#Susan Lawly

[ourladyofomega]

📸: Whitehouse (IG)

[cremationisirreversible]

𝖂𝖍𝖎𝖙𝖊𝖍𝖔𝖚𝖘𝖊 – 𝔑𝔢𝔳𝔢𝔯 𝔉𝔬𝔯𝔤𝔢𝔱 𝔇𝔢𝔞𝔱𝔥

Twice Is Not Enough / Susan Lawly / 1992

[leofwines]

check it

[everydaym0nstrosity]

145 Of The Best Avantgarde/Experimental Record Labels Of All Time

  4iB Records

  905 Tapes

  Abandonment

 Abhorrent A.D.

 Aguirre Records

Alchemy Records

American Tapes

Angst

Ant-Zen

Arbor

Artoffact Records

ASRAR

At War With False Noise

Audial Decimation Records

Bacteria Field

Basement Tapes

Beast 666 Tapes

Bizarre Audio Arts

Blackest Ever Black

BloodLust!

Breathing Problem Productions

Broken Flag

Cabin Floor Esoterica

Callow God

((Cave)) Recordings

Chondritic Sound

Cloud Valley

Cloister Recordings

Cold Meat Industry

Cold Spring

Come Organisation

Crucial Blast

Cryo Chamber

Dada Drumming

Dark Vinyl Records

Deadline Recordings

Deathbed Tapes

Depressive Illusions Records

Diseased Audio

Dom/Dom America

Downwards

Drakkar Productions

Drone Records

Editions Mego

Eibon Records

End All Life Productions

Excite Bike

Extreme/Zero Cabal

Fag Tapes

Filth And Violence

Finders Keepers Records

Forced Exposure

Freak Animal Records

Fusty Cunt

Gods Of Tundra

G.R.O.S.S.

Hanson Records

Harbinger Sound

Harsh Head Rituals

Harshnoise

Hooker Vision

Hospital Productions

Housecraft Recordings

Hydra Head Records

iDEAL Recordings

Ipecac Recordings

Infinite Fog Productions

Järtecknet

Less Than Zero

Living Tapes

Loud!

Maggot Valley

Mannequin

Malignant Records

Menstrualrecordings

Monorail Trespassing

Moon Mist Music

Mother Savage Noise Productions

Murder Release

Musica Maxima Magnetica

Mutual Aid Records

Narcolepsia

Nefarious Activities

Night People

No Fun Productions

No Kings

Not Not Fun Records

Nurse Etiquette

Old Europa Cafe

Oxidation

Phantasma Disques

Posh Isolation

Primitive Propaganda

Prophecy Productions

Release The Bats Records

Relapse Records/Release Entertainment

RRRecords

Rotifer Cassettes

Rotorelief

Sacred Bones Records

Satanic Skinhead Propaganda

Segerhuva

Self Abuse Records

Shock

Side Effects

Skam

Skeleton Dust Records

Sky Burial

Slaughter Productions

Sloow Tapes

Smell The Stench

Soffitta Macabre

Sound Of Pig

Southern Lord

Space Slave Editions

Spite

Staalplaat/Nekrophile Rekords

Steinklang Industries

Sterile Records

Susan Lawly

Swampland

Sweat Lodge Guru

Terror

Tesco Organisation

Third Man Records

Thorax Harsh Cassettes

Torso

Total Black

Tranquility Tapes

Trapdoor Tapes

Trash Ritual

Tribe Tapes

Troniks

True Force/Pain Electronics

Turgid Animal

Tzadik

Urashima

Utmarken

Vis A Vis Audio Arts

Wagon

Wax Trax! Records

White Centipede Noise

Weird Input Records

We Release Whatever The Fuck We Want Records

ZSF Produkt/Lowest Music & Arts

[ozkar-krapo]

COME

"Rampton"

(LP. Susan Lawly. 2021 / rec. 1979) [GB]

[eraciator]

[omegaplus]

# 3,030

Whitehouse Dedicated To Peter Kurten: Sadist And Mass Slayer (1981)

Peter Kurten and 12 of his other siblings were born into poverty in Mülheim am Rhein, Germany and raised by alcoholic parents. His abusive father forced his surviving children to collectively witness him having sex with their mother and was later jailed of incest with his oldest daughter. At 5, Kurten already attempted to drown a playmate (and later on successfully drown two others his age). At 9, he would join his dog-catcher neighbor to assist him in torturing and killing animals, then later run away from home to assimilate with the city’s social misfits and deviants. His formative years consisted of bestiality, breaking and entering, theft, and other petty crimes; even achieving the height of climax right after killing animals for the best effect. It was one month after having a relationship with a sexually-submissive prostitute that he would be first arrested. Through time served for fraud and attempted murder, his condition became even worse when he deserted his own army draft and began committing arson on top of many burglaries, resulting in more time spent in military jail. After release, Kurten would then commit many stabbings, slashings, rapes, hammerings, and burning of his victims, climaxing again to the sight of blood and fire. He would even suck the blood from his victims, earning the reputation as The Vampire Of Dusseldorf. After many anonymous letters to the precinct (from himself) and confessing to his wife, Kurten was finally arrested and put on trial for his killings. He was handed the death penalty for nine killings and seven attempted murders which he accepted total responsibility for with no remorse or excuses in doing so; a sadist who lashed out against society for being mistreated, neglected, and consistently being punished of his crimes for the end result of sexual gratification. He was finally executed on July 2, 1931 by guillotine, not before he asked the psychiatrist if he’d hear the sounds of his own blood gushing out of his neck, “the pleasure to end all pleasures.”

No wonder that Whitehouse, who always sought to push the envelope of noise and subject matter, chose to dedicate their fourth record to a serial killer. It’s 1981, and almost no one except the artists could’ve envisioned sound like this. Almost 40 years removed and you wonder who purchased noise records like these? Did they know what to expect or did they go for it blindly? How and where did they find them or the artists who performed them? What notions did listeners have and how did they place these sounds to others in 1981 as opposed to the right now? Why did William Bennett choose to feature Kurten, and how did he defend it? It wasn’t the only record modeled after a serial murderer. 1982′s Psychopathia Sexualis‘ side-A on cassette or vinyl featured other serial killers, and 1983’s Right To Kill: Dedicated To Dennis Andrew Nilsen is self-explanatory. Bennett wanted to create sounds that could physically irritate listeners, so it’s likely he wanted to equate them. But of what? The ruthless mindset of Kurten? The actions of committing these forbidden sadist acts? His victims’ fear as they’re put in a potential life-threatening situation? Or placing a specific noise to controversial subjects?

Dedicated To Peter Kurten is an aggravating listen, sonically and thematically. You’ll deal with high-pitched frequencies, distortions, and pinches of squealing and peeling pink noise; all from beginning to end. It shears through the opener “Ripper Territory”, a news clip of The Yorkshire Ripper Peter Sutcliffe provided by Peter McKay, the idea which future member Kevin Tompkins would take with him as Sutcliffe Jugend. Listen closely to hear a snippet of Robert Ashley’s “Purposeful Lady Slow Afternoon” from the Sonic Arts Union’s Electric Sound (1972) compilation, one which William Bennett would borrow from Nurse With Wound / Steven Stapleton’s personal library. A dense-as-lead shower of noise hits the ears via “Prosexist” with lots of irritable toggling and Bennett’s vocal screetching. Not-so-subtle hints about power structures co-opt the record with titles such as “On Top”, “Dom”, and “Rapeday”, encouraging Bennett’s then-Come Organisation label to uphold its’ mission statement of promoting controversy and proclivity. Focus a little closely and you’ll hear themes of water pour throughout Dedicated…, perhaps referencing one of Kurten’s methods of murder by drowning, but are usually subdued to the wayside of the scratches and shears of Bennett’s and Paul Reuter’s Wasp synthesizers. Low-end bass rumbles are also found intermittently throughout as well. The frequencies are at its most scathing through the entirety of “Her Entry”, gashing wide open through the present negative space. Though highly grating, the faint repetitious chirping could even be deemed meditative if one can tolerate it, only to slow to a halt by Bennett screaming a dystopian hell.

Some other sonic and vocal qualities found on Dedicated… would later be committed in other works towards the end. The boiling spurts of “CNA” would be refined on “Just Like A Cunt (Philip Best vocal version)” from 1995’s Quality Time. And the closer, the definitive dedication to Kurten, twists and winds itself in all directions. It’s a technique which the likes of “Fairground Muscle Twitcher” from 2007’s Racket and “Daddo” from 1998’s Mummy And Daddy would become a whole other life, give or take. Bennett’s vocals would constantly puncture through the surface with a few unexpected surprises, all the worse to distance itself from what traditional structured music and its’ industry was always been made of decades before it. Note that “On Top” and “The Second Coming” are new versions from 1980’s Birthdeath Experience, and “Her Entry” makes a re-appearance from The United Dairies’ label compilation Hoisting The Black Flag of the same year.

From the outfit’s closing years ending with William Bennett and Philip Best, it’s become a very interesting curiosity heading backwards to the beginning of noise��s structure during the pioneering days of Merzbow and Hijokaidan and what Whitehouse’s life once was before the days of Susan Lawly. Take what you felt from Cut Hands and the current iteration of a married Consumer Electronics and compare it to the Come Organisation days, Bennett’s company starting with Essential Logic and the more obscure Whitehouse players, his projects with Stapleton, as Come, label compilations, even its’ Kata. An album such as Dedicated…, despite the objectionable subject matter, is a fascinating curiosity and an attempt to push the boundaries of decency and what could possibly be done. With Vinyl On Demand’s major re-issue campaign of Whitehouse and Come Organisation, there’s another reason to hear it.

Peter Kurten’s likeness would be found on various early Come Organisation releases as its’ label sleeve, made all the more terrifying with its’ coarse, grainy nature and his violent, heartless, unforgiving lore. A first pressing of 500 copies on fluorescent green vinyl were made, with another 500-800 copies on black vinyl. Dedicated… seen a re-issue on disc in 1996 and in 2017 again with 500 more copies pressed on both black and clear green vinyl (250 each). 100 additional copies came with a poster, tote, and tee-shirt.

[fluidsf]

Project Axis 01 Cut Hands: Afro Noise I Release Year: 2011 Label: Susan Lawly Catalogue number: VFSL101 Reviewed Format: FLAC download (16-bit/44.1kHz) Welcome to the first review on Fluid Sonic Fluctuations that is part of Project Axis in which I review randomly selected underground and independent music releases which can then also be considered as source to base a review series of if they’re enough to my liking. In Project Axis 01 this month we have the debut album by Cut Hands, Afro Noise I, as a digital version since the CD version is sold out by now. Cut Hands is the current musical solo project of UK artist William Bennett who was also part and founded infamous Power Electronics group Whitehouse. Unlike Whitehouse Cut Hands isn’t a project that’s focussed on harsh abrasive electronics mixed with aggressive vocals and disturbing controversial lyrics but is rather an African music influenced project in which Bennett mixes African drums with Noise elements and mysterious dark atmospheres. There’s definitely a tribal theme about the music, perhaps recalling Muslimgauze but the approach of Cut Hands is quite varied as I noticed on this album in particular. Indeed, like the Boomkat product review also mentions, at times the music on Afro Noise I is more a mixture of hypnotic rhythms and atmospheres than straight up Noise. But elements from Whitehouse’ abrasive Noise are still clear enough when listening to this album that in several tracks features some tasty layers of Noise carpets, crunched drums and feedback. Cut Hands discography currently consists of various albums released on labels like Dirter Promotions, Susan Lawly and Blackest Ever Black and various EPs on mostly the same labels. The most recent release however is a rarities compilation titled Rarities I that was self-released on the Cut Hands Bandcamp page as a download last year but there’s of course always possibilities that new music will be released from the project again later on. Now let’s move to the music on Afro Noise I. Afro Noise I was originally released on CD in the version I’m reviewing and is compiled of the separate volumes of Afro Noise I that were originally released on vinyl. This download version is essentially the same as the Afro Noise I album on CD. Afro Noise I starts with Welcome to the Feast of Trumpets. Welcome to the Feast of Trumpets starts of the album with a nicely hypnotic and also playful mixture of droning synths, tribal African percussion, metallic Industrial tones and saturated trumpet samples. Quite a cinematic kind of piece which also has a bit of an 80’s feel to it in the way the samples are performed as well as the textures of the trumpets and synths, definitely a fun interlude like piece as a beginning of the album. Afterwards we have the long track Stabbers Conspiracy, again the piece is quite minimalist in its composition but once again also captivating in its hypnotic quality which in this case is caused by the repetitive but also quite subtly shifting African percussion rhythms Cut Hands has created in this piece. The drums definitely do sound quite triggered, more like sampled drums programmed into patterns in a drum machine but there is still some good dynamics in the piece even if there is also some hefty compression on them, which gives the patterns a bit of a machine gun quality. What is especially enjoyable and good about this piece is that through the repetition and subtle changes in patterns Cut Hands allows you to focus on different drums while listening to the track as it plays, sometimes the bells, sometimes the low pitched drums or the more timbales like resonant drums. It’s very effective pure rhythmic enjoyment but with a mild abrasive punchy edge to it that will definitely appeal to fans of Noise and Industrial too. Afterwards in Rain Washes over Chaff we have a pretty dark ambience made up of brooding synth drones, screechy distorted synth tones and delayed African percussion. The background drones are at some points effected by a granular effect and the rain can be heard in the form of hissy washes of noise within the sonic image. It’s definitely a great atmospheric piece which carries an intriguing sense of danger and captivating sonic progression especially on the part of the hissy noise washes and although the synth ambience is audibly a loop as it starts again in the second half of the track, it doesn’t disturb the intriguing dark ambience of the piece. Next piece Nzambi la Lufua is a stream of modulated tube-like feedback combined by mysterious effected sharp tones. It’s got an eerie “midnight” kind of ambience to it and the feedback is quite sharp and piercing. This is definitely a piece where you can hear Bennett put in some of his Noise edge into the music after the pieces before were quite restrained in terms of noise. A nice short raw piece. Afterwards in Who No Know Go Knows we have another solo percussion piece in which this time we have some African percussion mixed with a Rock styled drum kit. The piece has got some great polyrhythms going on and sounds quite improvised as well, besides the African percussion this piece also sounds more like straight performed recordings of drums. The drum kit includes some amusing uses of cowbell and has a David Fridmann like saturated crunchy compressed sound do it which makes it sound pretty rough especially when Bennett hits kick and cymbal at the same time. Besides the catchy percussion rhythms there is some melodic element that does come into the track late into the second half, as sweeps of violin like distorted tones pan across the stereo image adding a great Industrial element to the punchy percussive structures of the track. Afterwards in ++++ (Four Crosses) we have an atmospheric piece of Ambient music but still with some great metallic ringing to the sharp fuzzy textures of the synth used. The warm melody feels like both a warm morning breeze as well as piercing sharp sounds which makes for a piece that is both mellow and atmospheric and softly intrusive Industrial, very nice. Backlash then, sounds like a quick passed tribal dance made up of a hypnotic African percussion rhythm combined with screechy crunchy metallic synth washes. Quite eerie and dark but also captivating the piece flies by quickly into Shut up and Bleed. Shut up and Bleed is a heavy thunderous piece of music in which the rock drums return in combination with the African percussion but with an even more fiery machine gun style kind of slammed saturated sound to them. The low African drums have a nice warm resonance to them though and raspy metallic synth tones add a nice ritual flavour to the music. When listening to this piece I also felt that it could even be compared to Ryoji Ikeda’s test pattern album in that the blasting irregular polyrhythmic groove recalls that style of patterns (albeit glitches in Ikeda’s case). The high pitched screeches at the beginning and end of the piece add some abrasive Industrial edge to the piece too, enhancing the intensity of the piece in a good way. Afterwards on Munkisi Munkondi we have some proper rumbling muddy Industrial in the form of a siren like distorted metallic rasp over stuttering and rumbling distorted metal percussion which is also affected by various time stretching effects making for some enjoyable mechanical whirs and vibrating tones. In the second half of the piece Cut Hands also enters on distorted vocals as he speaks a text in an African language which sounds very convincing and also adds a great element of unease and tension to the relentlessly screechy and stuttering stream of Industrial noises. A great piece which even though it doesn’t have the African percussion still adds an intriguing African element to the more purely Industrial mixture of abrasive textures. Afterwards on Impassion, Cut Hands takes a step back in abrasion for again a more atmospheric flowing piece made up of warm almost ethereal droning tones and calm uptempo percussion for a bit of a resting moment in between. Very lush and crisp sounding, a great piece of music once again. Afterwards on Ezili Freda Cut Hands brings the Noise in the form of psychedelic sounding glassy pulsating synth sounds that feel sharp and almost crystalline but also covered in plenty of hiss. Hypnotic African percussion adds some nice ritualistic element to the mixture though they’re also almost drowning in the noise making this piece quite a treat for fans of continuous Noise textures. The ending of the piece features some fun quirky distorted synth effects that add a nice playful touch to it. Bia Mintatu follows, a piece of which the main focus is the eventual climax of sharp Noise floating over the ritualistic layered loops of African percussion and distorted brass samples. Continuing in the hypnotic repetitive vibe of Afro Noise I Bennett also goes full in with some fiery Noise manipulations, the main looped layers give a bit of an 80’s sampling style to the piece but with the screechy, resonant, squelchy and in the second half thunderous textures of the Noise, the piece doesn’t sound dated at all. Bia Mintatu is definitely one of the most progressive pieces on Afro Noise I and the lovely resonant drums combined with rich Noise textures make for both an interesting juxtaposition and an exciting explosive journey of a listen. Final track Rain Washes Away Every Thing is a short dark atmospheric droning piece which is quite a bit fuzzier than other percussion-less tracks on Afro Noise. Siren like screeching synth tones hover over a murky heavy mass of Drone, quite a doom like ambience of tension which gets a bit more scary by the granular time-stretch effects that feature in this piece too. It does feel more like an interlude track than a definite final track of the album but it’s definitely a strong piece to close with. This brings us to the conclusion of this review. Afro Noise I is a great start of the Cut Hands project which features a varied selection of African inspired pieces of music crossing Tribal, Ritual, Industrial, Noise and dark Ambient sounds in which we can find William Bennett’s more subtle exploratory side. The Industrial and Noise elements recalling Whitehouse also pop up in less extreme manners which gives the album some nice edge and textural richness which keeps the music fresh as well. This album definitely gave me a good impression of Cut Hands and I found it really enjoyable, the pieces are all on point. This also means I will indeed continue diving into Cut Hands slowly growing discography in a series of reviews still to come. For now though, I can strongly recommend this album to fans of Whitehouse, Dark Ambient, Industrial and Noise music as well as listeners into experimental music looking for a refreshing mix of African and Industrial music. Go check Afro Noise I out. The digital version of this album is available from Boomkat here: https://boomkat.com/products/afro-noise Note that some of the info on the Boomkat page doesn't match this specific release but correct info is at the top of this review and on Discogs.

[goodvibesclub777]

[faktoriaindustrial]

faktoria Podcast#4 Mixed By lEjEwO(faktoria)

Industrial/Experimental/Raw House

https://www.mixcloud.com/faktoria_gutenberg_tpkaichou/faktoria-podcast4-mixed-by-lejewofaktoria/

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1.Rik Rue - 02(Shame File Music)  2014 http://shamefilemusic.bandcamp.com/album/the-pre-glasnost-tapes

2.Front 242 - Body To Body (2trax)(Alfa Matrix)  1982/2016 https://alfamatrix.bandcamp.com/track/body-to-body-2trax

2.5 .Bernard Bonnier - Soldier Boy(Amaryllis)  1984 https://www.discogs.com/ja/Bernard-Bonnier-Casse-t%C3%AAte/release/726964

3.СВИТ БОИ - Bitch Checker(Lowlife Cartel) 2018 https://lowlifecartel.bandcamp.com/track/bitch-checker

4.Adalbert - In Your Face(THE_MAN_BEHIND_THE_SCREEN) 2013 https://themanbehindthescreen.bandcamp.com/track/in-your-face

5.Laura Grabb & Freddy Fresh - Colibre 2018 http://lauragrabb.bandcamp.com/track/colibre

6.B-BALL JOINTS - GLASS(MIND Records) 2019 http://mindrecordsjapan.bandcamp.com/album/glass

7.Succhiamo - succhiamo(Antinote) 2017 http://antinoterecordings.bandcamp.com/album/atn033-succhiamo-succhiamo

8.Schwefelgelb - Das Ärmellose Hemd(Fleisch) 2017 http://schwefelgelb.bandcamp.com/album/den-umgekehrten-atem

9.Smerz - half life 2018 http://smerzforyou.bandcamp.com/track/half-life

10.Omen - U don't know Y(Outer Reaches) 2019 http://outerreaches.bandcamp.com/track/u-dont-know-y

11.Shadowax - I want to be a stewardess(trip recordings) 2018 http://triprecords.bandcamp.com/track/i-want-to-be-a-stewardess

12.MANGIRL - The Window(OmnivoreZ) 2018 https://youtu.be/Ni3lUerysQg

13.Duma - omni(Nyege Nyege Tapes) 2020 http://nyegenyegetapes.bandcamp.com/track/omni

14.Judgitzu - kelele(Nyege Nyege Tapes) 2019 http://nyegenyegetapes.bandcamp.com/track/kelele-2

15.Miss Red - money machine(Pressure) 2018 http://pressurerecords.bandcamp.com/track/money-machine

16.Dave Phillips - herm10/herm23  2003 http://dave-phillips.bandcamp.com/album/the-hermeneutics-of-fear-of-god

17.Wetware - kismet(Dais) 2020 http://wetware-nyc.bandcamp.com/track/kismet

18.Whitehouse - Mouthy Battery Beast(Susan Lawly) 2007 https://www.discogs.com/ja/Whitehouse-Racket/release/984613

19.Merzbow - ab hunter(Fatcat) 1999 http://fatcatrecords.bandcamp.com/track/ab-hunter

20.MANGIRL - Everything Heads For Bad, Worth And Worst 2005 https://www.discogs.com/ja/Mangirl-Act3-Persona-Non-Grata/release/8953316

20.5 .Merzbow - ab hunter(Fatcat) 1999 http://fatcatrecords.bandcamp.com/track/ab-hunter

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Enjoy It!

[ourladyofomega]

[cremationisirreversible]

𝖂𝖍𝖎𝖙𝖊𝖍𝖔𝖚𝖘𝖊 – 𝔇𝔞𝔫𝔠𝔢 𝔗𝔥𝔢 𝔇𝔢𝔰𝔭𝔢𝔯𝔞𝔱𝔢 𝔅𝔯𝔢𝔞𝔱𝔥

Cruise / Susan Lawly / 2001

[tilde44]

Whitehouse - Tokyo Halogen CD Fanatics, 1996 Signed by William Bennett. I forgot to have Peter Sotos also sign it when i had the chance cause i'm an idiot.

[laplaquenoire]

Whitehouse "The Sound Of Being Alive" Vinyle en stock

[omegaplus]

# 2,732

Whitney Houston “Saving All My Love For You” b/w “How Will I Know” European and Spanish 7″ (1985, 1986)

“If you love PROFANATION, If you love AVANTGARDE SEX, If you love  HALOGEN, If you love WHITNEY HOUSTON, If you love OVERVIOLENT DEATH, If you love EXTREME POWER ELECTRONICS, write to Susan Lawly...”

Remember that flyer William Bennett’s noise label put out to promote his Whitehouse project? It’s not the alignment, the type (AvantGarde MdBT), the art of alternating uppercase-lowercase, or the overal style that makes it, it’s what’s asked of you that’s the real meat of it. Exactly what does Whitney Houston have to do with profanity, unorthodox sex, hazardous lights, serial murderers, and noise music? Absolutely nothing. But, think of those contrasting images. Somehow her pleasing likeness stands out in association to at-times unsuitable and extremely uncomfortable subject matter. But Whitehouse was always the one to push methods and questions to get you thinking. It’s possible that Houston was inserted as part of the aesthetic. It’s also possible that Bennett, who liked Britney Spears and freestyle music, also didn’t mind having an affinity for Houston. Or, do you have an affinity for her and pop music in general and want to be challenged by the polar opposite of it? That is all up to you.

Most European and Spanish sleeves feature Whitney smiling with the marquee single and the double-A “How Will I Know”. Some Spanish copies have “Thinking About You” for the AA instead.