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jeudi 13 octobre 2016 à 22:30


New York noise powerhouse Waves Crashing Piano Chords and Michigan Noisecore outfit Farting Corpse have come together for a split release comprised of 6 minutes total of unrelenting cacophony. I'll be reviewing this split one side at a time. 

Let's start with the Waves Crashing Piano Chords side. WCPC is a project that I've followed for quite a while now, and if you are unaware with the project, it is highly recommended you witness the live show or discover it through Youtube. WCPC is one of the strongest noise projects doing it right now, and with this release he continues in his tradition of minimalist, raw, unsettling feedback worship and power electronics. Here, WCPC gives us 3 minutes of material consisting of raw, fried, brittle feedback worship coupled with an abrasive vocal performance of sexually charged lyrics. The minimalist atmosphere is intense and powerful, and sure to please any fans of Whitehouse, Kylie Minoise, or similar acts in that style. Whoop Whoop!

Now let's focus on the Farting Corpse side. If you're looking for the roughest, rawest noisecore you can kind, look no further. 3 minutes of nonstop noisecore, sounding just as raw and brittle as the WCPC side. Farting Corpse is a strong noisecore act, and like the Methlab Explosion review I posted not too long ago, this release doesn't leave in any bullshit. Just pure, aggressive, raw noisecore built upon harsh noise freak-outs. FFO: Anal Cunt, Cripple Bastards, Last Days of Humanity, etc. 

This is definitely a strong split, and each project - while different in style - really compliment each other really well. Clocking in at only 6 minutes total, this thing doesn't overstay its welcome, and is very direct. Check this out and support each project. 


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lundi 15 août 2016 à 03:26


"Survival" is the latest album from UK noise/ambient project Alocasia Garden. A project straddling the fine line between aggression and serenity, Survival finds itself indulging the best of both extremes. Uncompromising in structure, and fluid and execution, this album assaults, drops, soothes, unsettles, pacifies, crushes, and rebuilds the listener continuously in less than an hour. This album feels like a long, tiring adventure (and I mean that in the best way) heading to an unknown destination. While there is comfort in its seeming aimlessness, the attention to detail and structure provide a clear and apparent artistic and textural knowledge and nuance that seeks to assemble every fraction of aesthetic and detail, and use them all in a harshly focused manner. This is the very definition of structured chaos. 

After the rumbling and choppy opener "Deceive" the album treads into melodic, ambient territory with "Retracing Weakness". A melancholic and hypnotic melody plays over and over through a distorted, waning synth. Tones decay and hold, showcasing interesting harmonies buried bellow the mix. A common theme of this album - at least from a purely sonic standpoint - seems to be a series of highs and lows, peaks and abysses, harsh noise experimentation and melodic chordal droning. Perhaps a comment on a kind of inherent struggle, and the act of rebuilding after said struggle for the sake of "survival". Regardless of intent - if there indeed happens to be one - the sonic boundaries within this album are extremely captivating. 

"Under" and "Prisoner of One Another" continue this pattern of high and low, with the latter being on the the finest moments on the release. Samples of crackling human speech is buried beneath more calm, yet slightly distorted synth worship. 

The title track is pure feedback worship, with cacophonous reverb and pulses crashing underneath. After this we get another textural synth-based track with "Marble Built Above Bone". This track in particular builds such tension and unsettling anxiety within its second half, that it bleeds perfectly into the closer "Scars to Pave a Future." The closer ends with a kind of hybrid between the two auditory ideas we've encountered. While waves of harmonic synths pulse low in the mix, harsh noise and power electronic noodling and peaks soar and soak over top. The final track fades out seamlessly. 

This is easily the strongest release from this UK noise project. It is clear Alocasia Garden are truly honing their craft, and will indeed survive in the long run. 


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lundi 25 juillet 2016 à 19:45


Misery Ritual is the dark, brooding, and crushing noise project of Kyle Ferguson. On this latest output from the project, we are treated to 4 tracks (roughly 35 minutes in total) of some minimalist, carefully structured and crafted, meticulous and patiently executed dark industrial-tinged harsh noise. Sounding considerably classic like the oldest material of Atrax Morgue and Controlled Bleeding, Misery Ritual is emphatic on atmosphere and tone, numbing the listener into a devotional scenario. The mixing here is excellently-executed, and shows that this artist has a true knowledge and respect for his craft. 

Opening track "Reduce" starts things off perfectly. A continuous rising-tide of crackling walls come in and out, and in and out, for the duration of the track, while several other layers of harshness attacks the left and right channels. As I stated earlier, the mixing here really shines. The next track "A Throat Filled With Fire" is very straight-forward, and not in a bad way. Subtle walls of reverb and atmosphere dwell under a cacophony of feedback and electronic mayhem. The drones beneath the noise eventually raise and lower in pitch, creating clear tones and harmonies which give the track a deeply ominous vibe. 

"A Lash For Every Failure" stars off gritty and deep, differing from the last two tracks nicely. Half-way through the track explodes into a crushing and throbbing wall of noise until eventually falling off and transitioning into the final track "The Dull Ache of Acceptance". This track is probably my favorite on the album. The lofi, dark industrial influence is so strong on this track. If you're a fan of Genocide Organ, White Hospital, Hunting Lodge, etc., this track will be right up your alley. It's bleak, cold, crackling, droning, and hypnotic, while also rounding out the album perfectly. 

This is a fantastic release and definitely a project you should keep on your radar. 


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mercredi 6 juillet 2016 à 19:56


GRVD: Give us the full scope and history of Spreaders, and your story of venturing into more extreme forms of music. 

S: Thanks for doing this interview!!!  <3 
Spreaders formed in Nov of 2007 in the Hudson Valley of New York State. We started as traditional band format with instruments like guitar bass and drums. We did Flipper and Butthole surfers covers and started playing bars within the local metal/hardcore scenes.  We did 4 releases proper as this band, one as a spit with a local D-beat band, released on Clan Destine Records. After that everyone started having children or getting real jobs and left the band. Spreaders then played as a duo//with only synths// in a more drone way. We did tons of releases, including splits with endometrium cuntplow // Al Qaeda // AWOTT/ and NRYY. Then the last real person left, and I've been solo since. I've done a bunch of silly solo releases. They are all garbage.

GRVD: You were featured in the Noisemakers documentary. Tell us what that experience was like. 

S: The experience was great!  They were all soooo nice and friendly!  And super pro omg. I was playing some basement in New Paltz NY with some other band and a person named Kitty picked me up in a sweet SUV and took me over to the SUNY college campus.  We went into a building that look like an igloo and into some great piano room.  They accommodated the heck outta me and my nonsense///even taking extra time to mic this stupid lil boom-box I insisted on talking thru. I said something about the Beach Boys in the interview and the crew came to one of my shows like a month later and brought me a Brain Wilson shirt they bought for me! <3
With the exception of the barber shop guy playing the bridge (lololol) I thought the Documentary was actually really well made and TONS of my close homies were involved. That being said, that film gets so much damn hate.  A lot of it comes from how lame NY is in general, but yea, so much hate.
It was a college project! People took it soo seriously lol..It was fun to me and I have nothing but love for the film crew, everyone in the film (except the bridge guy) all the haters, and really almost everyone ever. 

GRVD: What would you say influences Spreaders the most - both musically and non-musically?

S: Watching my friends succeed, feeding my cat, ect.

GRVD: What are your thoughts on the emotional element to noise? Do you find the genre to be the ultimate genre of self-expression? Is what you do with Spreaders therapeutic in a sense? 

S: Go see trip metal if u want emotion ! noise=death

GRVD: How do you try to set yourself apart from your contemporaries in noise? What - if anything - do you try to convey with Spreaders that may be unique to the project?

S: N/A

GRVD: What are your opinions on political correctness? In a genres of extremes like noise, does the musical community you are a part of have any influence on your political frameworks? Do you think politics of any kind belong in noise? 

S: Go see trip metal if u want politics!!! noise=death

GRVD: What does Spreaders mean to you - both in a personal and purely musical sense? 

S: Anymore spreaders means to me: getting old and dying//a constant reminder of failure
losing lots of friends///losing lots of money///chasing long-dead pipe dreams////constant battles with addiction and insomnia//
losing sense of self////cotton candy flavored bubble gum....

GRVD: You're playing this year's Harshfest in Detroit. Are you excited for that? Any specific acts you're particularly excited for? 

S: OMG YES!!!! sooooo stoked for Harshfest ! Much love to Pat and Will for making this a reality.  So stoked to see literally every band on the bill!! but some choice homies ive seen/played with before are The homie ninja Waves Crashing Piano Chords who is always a kick in the teeth lol.. My touring mate // bestie Matt Luczak and his tape loops, the other tour homies Frataxin and this is not ok. Of course Aaron Dilloway, Laundry Room Squelchers (!!), tooth_eye, BoneMagic, Methlab Explosion, Stress Orphan, Bullshit Market... like literally every band on this bill!!!!!!!!!!!!!!!!!!
I've booked a two week tour with Matt Luczak to Harshfest and back// sooo stoked!

GRVD: Anything you'd like to leave us with?

S: Nope! <3

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vendredi 17 juin 2016 à 19:03


GRVD: Let's first take a look at your work in film. What (or perhaps who) inspired you to make movies, and when did you first decide to pick up a camera?

NH: I was always the kid on the playground playing out "stories" with certain friends, stories that would continue each day every recess and I would occasionally bring in other kids to fulfill certain required roles in the story. They were mostly mimicry of things I'd seen, but there was even at that most basic level, a desire to create and experience. I received my first camera in seventh grade as a Christmas gift from my parents who knew I had been using one at a friend's house that belonged to his parents. Once I received that, I made short movies with my brothers, friends and neighborhood kids. I found excuses to make short movies for school projects as well. They all ranged from shorts about zombies to reenactments of Civil War battles. Beyond that, I just always assumed I would one day make my own films on a budgeted level.

GRVD: Specifically with Hunger Unholy, you seem to have a real love and nostalgic passion for older waves of horror cinema. What period of time would you consider your favorite era, or perhaps the most influential to yourself?

NH: My dad instilled a passion for film at a young age by teaching me what should be at it's core, the thing anyone involved in film should feel: a love for watching movies. I was raised on everything from innocent Disney films like Sword In the Stone or The Dark Crystal to (when mom wasn't home) Terminator 2, Monster Squad, and Predator. As I got older, my dad shared with me more under the radar films he loved that he saw in his youth while working at a drive in, films that prior to the internet, were much harder to find without a wide distribution. These films mostly were horror films like George Romero's Dawn of the Dead and eventually Evil Dead, but there were other foreign films like Zombie, Blood Eaters, and the like. I think his love for both watching horror films and telling scary stories is where my love for the genre began.

GRVD: Explain how you got into making practical effects for your films. I know that in Hunger Unholy you designed the Werewolf yourself. Tell us about that process.

NH: Simply, I had no one else to help me when I started as a kid with my shorts. As one would expect, it started with me just spraying my brothers with ketchup or food coloring, but I started to get a lot of ideas from the commentary tracks on my Evil Dead DVD and a feature on Tom Savini and his effects which was a bonus feature on the Night of the Living Dead 1990 remake DVD. I learned about techniques they used and in return, tried out more primitive versions myself. It is always a learning process. I really got to try out a ton of stuff in this forty minute short I made called A Way Out, which was my first attempt at a serious project that I shot with a few friends in 2010. That really taught me a lot about what I could and could not do. It's always been a learning process for me, and Wronged, my second feature film, is the first project I've worked on where I've  had a makeup and effects department handle the bulk of the effects, though I have jumped in on a few of the practicals as well. The werewolf suit was interesting because I, in my foolish youth and bull headed early twenties, believed I could make a decent suit for cheap instead of paying a lot for a high quality suit. It had its short comings in the end and is one of my biggest complaints about HU, but it served its purpose and again, served as a lesson.

GRVD: Tell us about your new film Wronged. How does it differ from your past work?

NH: Wronged differs immensely from anything I've done on almost all levels. It is the first project I have had a budget for, though it is about as shoestring as they come even so. Also, having a camera, makeup, production and sound crew is something I had never attempted before as well as hiring real actors and not solely relying on friends or friends of friends to fill certain roles. In a sense, this is the first "real" production I've ever taken on.

It also differs both stylistically and in terms of story from anything I've ever written as it goes much deeper than what is simply on the surface emotionally and metaphorically.

GRVD: What are some long-term ambitions you have as a director? Do you ever wish to try to break into the mainstream, or are you more committed to remaining in the D.I.Y. underground?

NH: I always wanted to write and act. Directing happened just because I never knew anyone who was willing to do it when I was tackling shorts. It happened so often, that I eventually phased myself out of focusing on acting and shifted to learning how to write (well) and direct, which is how I also picked up on learning how to edit as well. Of course the goal is to make money doing it and a career, but realistically, if I could at the least make enough money each film to break even and cover my losses to justify doing another, then I have no reason to stop and will continue to pump out projects until the stress kills me, I'm sure. Haha

GRVD: Which films specifically have had the most profound effect on you both as a director and a human being?

NH: I would like to believe there are some that have done both, but really, they are two different schools of thought for me. Films that made me want to direct were the original Night of the Living Dead and  Evil Dead because I watched those films and documentaries about them and thought "I can do that" (naively haha). But as I got older, fascination with the art direction of films like Kubrick's, specifically The Shining, and the production of Michael Mann's Heat are really what drew in my fascination and made me want to experience that level of creativity. A film that captures both my love of story telling and film has always been The Last of the Mohicans. It is absolutely my favorite film and I have always wanted to make a period piece because of it. Perhaps some day.

GRVD: Let's talk about Sunlight's Bane. You guys have a new record coming out! What can you tell us about that?

NH: The record is a far step further from what we have always done, as our black metal, grind, and death metal influences are much more prevalent and refined as compared to our older more hardcore influenced material. The record is eleven songs, ten brand new tracks written for the record and one re-recording of a much older song we put out digitally as a demo when we first began. It is going to receive a release this year on CD and 12", and we hope to have a date for that very soon.

GRVD: You've had quite a progression and evolution as a musician. What keeps you going and keeps you inspired to make music?

NH: Both listening to music constantly, and the fact that I always have something to say are often what drives me as a musician. I have always needed an outlet for the things I feel I cannot just simply express through day to day living and conversation and coupling that with my natural desire to perform, I have just always been drawn towards music and the writing of it. The inspiration, often negative, is drawn from both the outside world and how I experience/see it and from whatever I may be reading, watching, or listening to at any given time.

GRVD: I think one of the things I've always loved so much about Sunlight's Bane has been the lyrics. They're so poetic and exceptionally structured - almost seeming to have a "cinematic" quality to them. How serious do you take crafting lyrics, and do you approach them in the same way you'd approach writing a script for a film?

NH: I greatly appreciate that, especially knowing people read them at all after the great effort I often put into my lyrics. It sometimes feels like an era of music where people have moved beyond lyrics and it is comforting to know that is not the case. I tool my craft very seriously for years and unfortunately abandoned it for a few releases of SB while still called Traitor out of both laziness and a desire to draw people in with lyrics that were influenced by a more contemporary level of poetry. With this album and our upcoming split though, I feel I have returned to form with the material, having spent years working on the record's lyrics. I approach them more so as an encapsulated instance or emotion, so it takes much longer than I take drafting out a plotline for a film or short oddly enough because every word, every line is a critical piece that risks straying from the intended emotion meant to be conveyed.

GRVD: What can we expect from you in the future, both in film and music?

NH: Much more consistent and larger amounts of output is all I can say at this time.

GRVD: Any last shout-outs for us?

NH: Support Bricktop Recording in Chicago, Moonbend Studios and Oneder Studios in Michigan, and support local bands and filmmakers. They are the reason the art will continue and grow.


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