on this record, leaving a bloody trail for Wolf Eyes, Brainbombs, Prurient, and others to follow into the present moment. As if that were not prescient enough, Second Annual Report counterbalances the bloodthirsty yang of its first eight songs with the yin of its long, brooding final track, the gauzy, scuttling, 20-minute soundtrack to the Coum Transmissions film "After Cease to Exist". Which is to say that, in 1977, TG already forecasted the ongoing migration of noise dudes toward new age (take a bow, James Ferraro), a sea-change which has been recursively washing over the underground for the past several years.
Anyway, it's a must have.
1 Industrial Introduction 1:04
2 Slug Bait - ICA 4:21
3 Slug Bait - Live At Southampton 2:46
4 Slug Bait - Live At Brighton 1:10
5 Maggot Death - Live At Rat Club 3:00
6 Maggot Death - Studio 4:35
7 Maggot Death - Southampton 1:37
8 Maggot Death - Brighton 0:57
9 "After Cease To Exist" - The Original Soundtrack To The Coum Transmissions Film 20:19
10 Zyclon B Zombie 3:52
11 United 4:04
Philippe Blanchard composes his music in his personal Studio Acteon, now Studio Forum in Annecy, in the french alps. He's also the founding member the Noise of Snow Festival in Annecy. He defines himself as a hunter of sounds, and collects the resonant matters from his different journeys (Syria, Iran, Roma, Venice, Madrid, Samarkand or Madrid). He has won awards from several international competitions: GMEB in Bourges, France, the Luigi Russolo prize in Italy, Radio France, La Muse in Circuit (Mauricio Kagel prize), CIMES-FICS in Prague. He received the Radio France International award "Hunters of sounds" in 2000 for "Captain Cook".
Here is one of his earliest releases (out on the Old Europa Cafe label way back in 1986) and it is a noisy experimental mix that is very abstract and which all in all it is quite an enjoyable listen (in an abstract kind of way of course).
Les Bonnes Archives Du Dimanche
A1 Hommage 5:21
A2 Toiles De Mer 9:40
A3 Portraits D'un Assassin 14:06
A Propos Du Lt.
B1 L'Interview 13:30
B2 Promenade En Forêt Noire 11:30
Saturday, May 16, 2015
“It is a thought far from comforting to the present generation, that 500 years of Dark Ages are likely to be upon us. But, if the analogy holds, that is the case. Fortunately to-day we have brighter torches and more torch-bearers.”
|—||Aleister Crowley, The Book of Thoth: Atu XX, The Aeon.|
Friday, May 15, 2015
Wonderful instrumental minimal synth, cheap sounding and yet stunning. I keep getting asked to post this so finally here it is. Enjoy.
04 Hurry Up
06 Raging Beauty
07 The Judge
11 Wang Yang
CHRIS FORSYTH is known for hypnotic compositions and solo performances on 6- and 12-string guitars that assimilate minimalism and psychedelia with art rock, folk, and blues influences. He is a founding member (with Jaime Fennelly and Fritz Welch) of post-everything gothic junk folk expressionists Peeesseye, who have produced 14 releases and over 160 concerts in Europe and the US since forming in 2002, and a member of the elusive experimental group Phantom Limb & Bison. It is as a member of Phantom Limb & Bison that the word 'experimental' really takes on a new meaning. What you will find here are a collection distortions and noises that at times resemble melodies.
1 Great Wide
2 Waiting For My Man
3 Slow Walk
4 Bright Yellow Rays
5 The Umbrage Bombination
6 St. Louis
Swedish electro-berzerkers Spetsnaz (russian acronym for Special Forces) were formed by Pontus Stålberg and Stefan Nilsson in Örebro, Sweden in the autumn of 2001. With the powerful vocals, frenetic pounding bass lines and relentless rhythmic assault, Spetsnaz have the aggression and the melody to be the missing link between the heavy scene and the pop scene.
Being fans of the electro genre for many years, both Pontus and Stefan felt there was an emptiness in the EBM scene. All the classic bands were replaced by newcomers performing a more technofied style called futurepop, and this new-school didnt exactly excite the boys.
Having performed, both together and separately, in different (more or less serious) projects like Octoberland, Lazer Stefanz, Volvo 242 and PAF, Pontus and Stefan decided to form Spetsnaz and give it 100% of their energy.
The bands on-stage presence is as intense and energetic as the music with Pontus moving all over the stage, screaming at the top of his lungs, and Stefan fiercely beating his drum pads. The public demand brought Spetsnaz to major cities in Sweden, Norway, Denmark, Germany and even Mexico (twice!).
These guys surge with pure energy.
1 That Perfect Body (Radio Edit)
2 Apathy - Lyrics By [Free Translation]
3 Silence Implies Consent
4 That Perfect Body (Earlobe Remix) - Remix – Necro Facility
5 I'm One (I'm Two Remix) - Remix – Necro Facility
6 On The Edge (Bodybeats Version 2.0)
7 On The Edge (Werkoluks Remix) - Remix – Werkoluks
8 On The Edge (Live)