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
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.
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.
Dramatic Drexciyan electro styles from The Exaltics certified by Clone's West Coast Aeronautics & Space Administration. Five tracks fathom sci fi vignettes along with pumping electro-techno on 'Never Be Enough', the deep sea journey of 'Infinite Dimension', and brooding breakbeats, Analord style, in 'SL-W D-WN' making for The Exaltics most diverse and satisfying instalment yet.
Bubblin' Kuduro club gear. 'Fizzy' gets wild with the tribal drums and some killer, percolating electro; 'Buff Bumper' ramps to madness levels with nuff autotune, galloping drums and shocking rave riffs.
A trio of Hamburg's finest, Peter M. Kersten (Lawrence), Christian Naujocks, and Richard Von Der Schulenburg, feel out a quietly freeform jazz-electronica sound as Sky Walking. Improvising in hushed dialogue at a "rotten studio in the backyard of a record store in Hamburg", the trio channel influence from the rustling backdrops of Gruppo Improvvisazione Nuova Consonanza, Gerard Grisey's spectral experiments, and Psychic TV's strange sound worlds via a "weird collection of instruments" including some Russian microphones and the "saddest sounding steel drum". The results unfurling a minia… Read more
Sick debut from 19 year old grime producer Shriekin, picked up by Local Action. A regular face at Slackk and co's influential Boxed events in London, Shriekin's riddims operate in that hi-def, cinematic space between Murlo and Slackk's fluid, chrome-warped constructions, showcasing an acute ear for melody and wickedly deft drum programming. From the quicksilver syncopations and airborne motifs of 'Cat's Eyes' to the hyper breakstep of 'Snowy Island Breaks', thru the glistening peaks of 'Steel Ships' and the kaleidoscopic radiance of 'Temple 2', it's fair to say we're listening to a massive talent coming to the fore.
"Formed in the early '50s under the watchful eye of Tuskegee, Alabama, transplant Charles Chambliss, the Sensational Saints were handpicked from a Cleveland clothing store, a pool room, and from a group of friends singing from a third story window. After years spent rotating members and issuing stray singles for assorted non-denominational imprints, the group connected with the vocally inclined Reverend Melvin Kenniebrew at the close of the '60s, making good on their "Sensational" boast. "With God in their hearts and singing on their minds," the Sensational Saints mounted… Read more
Ricardo Donoso takes inspiration from ancient myth to consolidate all aspects of his oeuvre in the romantic ambient trance-scape of 'A Song For Echo'. Riffing on the classic tale of unrequited love, Donoso breaks down the distinctions between his claustrophobic Scubadeath output and the elusive melancholia of his highly regarded 'Assimilating The Shadows' and 'Progress Chance' albums. The result is a downward spiral from shoreside location recordings and plangent, piquant electronics to abyssal drone and blooming darkside geometries via brooding chamber techno pieces and keening drone depths capturing his sound on the cusp of transition to a heady space on the horizon.
Distance and Commodo rep rooted, vintage and modern takes on Mala's classic 'Changes'. Distance dices up those haunting vocal pads on 'Changes' with slower, lurching drums and bass and murderous mid-section; Commodo re-runs 'Miracles' with jabbing, surgical edits and precise bass pressure in a looser, elasticated version of Mala's anthemic original.
Lil Silva reveals his tender underbelly alongside label-mate Banks in the romantic, modern blues of the 'Mabel' EP. Moving much closer to the sound of former collaborator Sampha, the London-based producer balances rhythmic weight with emotional impact in five tracks contrasting metallic halfstep and house flux with heart-swelling trance chords on 'First Mark' or naked, vaulted vocal harmonies in 'Kimmy' and its sister-piece, the bittersweet slide guitar-infused soul surge of 'Don't You Love' with Banks. The title track is best, suspending his vocals in the chromatic ether over a sumptuous, swing… Read more
Toro Y Moi flexes some supple dancefloor muscle with the indie-pop boogie of 'Why'. Working shades away from Junior Boys or Blood Orange, 'Why' mixes up frisky guitar chops and greazy bassline with pleading vox for the disco mass.
Chaz Bundick (Toro Y Moi) gets his house on as Les Sins, two years after his couple of aces for Daphni's Jiaolong label. Like Lord Tusk and Brassfoot's 'Space Invaders' EP, 'Bother' can be heard as a warning shot to all the energy vampires, clearly stating "don't bother me/i'm working" as a dancefloor mantra more disco dilettantes could take notice of, all over an hypnotic, in-the-pocket disco-house groove with the kind of in-the-moment breakdown no-one should has the right to disturb.