Saturday, April 21, 2007
death by a thousand cuts
lower your flag c24
[2007, bone tooth horn]
i'd been sleeping on this new jersey group for awhile now because their name made me think of some metal hybrid. i don't like metal and i'm beginning to think i'm the only one who doesn't. then, dlugosielski's excitebike tapes put out a c30 of theirs last year. naturally, i still slept, but my interest level jumped up a bit. thanks to bth, i'm actually taking the time to give their music the proper objective listen that it should get, and, as usual, my prejudgment is rendered invalid. this is good stuff, but first, let's back track to that 2006 cassette. if you heard it, you heard some good affected guitar, sputtering drones and various other tweakings. immediately, it struck me as being more overtly electronic. now, sure, both are intrinsically electronic, duh, but i'd push it more toward the experimental electronic spectrum, with some flourishes into noise. lower your flag strikes me as being more in an experimental noise vein. hopefully, you made some sense of that.
monroe transfer starts us off with a dungeon-like drone noise dirge. there's not a whole lot to it beyond it's pervasiveness, but the simplicity is effective. the next two songs are more structured and stand out as being personal favorites. first up is the head-shakingly titled german shit film. it contradicts its base title with some lovely guitar playing matched with equally appropriate synthesized accompaniment. that will soon turn into even better colossal overdriven guitar riffs and feedback. it's a real fucking shame this is less than three minutes long. the moon is the only witness adds nighttime field recordings to the formula. the sparse guitar playing this time is a little more memorable. this is also way too brief, but i'm really into how they're varying the sound to the point of being more embraceable without compromising their overall aesthetic. 
dead pussy moves us into near industrial sounds with multiple layers of cold drone providing the foundation for some reverberated vocal excerpt of some kids arguing (?) about something. foul mouthed. ultimately, it serves as another unique thread in lower your flag's fabric. the other tracks are predominately drone noise, but due to their short track lengths, manage to be entertaining.
i think it was the classical philosopher nas who first said: "i never sleep, 'cuz sleep is the cousin of death", well, i'm rubbing the sleep out of my eyes right now. you guys have got my attention.
Sister Mouth
[2007, bone tooth horn]
i'd been sleeping on this new jersey group for awhile now because their name made me think of some metal hybrid. i don't like metal and i'm beginning to think i'm the only one who doesn't. then, dlugosielski's excitebike tapes put out a c30 of theirs last year. naturally, i still slept, but my interest level jumped up a bit. thanks to bth, i'm actually taking the time to give their music the proper objective listen that it should get, and, as usual, my prejudgment is rendered invalid. this is good stuff, but first, let's back track to that 2006 cassette. if you heard it, you heard some good affected guitar, sputtering drones and various other tweakings. immediately, it struck me as being more overtly electronic. now, sure, both are intrinsically electronic, duh, but i'd push it more toward the experimental electronic spectrum, with some flourishes into noise. lower your flag strikes me as being more in an experimental noise vein. hopefully, you made some sense of that.
monroe transfer starts us off with a dungeon-like drone noise dirge. there's not a whole lot to it beyond it's pervasiveness, but the simplicity is effective. the next two songs are more structured and stand out as being personal favorites. first up is the head-shakingly titled german shit film. it contradicts its base title with some lovely guitar playing matched with equally appropriate synthesized accompaniment. that will soon turn into even better colossal overdriven guitar riffs and feedback. it's a real fucking shame this is less than three minutes long. the moon is the only witness adds nighttime field recordings to the formula. the sparse guitar playing this time is a little more memorable. this is also way too brief, but i'm really into how they're varying the sound to the point of being more embraceable without compromising their overall aesthetic. 
dead pussy moves us into near industrial sounds with multiple layers of cold drone providing the foundation for some reverberated vocal excerpt of some kids arguing (?) about something. foul mouthed. ultimately, it serves as another unique thread in lower your flag's fabric. the other tracks are predominately drone noise, but due to their short track lengths, manage to be entertaining.i think it was the classical philosopher nas who first said: "i never sleep, 'cuz sleep is the cousin of death", well, i'm rubbing the sleep out of my eyes right now. you guys have got my attention.
Sister Mouth
Tuesday, April 17, 2007
skeleton warrior & rods of god
come alive/beef veins c20
[2006, bone tooth horn]
alright, here's a few more people that i know nothing about. skeleton warrior (pulled up far too many hits for baldur's gate ii when i searched for this) might actually have a few people out there who know who the hell they are. i'm assuming it's a they since at the end of come alive someone from the crowd shouts "skeleton whores!" sexy. while the wordplay leaves something to be desired, i admire the effort. like i was saying, they have a release on breathmint (more on this label sometime this week) and were on that same black lakes compilation that door was on, doubling their chance for exposure.
based on the total lack of info on the 'net concerning rods of god (very gay porn-esque name, eh?), they give off that feel of one of those projects that puts out a split with someone you like, but then you never ever hear from them again for some strange reason. that'd be a shame if that's the case, too, since rods of god make a really strong contribution.
come alive centers around feedback and, what i'm imagining to be, affected guitar noise. hard to tell. the feedback is the main ingredient though, and i can support that. there's other noises going on underneath it but in the future when i think back to this tape, i'll fondly remember the feedback. oh, that and the synthy take on solfege near the end.
there's a lot more substance to rods of god's side. the first track's distorted throbbing bass immediately made me think of mammal. that's never a bad thing. the rest of beef veins is noisy splendor. there's a denseness to it that fleshes out the sound, but also knows its place, leaving room for elements of percussion as well as letting you hear the full breadth of what's going on with the piece. i'm liking this a lot and chances are high that you will as well.
Skeleton Warrior - Come Alive Excerpt (from 0:00 to 3:33)
Rods Of God - Beef Veins 1
[2006, bone tooth horn]
alright, here's a few more people that i know nothing about. skeleton warrior (pulled up far too many hits for baldur's gate ii when i searched for this) might actually have a few people out there who know who the hell they are. i'm assuming it's a they since at the end of come alive someone from the crowd shouts "skeleton whores!" sexy. while the wordplay leaves something to be desired, i admire the effort. like i was saying, they have a release on breathmint (more on this label sometime this week) and were on that same black lakes compilation that door was on, doubling their chance for exposure.
based on the total lack of info on the 'net concerning rods of god (very gay porn-esque name, eh?), they give off that feel of one of those projects that puts out a split with someone you like, but then you never ever hear from them again for some strange reason. that'd be a shame if that's the case, too, since rods of god make a really strong contribution.
come alive centers around feedback and, what i'm imagining to be, affected guitar noise. hard to tell. the feedback is the main ingredient though, and i can support that. there's other noises going on underneath it but in the future when i think back to this tape, i'll fondly remember the feedback. oh, that and the synthy take on solfege near the end.
there's a lot more substance to rods of god's side. the first track's distorted throbbing bass immediately made me think of mammal. that's never a bad thing. the rest of beef veins is noisy splendor. there's a denseness to it that fleshes out the sound, but also knows its place, leaving room for elements of percussion as well as letting you hear the full breadth of what's going on with the piece. i'm liking this a lot and chances are high that you will as well.
Skeleton Warrior - Come Alive Excerpt (from 0:00 to 3:33)
Rods Of God - Beef Veins 1
Sunday, April 15, 2007
mandarin clit
sugar britches c10
[2007, bone tooth horn]
ah, here's a name that'll do you next to no good when you enter it into google, or even search with kevin. it makes me think of two of my favorite things: oranges and vagina. good times. there may or may not be a connection between mandarin clit and scumbag tapes. i'm just throwing that out there.
earlier today, i was chatting with a friend when he randomly exclaimed, "i hate c10s!" i think that's how a good deal of folks feel. they seem like such teases, espec
ially when it's just two five minute tracks. well, that's what we have here, but thankfully, it plays out as having a few different segments to it. the first half of side a is strictly acoustic guitar abuse that would, most assuredly, get a thumbs up from noggin. the second half is something being played backwards, to wonderful effect. actually, i don't think you could really play anything backwards and not have it sound great. that's a good thing in this case since there's more of that during the beginning of the b side, this time lacking the haunting serenity of the first instance. after a bit of that, sugar britches then breaks out into a nice piece of instrumental mountain folk. lovely. short as fuck, but enjoyable in all its fleeting splendor.
going back to scumbag tapes, there's a couple of longer mandarin clit cassettes still for sale over there: a twenty minute one and the other's a one-sided c45, so a twenty-two and change affair. six bones a pop. if i weren't saving my money to fund my relocation, i'd be there. so, yeah, don't buy these, so that i can in a month and a half. kthx.
Side A
[2007, bone tooth horn]
ah, here's a name that'll do you next to no good when you enter it into google, or even search with kevin. it makes me think of two of my favorite things: oranges and vagina. good times. there may or may not be a connection between mandarin clit and scumbag tapes. i'm just throwing that out there.
earlier today, i was chatting with a friend when he randomly exclaimed, "i hate c10s!" i think that's how a good deal of folks feel. they seem like such teases, espec
ially when it's just two five minute tracks. well, that's what we have here, but thankfully, it plays out as having a few different segments to it. the first half of side a is strictly acoustic guitar abuse that would, most assuredly, get a thumbs up from noggin. the second half is something being played backwards, to wonderful effect. actually, i don't think you could really play anything backwards and not have it sound great. that's a good thing in this case since there's more of that during the beginning of the b side, this time lacking the haunting serenity of the first instance. after a bit of that, sugar britches then breaks out into a nice piece of instrumental mountain folk. lovely. short as fuck, but enjoyable in all its fleeting splendor.going back to scumbag tapes, there's a couple of longer mandarin clit cassettes still for sale over there: a twenty minute one and the other's a one-sided c45, so a twenty-two and change affair. six bones a pop. if i weren't saving my money to fund my relocation, i'd be there. so, yeah, don't buy these, so that i can in a month and a half. kthx.
Side A