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MINOY - Godcunt (1993) REVIEW

mardi 7 octobre 2014 à 16:20


Minoy was the pseudonym for the underground electronic music icon Stanley Bowsza. As arguably one of the most prolific and influential American noise and electronic artists, Minoy's unreleased material was highly sought-after after his death in 2010. "GODCUNT" is one of these releases, and it is without a doubt still solidifies this artist's impeccable influence and power over the modern electronic music/noise scenes. 

The sounds on "GODCUNT" are demented, disheartening, personal, dissonant, and at times borderline disturbing in their eerie ambiance. Recorded in 1993, this piece showcases a wide variety of different textures, emotions, and auditory experiences. The use of samples is extremely complimentary to the tracks, and never feels forced. The production here is top notch as you would expect, with Minoy's tortured soundscapes being presented with such artistic vigor and integrity that even individuals who may not be fans of this genre will be able to appreciate the artistry presented here. 

Composed of 13 untitled tracks, the album is anything but repetitive or redundant. The sounds are constantly interesting and engaging, and the soothing and haunting quality of Minoy's work is incredible. One truly experiences quite the sense of euphoria when listening to this piece. It is challenging, interesting, disturbing, and extremely inspiring. 

I know the concept of a record being "ahead of its time" can sound a bit loaded, but this record does not sound dated by any means. If this were released today it would fit right in with works of KNIFEDOUTOFEXISTENCE or any number of GENOCIDE ORGAN-worship projects. Perhaps "ahead of its time" isn't the right concept, but this work is truly timeless and is a required listen to any fans of Minoy's work or minimal electronic music. 

"GODCUNT" is a record of torture and rage - melancholy put to tape. Inspiring and daring, Minoy's legacy will surely live on in the underground community, and with good reason. 



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mardi 7 octobre 2014 à 04:05


METHLAB EXPLOSION is the power electronics project of midwest noise-maker William Olter. I recently got the opportunity to interview this harsh noise dynamo and see where the project is heading.

GRVD: When did Methlab Explosion start, when did you begin making noise under the moniker, and what prompted you to create this style of noise? 

M/E: Methlab Explosion started in mid 2009 when my good friend John and I decided to start a noise/ grindcore project separate from our main band Faction Disaster. We recorded a Harsh Noise demo and a couple grind songs for a comp and pretty much ended after that.John moved across the country and I wasn't really interested in doing it anymore. In late 2012 I decided to start doing it again, so i pretty much kicked it into full gear and started pumping out sounds at an almost constant pace.

GRVD: Was Methlab Explosion your first project in the genre, or had you flirted with it at all in the past?

M/E: I had little projects and Noisecore bands with my friends as far back as maybe 2002. I've played in a good handful of Grindcore bands as well, but this is the first project i've done seriously as far as Harsh Noise / Power Electronics goes. I've always done most, if not all of the noise on any of my other band's releases and I've collaborated on Noise with lots of Michigan Harsh Noise brothers.

GRVD: Let's talk about your most recent release "Odium". What would you say were the biggest influences, musical or not, going in to this record? 

M/E: Sonically, I'd say I wasn't really influenced by anything in particular. I'd been listening to lots of M.B., Nikudourei and Anal Cunt around the time I recorded this which, aside from M.B., doesn't really translate into the sounds of the album. I'd say "Odium" mainly came from where my mind was at the time of recording. It wasn't even recorded that long ago, but I was in a different place mentally where a lot of stuff wasn't making sense and there was this overlying sense of pressure on everything. I've always been depressed, but this past year I've started to address it more and use music/ noise as an escape from it, so alot of that went into "Odium".

GRVD: You've released many splits with some very solid noise acts. Would you say you prefer the creative atmosphere of a split release or an independent EP/full length? 

M/E: They're both great to me. I like doing EPs and Full Lengths because they allow me to let sounds breathe more and the recordings as a whole sound more complete and well rounded, but I like splits because for one, I get to share a tape/ CD/ Record with someone I truly admire, but it also puts me in a position where I have to try and get the same ideas I'd put together for a Full Length out in a much shorter time, so it's kind of a challenge.

GRVD: Do you have any musical projects in addition to Methlab Explosion? 

M/E: Yeah, there are a few haha. Faction Disaster/ Erotic Stepdad/ UNEQUALTOYOU/ CxPxSx and there are a few I know I'm forgetting about. I do lots of one off recording projects so after a while it gets hard to keep track of all of them.

GRVD: When can we expect a follow up to "Odium"? What can fans and listeners look forward to on future Methlab Explosion releases? 

M/E: I'm actually starting the next Full Length in the very near future, like maybe the end of the month. I've got lots of splits coming out, some collaborations and some solo tapes etc. I'll be playing a few shows at the end of November with Isolation Order and I, Benign from Canada. Both solid guys and David from IO's band Disleksick is some of the sickest North American Noisecore. Also doing a bunch of more traditional band Methlab Explosion stuff with Mike from Pizzahifive on drums and myself playing bass, noise and vocals. Looking forward to that. Think Suppression meets Seven Minutes Of Nausea with some Masonna thrown in. I'm just going to keep on the path I've been creating this last year or two, try and expand on it and see where it takes me.

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

M/E: Thanks for taking the time to interview me. I didn't think anyone out there was actually listening to my stuff, haha. Midwest Noise rules all. Hail Cock ESP and Patrick Harsh.


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dimanche 5 octobre 2014 à 15:07


Deciding to write this review at 3 a.m. was quite a fantastic idea - because this is exactly what I needed to hear at 3 in the morning. On this split release we see two noise artists who have quite the reputation and a bit of hype surrounding them release one of the strangest, most captivating and harshly satisfying splits of the year on Cincinnati's impeccable INFINITE UNDOING label. Each artist here is given roughly 10 minutes to completely destroy the listener, and each artist does so mercilessly. 

I'll start with the RAPE-X side. RAPE-X is a group I just keep seeing more and more of, and for good reason. Everything I've heard from his band has been demented, powerful, sadistic, harsh, and extreme in every sense of the word. Here, RAPE-X gives us one almost-ten minute track composed of two separate recordings. The first being what sounds like a live recording of a very dissonant Throbbing Gristle meets Deathpile kind of harsh drone, which at times is actually very calming and soothing yet downright creepy. After this track ends, RAPE-X attack us with their spastic onslaught of harsh power electronics and manic vocal delivery. This side was quite interesting and unexpected, but ultimately very satisfying. 

Now for the PLATINUM COLLAR side. This track is one of the harshest walls I've heard in a while. It's just fucking relentless and Earth-shattering. It just builds and builds with such emotional strength before climaxing and breaking that the listener is honestly sent into a trance - the mark of any good HNW track. The vocal are buried in the mix, which complements the wall perfectly and differentiates itself from other side of this split quite well. My only wish is that this track was a bit longer and perhaps ended on a more resolving note, but it's a fantastic HNW track nonetheless. 

Quite the listen at 3 a.m., these are two great noise artists you can not let yourself sleep on. Support them and the fantastic label. 


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vendredi 3 octobre 2014 à 23:15


Pennsylvanian Sludge/Grind/Blackened Hardcore/Noise outfit FULL OF HELL and Japanese Noise Legend MERZBOW, if you haven't already heard and are living under a rock, are teaming up to release what is bound to be the most extreme musical collaboration of the year. On this track we see the two artists (more FOH in this particular track) pushing the boundaries of their sound. FULL OF HELL brings the ferocity and rage of their past releases, but intensifies it to an unheard of extreme for the band. The band seems to be heading into a much darker, death metal/death grind direction, which they do exceedingly well. 

As for the noise legend MERZBOW, we see Masami Akita more in the background for this track, but I think we can all rest assured that his trademark harsh noise will be incorporated and complimenting to FULL OF HELL'S utilization of the power electronics genre. 

This collaboration will be the heaviest, most extreme and crushing noise/grind record of the year. The anticipation is grueling. 

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UPDATE 10/14

vendredi 3 octobre 2014 à 23:00
I'm trying to start updating this blog daily or every-other day. Submissions are encouraged and appreciated, but there are no promises I can review everything I get sent my way. 

Also, I am currently working on the new GRVD full length and organizing some splits which will hopefully all be done by the end of this year. 

If you want to keep updated on more things, you can follow me on tumblr, twitter, and facebook. 


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