Monday, 23 March
**Digital Edition includes a bonus 17 minute track** 'Hecker Leckey Sound Voice Chimera' presents a radical mashup of works by two probing, multidisciplinary artists among the most vital of their generation. First realised as part of a two day performance at Tate Modern called 'Push and Pull', it offers a mutant configuration of Leckey's vocal track from 'GreenScreenRefrigeratorAction' (the eerie inner monologue of a Samsung fridge, as heard on the B-side of his 'Fiorucci Made Me Hardcore' vinyl and viewable on youtube), scrambled, decomposed and modu… Read more
Monday, 16 March
**A wicked disgrace from Prurient/Vatican Shadow in his lesser-spotted Jezebel costume. FOR ADULTS ONLY** Dominick Fernow's libidinous imagination knows no bounds, as evidenced in his long-awaited 'Exploring Jezebel' shocker for Blackest Ever Black. 'On a Business Trip To London' could be considered the release valve for a hard-touring artist or itinerant noise don, a place to retreat when business is done and playtime begins. Inverting P.E. masculinity with a stilettoed heel, it follows a line of curiosity from a series of releases for Hospital Productions, includ… Read more
Monday, 23 February
**Excellent debut of compellingly visceral new composition by Greek composer for ace new imprint, Holotype Editions. RIYL Reinhold Friedl or Iancu Dumitrescu** "[herewith] is Danae Stefanou’s first full-length solo piano release. The album centers around the tactile exploration of the piano interior as a sonorous surface, and as a resonant chamber. The resultant eight tracks, at times sharp and abrasive, at others densely immersive, aim to convey a physical sense of listening to the piano “from the inside”, rather than upkeeping the convention of appreciating the performance “from a dis… Read more
Monday, 16 February
"Swaggerjack return with their second album of improvised free-noise. Big Church OST is an accidental soundtrack to a non-existent film. Recorded in one session in August of 2014, this second outing for the duo shows a more refined sound built on an increasingly connected partnership and honed by the progression of both John Powell-Jones and Callum Higgins in their numerous other musical projects."
Monday, 09 February
Monday, 02 February
Harbinger Sound serve the results of Phil Julian's stint at Stockholm's hallowed EMS Studio in 2013. Originally recorded for diffusion over the 21-channel Audiorama surround system, this stereo mix condenses the elements to a paltry two channels, but we've only got two ears and one set of headphones so we'll happily make do. There are three pieces on offer: the 18-minute 'Open Form' spans the A-side with shivering microtones and microtemporal rhythms precipitating more invasive psycho-acoustics and desolate drones; B-side 'Corona' deals in bristling, insectoid harmonics and piquant high freque… Read more
Monday, 26 January
Monday, 05 January
Monday, 15 December
Damn, Anòmia do it again, pulling out some proper tricks from behind the ear of Minneapolis' Eric Frye after aces by NMO, Helmer and Veiled in 2014. Manning a hybrid analog/digital modular synthesizer coupled with some software synthesis, Frye presents a suite of uncompromising, fractured electronics at once recalling the spattered tangle of Keith Fullerton Whitman's recent generations, the chess-like stratagem of Rene Hell and the incisive freakiness of Florian Hecker with twelve pieces ranging in scale from super-sparse 4 minutes of spasmodic bleeps to staccato rhythm blatz and deviant miniatures. ACE.
Monday, 24 November
Monday, 17 November
**Desiccated post-hardcore punk by members of Bone Awl for BEB** "Privacy is the new album by Raspberry Bulbs. Their second full-length offering for Blackest Ever Black, following 2013’s Deformed Worship, Privacy is a defence of the anti-social, the secretive, and the inward-looking; a call to resist the contemporary obsession with “connection”, exhibitionism and peer approval, and to claw back ownership of the self. It’s only then that the real battles begin. Raspberry Bulbs is the invention of visual artist and musician Marco del Rio, who, under the guise of He Who Crushes Teeth, co-fo… Read more
Monday, 03 November
Monday, 27 October
Monday, 13 October
Noise fans unite, it's a new Whitehouse disc and the followup to the absolutely destructive 'Asceticists' album from last year. The omnipresent and always challenging duo of William Bennett and Philip Best seem to be on a roll right now, what with having the back catalogue finally issued on vinyl and new albums bleeding out left right and centre, so with any luck there should be a new generation of noise aficionados waiting eagerly to join the (un)happy throng. The pummelling African-style percussion that pushed 'Asceticists' into stratospheric heights of inventive noise is still evident here,… Read more
The album that followed on from 2003's Bird Seed album, Asceticists 2006 was the culmination of three years of obsessive sound tinkering by William Bennett. The album revealed a bold - or more accurately, terrifying - sound to it, full of noise and ear-shredding bombast, with incredible vocals, rasped in the most anarchic and hair-raising intonation on brilliantly titled tracks like 'Ruthless Babysitting' and 'Dumpng The Fucking Rubbish'. Amazing stuff, but it'll leave you a bit bruised.
So you’re into noise music are you? You’ve had your ears caressed and lacerated by Wolf Eyes, Prurient and Hair Police so now it’s time (if you haven’t already) to get two hands on one of the most important noise acts of all time – Whitehouse! ‘Birthdeath Experience’ was the band’s first album, recorded in 1980 and using only an effects pedal, two synths and a tone generator. The recordings are raw and unpolished and the trio of William Bennett, Paul Reuter and Peter McKay use their equipment to belch out a Throbbing Gristle inspired noisy, pseudo industrial slop. Crackling stat… Read more
Nearly ten years since original release, Whitehouse's uncompromising 'Bird Seed' is available on vinyl once again. It's later period Whitehouse, some 20 odd years into their oeuvre, with William Bennett producing and Philip Best ranting. It's also the point at which the African and voudun rhythms which inform William Best's scintillating Cut Hands project really take hold, from the incredible roil and noise slaughter of 'Wriggle Like A F**king Eel' in original and mighty extended instrumental version, to the bone-snapping digital/analog torque of 'Munkisi Munkondi'. Heavy heavy wares.