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omegaremix · 2 months ago

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I found a great idea from one of my all-time favorite bands. Ten questions and answers about my live concert experiences. I had posted them on my sister site @ourladyofomega, but this is the remix. I took the time to explain each one in full.

Dollar values double with each one.

First concert: Dream Theater + Big Wreck @ Vanderbilt Planetarium. A former “friend” became the lucky winner of a radio-station giveaway. The prize? 16 free tickets to this show. We ended up with balcony seats and my “friend” invited our former co-worker from the department store we used to work at.

Last concert: Cold Waves XI (Lana Del Rabies + Ash Code + Sierra + JK Flesh + Orphx + Front Line Assembly w. Skold) @ Le Poisson Rouge. Part of the Triple Crown Victory Weekend that consisted of meeting my Italian-Irish family at a cousin’s engagement party (Friday), and getting an amazing cakeday gift box from a Welsh girl in Detroit (Saturday). This was a (Sunday) show that I waited at the last-minute to purchase tickets and wound up going. Who in the fuck’s idea was it to not have a NYC Cold Waves this year?

Worst concert: none. I make sure all shows I go to are ones to remember. But, if you ask me about the worst band I saw, then Hemlock takes that title. They opened with Meshuggah and Ministry (headliners). Everyone in Irving Plaza just stood there silent seeing this outdated nu-metal band trying to get it going. They were still unknowns after being fifteen years of band, and looks like no one remembers them after that. Good.

Loudest concert: Dream Theater + Big Wreck. Did I say this was my first-ever concert? I had no idea how loud it was going to be. Without question, this one was deafening. I’m not sugarcoating it. I had to cover my ears the entire time up in the balcony seats because all I heard was this shrieking wall of white noise. I remember almost nothing of that night other than the fact that I was there.

Best concert: Hospital Productions' 20th (Godflesh + Prurient + Orphx + etc.) @ Warsaw. This was at a time when I started taking the NYC scene seriously. I just got out of nine months of stay-at-home post-surgery recovery, and I had a new clarity coming out of it. Hospital Productions 20th marked an important point in my life: it made me decide that this was the place and people I wanted to be associated with. I also got to see some amazing artists: Dominick Fernow / Prurient, Orphx, Dedekind Cut, Nothing, and Godflesh. Three of those artists I’ve already seen twice in one point in life and another.

Seen the most: Uniform (3) @ Output, Saint Vitus, and Knockout Center. There was a bill with Uniform opening, then Pharmakon, Prurient, Aaron Dilloway with Genesis P. Orridge, and Merzbow. The line to get in Output was pretty long that I missed half of Uniform’s set and didn’t know who they were until I got more into them. I finally redeemed myself to see them in their entirety at Saint Vitus with a lineup of Michael Berdan, Ben Greenberg, touring drummer Michael Blume, and bassist Jenna Rose of Anatomy. Redemption fulfilled. The third? At Sacred Bones 15th. They were an added bonus right after Jim Jarmusch / Squrl, so why not?

Most surprising: Sacred Bones 15th @ Knockout Center. I have dreams where I end up in so many weird places that could have existed but didn’t. They are no different from the places I experienced. Downstairs record stores, schools, quiet snowy roads, city streets and highways. It’s an alternate reality that’s slightly shifted within itself. I entered Queens’ Knockout Center for Sacred Bones’ 15th where Constant Smiles started the evening so quietly. I was blown away by the first moments of it. People were standing and sitting on the floor in silence during the set. The sinking sun’s rays blasted through the venue’s windows giving light to the current space, as if this show started in the wee hours of the day. This was surreal! It wasn’t anything like I ever experienced before. But that’s not all. What other show I went to had a lecture hall on the line-up ? LD Deutsch’s essay about time, which had everyone sit in classroom setting. I said to myself: “these weird things are happening that normally aren’t. Am I dreaming, or am I in a dream?!” I look back and it was an amazing experience. Nothing like it ever since.

Happy I got to see: Skinny Puppy + Lead Into Gold @ Irving Plaza. No other show I went to had the biggest one-day payoff. You will all kill me when I say this, but I once told myself that it was no big deal if I never got to see Skinny Puppy. WRONG. They announced a farewell tour, and I asked myself how big of a deal that was. I quickly reconsidered. I got my tickets the minute they went up for sale. So what did $150.00 buy me? An unforgettable experience; that’s what. Meeting up with five Tumblr mutuals to see Lead Into Gold and one of Skinny Puppy’s final legendary shows. We had pizza nights, walks around Manhattan, car rides to club night for an amazing after-party, and just shilling around absorbing an experience that’s very rare to have. And, as a special bonus, meeting Ministry's Paul Barker and buying merch- from him. I still can’t believe it. It’s very rare to have Perfect 10-days in my life. This was indeed one of them.

Wish I could have seen: none. I have seen all my desired bands on my list. Nine Inch Nails, Ministry, Killing Joke, Front 242, Skinny Puppy, and Front Line Assembly. That leaves KMFDM the only one left on my bucket list. I’ve seen other artists I wanted to with little or no effort. Those were Indecision, Unsane, Bauhaus, Linkin Park, Cold Cave, Snoop Dogg, Boy Harsher, Atari Teenage Riot, Pharmakon, Prurient, Merzbow, Black Marble, Nas…I could go further if you want me to. I have all day.

Next concert: I’m still on the fence to go see KEN Mode + Hide @ TV Eye and / or Balvanera @ Synthicide. I may not go, because I decided not to do anything by myself again after seeing both of last year’s shows with mutuals. But, we shall see. Wanna' play? Be my guest.

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possible-streetwear · 3 months ago

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#godflesh #cover art #industrial #industrial music #indus #metal indus #vintage ads #ads #affiche #poster art #poster design #poster #music posters #posters music #graphic design #graphic art #posters

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schismusic · 10 months ago

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The Discography Principle - Prologue, or: "All My Homies Hate Dividing by Zero"

The discography principle may be defined as an objective way to determine whether or not you're worthy of calling a band or artist "your favorite" or "one of your favorites". A possible enunciation of it goes as follows:

"Let u ≝ some asshole, B ≝ {b|b is a band}, n ≝ #({x|x is a record by b}); let p = #({y|y is a record by b in u's possession}) = p1 + p2 wherein p1 ≝ number of physical records by b you own in any format and p2 ≝ number of records by b you have downloaded. If p ≥ n ∨ p2 = n (for n → +∞), then ∃b∈B such that b is one of u's favorite bands."

When u = me, this subset of B (which we might call Bf) is comprised of six bands, off the top of my head: Autechre, Godflesh, Shellac, Kraftwerk, Fugazi and Coil, listed in no particular order.

To download a record, especially in high-quality formats, is no small thing because - in an era of 24/7 online access to all sorts of music, provided you know where to look for it - it takes commitment. Regardless of whether or not you actually get to listen to a particular record, it's safe to assume that you would never work your way through Soulseek or Sophie's Floorboard or Systems of Romance or what have you to get all the others if you haven't already listened to (and loved) enough of their stuff to know that yes, it is worth the effort and the gigabytes (and the money, if you know about Bandcamp and you're so inclined. I am so inclined, most of the time; unfortunately, my finances usually don't agree with me). To buy a record is relatively easy: Soulseek is a bitch to set up, MediaFire and MEGA can backfire (no pun intended) horribly and leave you hanging when the link is inevitably copyright-struck, or give you a digital STD in particularly unfortunate cases. Anyway, downloading a whole discography potentially gives you a veritable goldmine of stuff that you are, at this point, left to your own devices to explore at your earliest convenience, whatever that may be, and provided you walk around with you HDD constantly on you - there's no way in hell you're ever fitting that stuff on your phone, I don't believe you, fuck you. Six bands are more than enough to smoke your memory space completely, trust me.

Anyway, the more perceptive among you might have noticed (as usual in many of my posts: like Twin Peaks does with Laura Palmer - and, later, Dale Cooper - I thrive in dancing around the space where something is evidently missing, and gesture very obviously to what should be there but isn't) a pretty big elephant in the room which is time to address.

If we define Bf(u) ≝ {Autechre; Coil; Fugazi; Godflesh; Kraftwerk; Shellac}, some of you OGs might remember there's at least one obvious element number zero that's missing here. Let's talk about it right away.

Element #0: SWANS

Like every annoying music rat bastard on the Internet, my ever-growing and (once) wide choice of band shirts includes a Swans t-shirt. Specifically, I have a Filth album cover t-shirt, because it stands as one of the most accurate and starkly beautiful album covers of all time. A discarded X-ray photograph of some patient's admittedly very nicely-kept teeth, kept bare by a dentist's mechanical contraption has become the official insignia for everything grimy, sludgy, fucked up, antihuman, urban-in-the-uncomfortable-way in Swans' music. Early Swans truly had a magic that is hard to replicate to this day (to this day I believe only one band might actually have made it if to a smaller extent, and they're featured later on this list precisely because they chose to leave that behind at one point) and it resides in the absolute absence of magic that transpires from their music: it's so stark, bare-boned and brutal in a profoundly dehumanizing way that it really leaves nothing left of who made it, or so it would seem.

Unfortunately, Swans being horrifying testaments to humanity's curse of resilience lasted relatively little, specifically about ten years if we wanna stretch it all the way to Soundtracks for the Blind - but I would argue that stuff had already given way by the time The Great Annihilator dropped in 1995. As a disclaimer, The Great Annihilator and Swans Are Dead are actually great and Soundtracks for the Blind is an extremely compelling snapshot of things that Swans were and/or could have been, just so we're all on the same page. But I guess most will agree when I say that while The Seer and To Be Kind are pretty good in their own, entirely different way, The Glowing Man began showing signs of wear and tear in the formula that they seem to have been unable to leave behind even when leaving meaning dropped, to a point where I listened to like five minutes of The Beggar before giving up, possibly forever, on the idea of modern Swans being somehow relevant. It's mostly a case of common over-exposure, plain and simple. I had a friend who simply could never listen to the Doors because he'd basically worn the records out by the time he was 16 and even hearing one note of any song of theirs sent him into a fucked up blathering rage.

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Ironically enough what got Swans fucked was this tension to imbue themselves with psychedelic techniques and therefore moving into "becoming the new Doors" or - like a Tumblr post I read back in 2016 said - turning into "a batshit insane King Crimson". Not even discussing how frankly debatable this description is, it does turn out to be pretty useful, because it very directly leads us to:

Element #0, again: KING CRIMSON (hear me out folks, this is not what it looks like)

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First things first: Robert Fripp is my favorite guitarist of all time and his and Adrian Belew's guitar styles on Discipline remain among the most influential things I have ever heard to me. I only have one guitarist in my current band (and that would be me) but I have never stopped attempting to replicate the dizzying guitar figures that Fripp and Belew intertwine, counterphase, overlap. One could even argue that the lack of intertwining, counterphasing and overlapping guitar parts is in itself a distinctive feature of my guitar style, in that I force myself into a dichotomy: giving the track body, oomph, presence versus making the part spidery, nimble, unsafe to walk over.

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Anyway, put it simply, too many people like King Crimson here, and worst of all too many people like them for the right reasons. You don't have a Oneohtrix Point Never situation wherein a shitton of people think Age of and Magic Oneohtrix Point Never are "masterpieces" in lieu of "perfectly serviceable electronic art-pop records that scratch the mid-period Arca itch without you having to bust out Arca's 2017 self-titled from the recesses of your memory (both objectivized into digital information and embodied within your brain's storage)". As a side note, Arca's 2017 album may stand as her best full-length altogether, on par with Xen, but since y'all are too busy thinking the KiCK series did anything new or interesting with it, that is clearly a conversation we are not ready for.

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The right reasons to like King Crimson are, to be fair, very visible: they are in just about all of their incarnations a great band with lineups consistently featuring great musical performers, stylish wordsmiths and adequate-to-excellent singers/songwriters who produce an output exclusively comprised of records at the very least pleasantly (?) listenable and at the very best life-changing and/or history-altering. Unfortunately that exact problem makes it very easy to be overexposed to their stuff: see the borderline cult that has emerged around In the Court of the Crimson King in people who, sometimes, aren't even that interested in music per se and just sort of stumbled across it via JoJo's Bizarre Adventure. Both JoJo's and In the Court I love, rationally, but it has become very hard for me to listen to that part of their discography that's already somewhat sedimented in the public consciousness because you simply hear nothing new, nothing different come out in the discussion of it - if there even is discussion left to do on the matter.

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Anyway, both Swans and King Crimson suffer from the same issue to me, i.e. as I said to Dog the other night "I did not gatekeep them enough". Quite the opposite, actually: I spread them around like wildfire and linked the shit out of (what little, at the time, could be found of) their music to any and everyone and it feels absolutely wrong in retrospect. It's obvious that the high school kid who exclusively likes rock music from the '70s and believes Pink Floyd is the pinnacle of recorded history would vibe with a record like To Be Kind which essentially does nothing but weaponise those referents. And both bands' juiciest bits get ignored in favor of a couple moments which may be good or even great, but by now have become essentially sterile. "Dai diamanti non nasce niente…". Most of the bands I actually will discuss over the other parts of this series, on the other hand, have something in common: basically no one I've ever shown them too vibe with them the same way that I do, they don't feel their music deep within their heart of hearts, sometimes they don't even care to give it an actual fair shot.

A number of them also have another thing in common: they didn't immediately click, but in a way they did. When I first listened to (just to name names) Oversteps, or 13 Songs, I was like "this could be awesome" and yet never quite got to the end of the record right away. It was always closer to "eh, I'll check this out later when I'm more attentive" and yet I didn't until I very consciously brought myself to do it, smacking my head against the side of those records or maybe picking a different record from that same artist until all of a sudden I finally got it. Conscious choice makes these bands feel more rewarding. As much as I love, I don't know, the Mars Volta or Aphex Twin, I never felt that I was making an intellectual or even just conscious attempt at getting into them - and discography size doesn't count, it's not a factor as we've already previously discussed, unless it is (i.e. a band has three records out, like for instance Nirvana, whom I really like, too) - whereas it was always more of a really natural thing, as natural as putting my headphones on and vibing. Simple as.

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Not all music should be a slog to get through, but by the same logic not all music should be mindless or mindlessly listened to and appreciated. And I tend to favor music that rewards multiple listens, which by nature are never gonna be always as attentive or active as they would be ideally, but it still gives you something to think of, and it's not just background noise even when you want it to be (see Coil's drone records). I will try to detail my relationship with these six bands that I have isolated, trying to stay on topic and not swerve too hard into autobiography, over the course of I suppose an entry each (worst that could happen, two bands might be crushed into the same post like what happened today, if I feel like it makes sense to do so from the standpoint of themes and length).

Re-reading the post after being done with it, I just realized both numbers 0 have one thing in common: they are, or could be seen as, almost an extended solo project of their respective de facto leaders, despite what the two of them have to say. The same could potentially be said of a couple of the bands I've mentioned up above, but I will try to prove that that is very much not the case if we don't impose a very capitalistic/brand-oriented logic that I think is fundamentally at odds with at least three of those six names. I could careen into an autobiographical story specifically about this, but I believe it'd be best kept for one of these other articles. Until then, I will be writing these when I get around to it, no pressure, no big deal.

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The idea is as follows: one piece per element in the Bf set, no regular times or days for it. I do it when I want/can, or when something good comes out of me. Deal?

#schismusic #musica #music #fave #bands #swans band #king crimson band #Bandcamp #Youtube #the discography principle #schism writing #long form content

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music-addiction-disorder · 2 years ago

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jaxers

This is some damn great power pop with old school influences on its sleeve (Byrds, 70s power pop, Dwight Twilley) but contemporary enough to identify itself as non-wholly-retro. Methinks it's also influenced by 'emo' and what passes nowadays for "punk" but (mostly) without the almost insulting (to this old school punker) saccharine teen stupidity of both genres. Good job, junior. I dig it. If you cut it on vinyl, I'm there.

I Know Nothing At All 02:33 lyrics

2. Every Little Thing 02:17 lyrics

3. ESTAO 04:05 lyrics

4. Tucked Inside My Head 02:57 lyrics

5. Submarine 01:47 lyrics

6. Peel 02:12 lyrics

7. Mental Math 01:25 lyrics

8. Always In Between 02:12 lyrics

One amp. One mic. One person. Countless hooks. That’s the Dazy formula. Since first releasing the single Bright Lights b/w Accelerate in August 2020, Dazy mastermind James Goodson has been writing, recording, and releasing new music like a man on the hunt to find the best pop hook, and he won’t stop until he’s put all of them into his songs. With the release of MAXIMUMBLASTSUPERLOUD: The First 24 Songs, Convulse Records collects all of the singles and EPs from Dazy’s first year onto one tape. And because Goodson can’t stop making things, there’s five brand-new songs up top to prove there’s plenty more in the tank.

Showcasing a unique set of influences, Dazy’s sound marries thumping drum machine beats, blasts of feeding back guitar, and sugar-sweet hooks into something that sounds like Godflesh covering Oasis—or maybe the other way around. With lean songwriting that recalls Teenage Fanclub but a home-recorded production style better suited for Big Black, Goodson builds a constant churn of abrasive, consuming noise and then makes it catchier than anyone else would ever dare to.

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Out Of Body - Lame-O Records (2022)

OTHERBODY ‎- Lame-O Records (2023)

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MAXIMUMBLASTSUPERLOUD ‎- Convulse Records (2021)

Bandcamp, Twitter, instagram.com, tiktok.com, linktr.ee

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Dazy & Militarie Gun "Pressure Cooler"

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dustedmagazine · 1 year ago

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Dust Volume Nine, Number 10 (Part Two)

Ogala Opot and his red-hot nyatiti

Well, all right then, Tumblr has decided we only get 10 audio clips per post, and audio is kind of what we do, so...two posts! (First one here.) Enjoy.

Earth — Earth 2.23 Special Lower Frequency Mix (Sub Pop)

Earth 2.23 Special Lower Frequency Mix is a collection of five remixes that accompanies Sub Pop’s anniversary reissue of Earth’s magisterial 1993 debut Earth 2: Special Low Frequency Version. The personnel on Earth 2.23 includes Justin K Broaderick (Godflesh, Jesu), who you might have guessed would have an affinity for the band’s work, as well as two contributions from a previous collaborator The Bug, aka Kevin Richard Martin, but the collection also shows the reach the band’s sound has into both less and differently heavy spaces with, respectively, an appearance each by Built to Spill’s Brett Nelson and the grime artist Flowdan. While Broaderick’s melodic, crunching take on “Teeth of Lions Rule the Divine” is the highlight here, Netson’s murkier, more strictly droning version of the same song and Martin’s propulsive, Flowdan-featuring abbreviation of “Seven Angels” —here simply “Angels” — demonstrate just how far Earth’s musical lineage branches.

Alex Johnson

Angelika Niescier / Tomeka Reid / Savannah Harris — Beyond Dragons (Intakt)

With its boldly exposed structures, rough textures, and load-bearing elements, alto saxophonist Angelika Niescier’s music is like a skyscraper under construction. Nothing is covered up, and you can tell exactly how it fits together. In settings like this, there’s no hiding, so the choice of musicians is key. Niescier has chosen well. Cellist Tomeka Reid has a simpatico orientation towards forms that are complex, yet economical, and her strong classical foundation brings out the music’s chamber dynamics. Savannah Harris treats drumming as a martial art, which is to say that her playing is strategic, disciplined, and quite capable of laying you out.

Bill Meyer

Parish / Potter — On And Off (Null Zøne)

Shane Parish (Ahleuchatistas, etc.) and Michael Potter (The Electric Nature, etc.) are hardly an obvious duo. Parish is a restless explorer with fearsome chops; Potter spreads heavy sounds around like a mason distributing bricks and mortar. But they’re both guitarists, improvisers and Athens GA residents, so why not take a joint dive into the deep and see what comes up? In the case of this tape, a plausible melding of aesthetics that are allowed to churn into oneness, one track per side. While one is electric and the other acoustic, that’s not really what registers; rather, it’s the way the two musicians make stillness out of motion, stirring spidery patterns and slow magma into a rotating swirl of buzz and stutter. Turns out there’s still something in that water down there.

Bill Meyer

Soft Punch — Above Water (Bad Friend)

Soft Punch is the solo project of DC’s Rye Thomas, a one-time touring member of Pash and Tereu Tereu, laid low by illness and now unable to travel. That all sounds like a bummer, and it probably is, but the album, Above Water, is an unexpected joy, beginning in the Akron Family-esque choral surge “Let’s Begin” and going all the way through to the Maps-like wistful, but crescendoing, electronics of “Now’s the Time.” Pay special attention to “My Aim Is True,” whose hubris in name-checking Elvis Costello’s classic album pays off in perfect, tremulous lyricism. Thomas sings from inside a magic, glittering cavern, an unreal place where the world’s hurts can be contemplated without damage, and both the hurt and the solace are beautiful. “Here Comes the Chorus” is spikier and full of rhythmic spine, redolent of Wolf Parade at its indie-ruling peak, while “Still Songs” flutters baroquely, elaborately against swathes of strings, like Jeremy Enigk’s Return of the Frog Queen. These are all pretty heavy references but let them stand. This is the good stuff.

Jennifer Kelly

Various Artists — Thum Nyatiti: Recordings from Western Kenya, 1930-1970 (Dagoretti)

This new compilation gathers 16 archival cuts that feature masters of the nyatiti, an eight-string lyre found in Western Kenya. The instrument has a distinctive sharp, percussive tone to it, sounding somewhere between a marimba and a banjo as it pursues hypnotic, repetitive patterns of quick-tempo’d picking. It is played with minimal accompaniment, usually a droning, blues-adjacent vocal line, sometimes percussion, but the main element is the picking. Dr. Pete Larson, who runs Dagoretti Records, sometimes plays the nyatiti himself; his curator on this project, Michael Robertson, has selected these historic recordings with considerable knowledge and care. Two cuts come from Ogola Opot, widely considered the father of the style. He cuts through decades of static to deliver “Onyango Wasera,” a track that is somehow both sprightly and spiritual, then returns with the more subdued “Ginaa,” rhythmic but with a melancholy air. Other well-known players—Captain Oluoch, Opondo Mugoye and Okelo Mugubit—are represented as well. Captain Oluoch’s “Aduor” is rough and impassioned, the vocal more of a shout than a croon, and very powerful. As you might expect, nyatiti playing is primarily a live art, common at weddings, funerals and other celebrations about the Luo people. These recordings were made by colonizers, British and Indian entrepreneur, seeking to document a disappearing art. This collection continues their work, extending these spare and haunting songs to a still wider audience.

Jennifer Kelly

Scott Yoder — Wither on Hollywood & Vine (Cruisin’)

Glam rock isn’t as much of a thing as it used to be, but Scott Yoder is bucking the trend, decked out in eyeliner, capes and leather. His latest album Wither on Hollywood & Vine hazards big, tone-bending guitar chords, reeling melodies and a taste for the dramatic. “Sugar on Your Lips,” with its keening, 1960s-style organ surge, its slow climaxing chorus and its florid vocal style recalls all the young dudes and their low-sparking, high heeled heyday. “Silver Screen Starlet” dips into the blues, a bent brooding boogie lurching into view, while “Gold in the Hills,” maybe the disc’s best, blows out an acoustic country rock song into day-glo colors. Restraint is overrated. Bring on the excess.

Jennifer Kelly

#dusted magazine #dust #scott yoder #soft punch #dagoretti records #shane parish #michael potter #jennifer kelly #bill meyer #Angelika Niescier #tomeka reid #savannah harris #Bandcamp #earth #alex johnson

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