Tag Archives: noise

mchtnchts – “.a….i….” [free download]

If you head over to onyudo.com right now you can download the first batch of analog noise from mchtnchts. The album is called “.a….i….,” which is good, or at least consistent because now both the album and artist names are rendered unpronounceable. But, worry not, the album still gives us plenty of stuff to talk about.

A few years ago mchtnchts released “The Spoiled West and its Freshly Minted Infants” on Already Dead Tapes.  That tape went the direction of a more desolate soundscape that aimed to completely redefine, or re-examine what musical expression could be using analog electronics.

“.a….i….” takes a similar approach, but at times uses older, tried and true forms for their musical expression. Opening track “…o..i.. ..i…e” is a riff on a simple gesture in repeated rhythm and contour. The simplicity of the sound components here is what is most striking to me. The clear buzz of the sawtooth wave alternating with an extremely high, clear sine tone effectively opens up the tessitura to create space for a broad, and varied tonal palette.

It’s the rhythmic elements here that hold most of the tracks together. A steady pulsing that grows and fades becomes the premise behind “.ui.i.e” The song, of course, like much of the rest of the album, is a steadily developing work. By its close we are in fairly ambient territory, with the pulsing becoming smoothed out to a dulled hum.

The sounds generated by mchtnchts approach the same realm as what can be heard across the work of Mincemeat or Tenspeed, whom I covered a few years back. Where Mincemeat or Tenspeed’s brand of electronic noise tends, at times, more toward thrash antagonism, mchtnchts prefers to work in subtleties.
Download mchtnchts’ “.a….i….” and “The Spoiled West and its Freshly Minted Infants”
“.a…i….” is available as a free download at onyudo, and their follow up, the even more spacious and noisy “The Spoiled West and its Freshly Minted Infants” is sold out in its physical form, but can still be downloaded from Already Dead Tapes here.

The duo is planning to release more music in the very near future, so keep an eye out. You can get updates from Kyle Bruckmann over at his website (and check out all the other great stuff that he’s doing).

[pre-order] PC Worship – “Buried Wish”


Off-kilter genre-hopping, or maybe it’s more genre-meshing, is what PC Worship does best on their latest “Buried Wish.” The album is available for pre-order right now through Northern Spy Records, and set for a February 24 release.

It’s hard to even know where to start, or where to dig in with an album so varied. Starting with the instrumental prelude “Lifeless Rain on an Empty Moon,” heard in the video above, and moving through the noise of “Blank Touch” we’ve already covered a lot of territory. By the time we get to the title track everything is torn down and built back up again from nothing.

The track “Buried Wish” lays down a nice landscape of feedback over which a pervasive drum beat creates a minimalist loop. Following that we move directly into “Flowers & Hunting,” which takes off into a completely different direction previously unexplored. The gritty folk sound calls to mind earlier Beck, or maybe Sonic Youth’s “Winner’s Blues.” A shoddily tuned guitar rattles along under a dazed delivery of trippy lyrics that wander off into oblivion.

“Torched,” to me, is one of the highlights. Opening with pastoral, echoed guitars, blinking over roaring drums, we’re in Akon/Family territory now. A slack-stringed, beautifully de-tuned guitar treks through an extended melody as gentle background plucking floats off in the distance.

Album closer “Tranquil Pain” takes the same guitars as “Torched,” but adds Thurston Moore-type vocal delivery, and a droning violin, and its Velvet Underground overtones, to the mix. This is a whole other world from where we began with one-part experiments. Rather, on “Tranquil Pain” we approach more traditional song structures, and even a memorable, damn near catchy vocal melody.

Anyway, I’m not allowed to upload any of the songs, apparently, so you’ll just have to take my word for it, and deal with just hearing the low-quality sound of the garbage video above. They premiered the album on a much bigger blog, so you can find it there, if you want.
Pre-order PC Worship’s “Buried Wish” from Northern Spy records
Here are all the relevant links you may need to purchase (highly recommended) “Buried Wish” by PC Worship:

Order direct from Northern Spy, or from PC Worships Bandcamp page.

You can also catch PC Worship out on tour in the coming months. Their dates are shown below:
2/03 Oberlin, OH @ Oberlin College%
2/09 Washington, DC @ Comet Ping Pong*
2/10 Norfolk, VA @ Charlies American Cafe*
2/11 Raleigh, NC @ Pinhook*
2/12 Secret Georgia*
2/13 Gainesville, FL @ The Atlantic*
2/14 Atlanta, GA @ The Earl*
2/15 Nashville, TN @ The Cobra*
2/16 Chicago, IL @ The Empty Bottle*
2/17 Detroit, MI @ UFO Factory*
2/18 Columbus, OH @ Ace of Cups*
2/19 Harrisonburg, VA @ The Golden Pony*
2/20 Philadelphia, PA @ Baird Mansion Atrium*
2/21 Brooklyn, NY @ The Park Church Co-Op*

% with Tonstarrtbandht
* with Naomi Punk

Hadals – “The Dog”

Here’s a fresh batch of noise coming out of Nashville. Hadals’ “The Dog” is available on cassette from the Portland, OR based label Nailbat Tapes.

Opening the release is “Hound of Golden Light.” It’s squealing feedback refuses to be kept at bay, while the track plows forward aided by the heaviest of bass lines. Vocals are relegated to the background, and despite being pushed into the red the punishing discord of the guitars are clearly at the fore here.

“Claws Stretching to the Sky” starts off one part Wolf Eyes and one part punishing death metal, choosing to focus mostly on anxiety inducing wails and distant sounds of torment. Following that “My Teeth on Your Neck” picks up exactly where “Claws…” left off – with the crushing bass-heavy backbeat and feedback taking over once again.

Closing with “Sink Into the Earth” solidifies the fact that this release really is of two minds. On the one hand there is the noisy, Wolf Eyes/The Thirteen Ghosts elements, casting an unnerving pall around the distorted guitars and drums. Slowly building from one to the other the last minute and a half finds Hadals absolutely punishing their instruments into apparent oblivion.

You can grab a copy of this limited cassette from Nailbat over at their bandcamp page. And while you’re there you should check out a few of their other new releases including the Portland-based death/grind of Maltheist, and dark/ambient/noise of Red Boiling Springs.

 

Freak Dream – s/t

You may remember my post from a few years back about the fantastic prog-pop psych-rock band Sprïng, or you may not. I can refresh your memory briefly: they were great. Unfortunately they are no longer, though they did trickle out some new material after the release of their brilliant “Celebrations,” it seems there won’t be a follow-up.

However, and thankfully, Sprïng’s former guitarist Elliot has recently released a great five-song EP under the name Freak Dream. The release explodes right out of the gate, with synths and driving guitars combining to create a fusion of the industrial and hardcore punk sounds. Opening tracks “Let Me Out” and “Almost Gone” create a sense of space with more understated prog breakdowns before launching back into the more aggressive sounds favored throughout most of the EP.

The persistent kick of “How Can I” immediately calls to mind Big Black, though again Elliot creates more depth through his ability to pull everything back before piling on the noise again. Although, you’d never find a song like “Breathe II” on any Big Black album. That track’s mode shifting piano and delicate, feedback-driven, atmospherics not only lend the perfect amount of contrast to the collection, but show the range of Elliot’s interests and the palette he’s working with. It lays the groundwork nicely for the final track “Get Up” which is basically a really great, straight ahead rock tune. “Get Up” even manages to touch upon glam with its soaring coda emerging from dreamier, echoes of guitar.

You can listen to the entire EP above, or on the Freak Dream bandcamp page. If you head over to that page you can name your own price for a digital download, or get a CD with an 8-page, color zine for $5 Canadian.

The Bats Pajamas – “No Hello”

Here’s a fresh batch of noise punk due out next week on Fleeting Youth Records. The band is The Bats Pajamas, out of Toronto and the album is available for pre-order either as a download (boring) or a limited edition cassette (much better) through the Fleeting Youth Records bandcamp page.

The song above, “Witch Way,” is an immediately overpowering, supremely down-tuned, distortion-fest. Sludge guitars underneath echoed-and-distorted-beyond-all-recognition screams. Its a pretty punishing punk-rock assault that doesn’t let up for so much as a second from beginning to end. The ultra-low tuning reminds me somewhat of Polvo, but I think the slacked strings are at even more of an extreme here, not to mention the heavy low-end that’s going on with the tone. This is a beefy gut-punch of a guitar sound that would maybe fit equally well on a death metal album.

Next up is the song “T.V. Sheets,” in the video below. This one is cleaned up a little bit, clearing away most of the sludge and picking up the pace. This one sticks with a tried and true 3 chord structure that eventually moves up a fourth, lending a bit of a modified or truncated 12-bar blues sound to the song. Also, the video is just a bunch of people destroying televisions, which is something I think we can all get behind.

The album is out in less than a week, on Tuesday May 26th. Head over to the Fleeting Youth bandcamp page to pre-order the cassette and to hear another song, “Wrong House,” which you can also download for free. The band has plans to tour beyond the Great White North in support of this album so you’d probably be best to check their facebook page for updates.

Lost Trail/DOR – “Arachnidiscs Recordings Split Tape Series Vol. 12”

I’m going to get your week off to a great start right now with some fresh noise and drones.

These tracks are coming from a pair of noise/drone artists From North Carolina. The first, Lost Trail, is the husband and wife duo of Zachary Corsa and Denny Wilkerson Corsa. From the sound of it, opening track “Eyes of Fire ’83” finds its footing right away with a huge blast of booming noise that almost immediately finds itself morphing into about a dozen different micro-melodies. Each stream of pitches that emerges from the original blast takes on a life of its own, and it really creates a beautiful texture. The opening blast eventually becomes this lush backdrop similar to a loud sonority being churned out by a large orchestral string section, with all the cellos and double basses bowing molto ponticello on their lowest strings in order to really accentuate the rich overtones.

“In Cold October Houses” takes a similar approach, with a little more focus on the roaring feedback that more or less completely envelops the melody, buried within the cloud of distortion. Unlike “Eyes of Fire ’83” the overbearing roar dissipates, and as that harshness fades the pure tones become clear. This track works more like a suite with various sections that fade out and back in, each exploring different textures.

DOR is a duo of John Rutherford, and Jacob Worden, and they offer up 3 unnamed tracks that are a nice counterpoint to some of the harsher sounds of Lost Trail’s side. Here, steady, glowing tones dominate. Each sound is prolonged, very gradually growing and then shifting in pitch ever so slightly before fading back into the distance. I think that the orchestra analogy is apt in describing this music as well, but the approach is quite different. We’ve sort of moved from Penderecki to Scelsi in a way. Where Lost Trail is clearly approaching from the noisier side of things, and it might be harder to parse out from where exactly the sounds maybe be coming, DOR is more in line with sounds that could come from any of several different post-rock bands, perhaps.

DOR’s 3rd track moves full on into steady rhythm territory, taking their gradually shifting tones and placing them within a new context. The percussion sounds add a degree of coldness to the overall sound, while serving to reign in some of the more ambient elements.

I would highly suggest not only checking out all 6 tracks here on the Arachnidiscs bandcamp page, but also pre-ordering the tape. The packaging looks fantastic, and it’s a steal at $7 Canadian. The cassette is limited edition so get on it.

Stream: Black Pus – “Pus Mortem”

Brian Chippendale is at it again. Well, not again, because that would possibly imply that he stopped for a second. Either way, his latest release “Pus Mortem” is another solid 8 tracks of overdriven and explosive drums, synth and warped to beyond the point of intelligibility vocals.

At this point I just assume that most people are pretty familiar with Chippendale’s style. I’ve been listening so long that I just assume it’s common knowledge. In case it’s not, it breaks down like this: a non-stop swirl of drums, filling up every single microsecond, with pitch shifted, distorted vocals buried deep in the back of the mix. Actually his music is exactly like his visual art; every available bit of space is taken up, and nothing is wasted. There is very little in the way of negative space in either his music or his paintings and drawings.

“Pus Mortem” does, however, manage to balance the bombast with moments of relatively thinner textures. Take for example “Neuronic Knife” where a constant, rapidly pulsing kick drum is periodically overshadowed by rapid fire snare rolls and vocals. The foot-pedal controlled synth lays down thick, fuzzed out low frequencies that dive-bomb in and out of the track.

The constant pulsation that exists on “Neuronic Knife” is pretty prevalent throughout the rest of the album as well, strengthening the underlying primal element that are at least partly implied on any album that is drum-centric. Additionally, the album opening adds to the primal element with a snarling exhale that serves to kickstart “Heebee Geebees.” Also, just because a track focuses around an idea on a rhythm, doesn’t mean that the music is completely devoid of melodic elements. This album opening is not short on melody one bit.

Synth and vocals play a bit more of a central role on “Supergenius.” The delayed vocals rise and fall, building dramatic tension over the low ebbing synth creating an overall foreboding vibe. “Off With His Head” ramps up the spastic drumming with layered and looped vocals over top, finding time to carve out a more complex and fluid structure that opts for something that resembles a more improvisatory approach than a one-part minimalist rumination on a single pattern.

“Pus Mortem” is available right now through the Black Pus bandcamp page for any price you choose. I would highly encourage supporting Chippendale in all his efforts. It’s important to help sustain someone that is sustaining themselves completely through creating art. Throw down at least $5 I would say. Even that doesn’t seem like enough, but it’s a start. Better yet, grab it on vinyl here.

And, like it says on the Bandcamp page: “PS. I PLAYED THIS LOUD SO YOU SHOULD TOO.” Follow his orders.