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SORG - Demo 2014 REVIEW

lundi 18 mai 2015 à 18:10

SORG - DEMO 2014

SORG is [were] a sludge/black metal/powerviolence/grind band from the UK that - in their brief time as a band - has released some truly crushing and compelling material. And nowhere is the band's primal aggression and lo-fi ruthlessness executed more-perfectly than on their 2014 demo. 

This demo starts with the track "Excidium", which serves as an excellent opener. The dissonant chord structures and fried-fuzz black metal distortion create a sound that is both familiar yet still intriguing, and the track's chaotic transitioning perfectly introduces the listener to just about every stylistic direction they have in store for the listener. 

The following tracks "God" and "SORG" continue to traverse the styles of sludge, grind, and black metal effortless. But it is on the track "Sludge Cunt" that this Demo truly shines. The track is hypnotic and sounds like the hybrid bastard child of Admiral Angry, Xibalba, Snakes, and Me And Him Call It Us. The track is dissonant, slow-burning, and trudges - crushing the listener with every single beat. Closing track "Storglomvatnet" is a frenzy of d-beats, blasts, and walls of lush, fried distortion that packs a powerful and fast-paced punch to end this demo. 

Gone too soon, unfortunately, SORG were a powerful outfit whose musical outputs were always satisfying and enjoyable. RIP, SORG. 


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CRUSTGIRLS - Life Stuck On Repeat REVIEW

vendredi 24 avril 2015 à 04:28


Crustgirls, the impeccable Florida noise outfit, bring forth pure atonal aggression and instability on their latest output. Released on the always diverse roster for New York's Uninvited Records, Crustgirls mix glitch, harsh noise, and Japanoise pseudo-worship (I mean this as a compliment, I promise), together to release some of the most unrelenting and downright hypnotic noise releases of 2015. 

The recording is split between 2 tracks. The first being a hard-hitting, repetitive assault on the listener, with noise-boxes and glitched vocals being thrown without remorse, whereas the second is a much more minimal, high-frequency wall of static fuzz and lush distortion that once again plays into the hypnotic feel of this release. The two tracks showcase diversity between each other, and are extremely complimentary. 

Easily one of my favorite current noise acts. This project deserves the attention and support it receives. Crustgirls is some of the finest, most abrasive and addictive noise you'll come across. 


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MPHIAT - Ten Songs Of Weird REVIEW

dimanche 12 avril 2015 à 02:33


MPHIAT - or Mr. Potato Head Is A Tranny - is a one man noise project from Massachusetts. A noise maker whose releases have always been on the  fringe - yes, the fringe of noise - side of things, this full album of material shows MPHIAT at their loudest, weirdest, and most experimental. 

One thing that immediately will hit the listener is the vocal delivery. Sounding like a cross between Masonna, Jerome's Dream, and Anal Cunt, the vocals are frantic and bellowing high-pitched yelps over-modulated with scathing distortion and cacophonous reverb. The vocals definitely compliment the weird intensity of each track, and put the album into a direction the novice noise fan may find unsettling. 

From a composition standpoint, this album goes from grating harsh noise, so somber power electronics, to even noise-hop unapologetically. Proud of its odd atmosphere and asocial derangement, MPHIAT does exactly what they want to do, and they succeed on their terms - which is all that matters. 

"Ten Songs Of Weird" is an understatement. This is a cyclical and disorienting collection of songs that are sure to make even the most jaded of noise fans raise their eyebrows at points. Truly a weird, yet sublime record. 


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samedi 11 avril 2015 à 21:52


GRVD: Can you describe your beginnings with noise and the meaning behind your pseudonym Poete Maudit?

PM: My beginnings were rooted in a punk band I was in and how everything I wanted to do was increasingly based on improvisation. The things I wanted to do got less and less structured until I had to leave the band to do things for myself. I'm still friends with most of the guys in the band. One is directly involved with my projects. "Les poètes maudits" was a collection of poetry curated by Paul Verlaine. It's one of my favorite volumes, I have a translated version of it.

GRVD: You seem to have a profound influence coming from poetry and literature. Who are some of your favorite authors and poets and to what extent does their work influence you?

PM: Poète Maudit draws from older poetry, predominately French poets such as Rimbaud, Artaud, Verlaine, Apollinaire, Breton, and occasional English poets such as Blake. All titles for Poète are taken from lines from the poem that influenced them. I usually try to capture the feeling of that poem in the track.
Legs of the Fly is influenced (somewhat indirectly) by transgressive literature such as Burroughs, de Sade, Bataille, Acker, and the like, and also sometimes from film. It's also a very personal project. The name was taken from a chapter title in "Story of the Eye" by Georges Bataille.

GRVD: You recently toured. Can you explain that experience and do you plan on touring more in the future?

PM: I went on two small tours, one to New York and one to Wisconsin. Both were very different experiences but very rewarding in their own ways. In New York, I got to meet up with a lot of friends I'd never seen in person before. Also, I learned that Chicago pizza is far superior to New York pizza. The performance I did there was one of the most cathartic experiences I've ever had.
In Wisconsin, I met a lot of new people. I had a very good time. Possibly the most memorable person was my friend Jason Covelli's son, Roman. He was a rambunctious child, but very enthusiastic and fun. We had him playing noise for a while, and shot video. It was a great time.
I'd definitely love to tour more in the future, and I'm sure I will.

GRVD: You're associated with many other projects. Can you describe them, your role in each, and how they differ from Poète Maudit?

PM: I have two other main projects, and a few minor.
Legs of the Fly, like Poète, is just myself. It's my newest project, and it's a very personal, very cathartic project. Much harsher, less organized, more emotional noise, with vocals and words. Performances tend to be close to performance art, involving rituals and actions.
The other, Look at the Flowers is a group project with a rotating cast. The two constant members are myself and my best friend William Shaw. At its simplest, it's prepared guitar duets between the two of us, at the most, it's a large group acoustic session. Not much has been recorded for it. It's inspired by my belief in the power of the group dynamic and also a bit by Zen Buddhism, and by a desire for improvisation. I've also been a member of Redsk and recorded sessions and collaborations with many artists. A tape collection of collabs with a lot of artists I really admire (Tanner Garza, Dive Signals, Richard Ramires, GX Jupitter-Larsen, and more) is long in the works and will hopefully be released soon.
There's also been talks of a "house band" of sorts for the label, Uninvited Records, I've been a part of. We've done one live session in NY.

GRVD: You have a pretty expansive amount of releases to your name. How do you find such constant inspiration?

PM: For Poète- I read a lot. If I find a poem I really enjoy, I note down a line and make plans to make a track. I usually arrange the track and make it during night shifts. Most of the tracks are made out of field recordings or warped edits of my voice.
For Legs- It's a personal thing. It either happens when I feel I need it too (at a point of personal tension) or when it feels right. It's a very lo-fi project, no planning for tracks, always recorded straight to my phone, relatively no editing.
The rest of my projects all depend on when I can get people together.

GRVD: Who are some of your favorite current noise artists you can recommend to our readers?

PM: I rotate in and out of a lot of things. I've been recently really getting into Ramleh and Skullflower. But as for currently functioning artists: Aaron Dilloway, the Ebony Tower, MPHIAT, GRVD (I'll always love your work), Sete Star Sept, Methlab Explosion, and probably many more.

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

PM: I'd like to thank you for this interview, to anyone who's listened or bought something off me, and to all the artists I've worked with, am working with, and will in the future. I'd like to mention that if anyone local to me (Detroit and surrounding areas) wants to come out for a session and be a part of Look at the Flowers, you'd be more than welcome. Contact me and we'll arrange something. I'll buy you a pizza or Chinese food or something. And lastly, I'd like to mention that there are a lot of releases lined up for both Poète and Legs in the near future, and to keep an eye out for them.
Thank you!


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samedi 11 avril 2015 à 14:55


"NIHILIST QUEER REVOLT MUSIK". Need I say more? Dreamcrusher is a Brooklyn, NY based noise/dance/industrial project that I think needs no introduction. This individual definitely works as one of the more controversial and polarizing figures in modern noise. With purists turning in disgust, and hardcore techno/gabber fans perhaps finding harsher alternatives, Dreamcrusher releases music purely on their own terms - an attribute I greatly admire. 

On this specific release however, we see the project working primarily in a harsh noise forum. Primal, lo-fi production still seeps in and gives these tracks some trancy, minimal flow and body to them, but this is easily one of Dreamcrusher's harshest and most atonal releases to date. The second track "Imponderabilia" definitely showcases the death industrial, harsh dance sound fans of his have come to love. The track is slow-moving and unsettling, yet oddly catching and memorable. 

The remaining two tracks on this release works with piercing feedback, low-frequency drones, and at times some melodic and minimal synth work. The album surprisingly utilizes quite a bit of variety and diversity with only a select number of textures. I can't ever say I was bored while listening to KATATONIA. Clocking in at a little over 30 minutes, the album never really over-stays its welcome. It drones and trudges, but not in a masturbatory or self-indulgent want. 

Love him or hate him, Dreamcrusher is a unique and forward-thinking act in noise that deserves the respect and attention they've received. 


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