#sound collage

[postpunkindustrial]

Negativland - Escape From Noise LP

While some of the records I have posted on this blog are inexplicably out of print, others like this one are very explicably out of print.

Negativland and SST had a spat after their US record brought the wrath of both Bono and Casey Kasem upon their heads orphaning a bunch of fasntatic bit of noisy, experimental plunderphonics

If you like having your own copies of things download it from my Google Drive Here

[haveyoulistenedtothisalbum-poll]

Tracklist:

Opening Ceremony • Porpoise Song (Theme From "Head") • Ditty Diego - War Chant • Circle Sky • Supplicio • Can You Dig It • Gravy • Superstitious • As We Go Along • Dandruff? • Daddy's Song • Poll • Long Title: Do I Have To Do This All Over Again • Swami - Plus Strings

Spotify ♪ YouTube

[haveyouheardthisband]

[pretentious-art-love]

Album Reviews #47 - Disco Volante by Mr. Bungle

Mr. Bungle were always inspired by David Lynch’s style of combining dream-like surrealism with the uncomfortable and the nasty. They had included some samples from Blue Velvet in their self-titled record, and now, they have gone ahead to create a full album of Lynch-inspired oneiric reverie. Disco Volante's music evolves with its own logic; the songs shift from moments of intense and scary other-worldly emotion to completely dissipate into miscellaneous sound collages, and then evolve into more miniature samples of wrecked music.

As with any David Lynch film, the atmosphere in the album can be as thick as it is ordinary. While the music seems dissipated and random in most senses, it is only so in its structure. I have always said that Disco Volante shares many sound similarities with Jeux des Dames Cruelles, an album by the band's first album producer, John Zorn. However, while the music of Jeux des Dames lets itself spill like the paint of a splashed canvas, the music of Disco Volante turns into something at the same time less and more tangible—not the world of smeared paintings, but the world of dreams. There are so many miniatures of music composed in a wonderful tapestry of influences, ranging from Nuevo Tango and Psychedelic Pop to Klezmer, Raga Rock, and Acid Techno. All these miniatures of sounds can be as catchy as they are cinematic. While these moments can be memorable on their own, Disco Volante dissolves instantly into a cacophony of banal musique concrète sounds and field recordings or changes its train of thought to a completely different genre or composition without losing its character. For example, "Phlegmatics" starts with a Thrash Metal section, only to suddenly stop and slowly build up where both guitar and voice seem to be independent of the rest of the song in a beseeching lament while the drums are still on a chase. This way, "Phlegmatics" blends the sensation of yearning and anguish, which you can experience in nightmares or delusions caused by sickness. "The Bends" is composed mostly of an atmospheric piece exuding different ominous melodies per minute around a sci-fi flair. "Violenza Domestica" has momentary bursts of violence around cheap sentimentalism, slowly deteriorating into a creepily possessive song. This is something that many Bungle-inspired bands were unable to understand: Bungle’s eclecticism is more about genre-bending rather than song-swapping. The songs do not change one after the other in the same track, but they can explore wildly different sounds around the same idea while staying cohesive as a single, albeit broken, piece. Even when the jar is broken, it is assembled with the same parts it is composed of, rather than pieces from different jars, and that’s where its genius lies.

The emotions in the record can be as terrifying and revolting as they can be in Lynch’s movies (as, for example, in Blue Velvet itself, with its plot involving kidnappings, sexual slavery, and abuse), but there are brushstrokes of an added emotional palette in this record. It is Mike Patton’s whimsy and the band's knack for jest that give life unique of its own rather than one of a simply Lynch-inspired record. The buffoonery that embodies the record works to make it even more nefarious and depraved. With its banter, Disco Volante transforms what could be a world of pure horror and shock into a complete tapestry of depravity, making it one of the most horrifying albums you could ever hear. It is true that as it stands, this might as well become the less popular of the three mainline Mr. Bungle records, with its average dropping further every year and its overall track ratings barely managing to get a few bolded songs to date, which curiously enough seem to favor the tracks that maintain a proper rhythm instead of the more freeform ones. Still, though, I find it an absolutely incredible record, probably more so than the other two records, considering its attention to detail in creating a cohesive soundscape—a palpable, almost tangible experience in the freeform song, which is something all other Bungle bands have not either managed or focused to create. If you find it way too difficult to properly grasp, my advice would be to start with the tracks that are more freeform and climb your way up, leaving the tracks with more apparent rhythm at the end, to not let your brain get used to their momentum before it is wise. The record as a thematic piece is summarily cohesive, but if the order of its movements disconcerts you more than what it helps you, you can still take advantage that all these are different songs and that they are pieces you can independently digest as you see fit.

As it stands today, Disco Volante is one of those records that might be too difficult for most people, but its experience is undeniably unique and amusing. It's edgy, funny, hilarious, and incredibly vivid and striking. If you are interested in art that accurately represents the world of dreams, I absolutely recommend it to you, not just because of its oneiric quality, but also because it is completely evil and hysterical.

My version thing to do is putting all The Bends sections between each song, this connects the album with a thematically spooky ambience. Moving Nothing after After School Special and putting The Bends ending, Re-Entry, allows the album to end in a gust of noise and loop back to Everyone I Went To High School With Is Dead.

Everyone I Went To High School With Is Dead

Man Overboard

Chemical Marriage

The Drowning Flute

Carry Stress In The Jaw

The Secret Song

Aqua Swing

Desert Search For Techno Allah

Follow The Bubbles

Violenza Domestica

Duet For Guitar And Oxygen Tank

After School Special

Nothing

Phlegmatics

Nerve Damage

Ma Meeshka Mow Skwoz

Screaming Bends

Backstrokin’

Panic In Blue

Platypus

Love In The Event Horizon

Merry Go Bye Bye

Re-entry

8/10

[iamlisteningto]

Dedekind Cut + Yves Tumor = Trump$America’s TA1 (bcr riff mixtape)

[cannibal-nightmares]

re: analyzing Clarence Clarity's new album, "VANISHING ACT II: ULTIMATE REALITY"

...I realized what's so different about it. There is no wacky high-end. And by that, I mean there are no windchimes. All throughout "NO NOW" and "THINK: PEACE" there's a stuuuupppiiidd (/endearing) amount of windchimes, and where there aren't, the cymbals are brightly mixed, it's what makes "VANISHING ACT I: NO NOUNS" feel so different, too. In hindsight, it's interesting all what Clarity has done with editing and manipulating windchimes throughout his music, but once you hear them you can't not focus on them heh

[balleralbumcovers]

EPIC ALBUM COVER #63

god speed you black emperor! - all lights fucked on the hairy amp drooling

Released: 1994 (self-released)

Experimental rock, noise rock

[zwartmagazine]

The release of z\w\a\r\t nr. 27 will coincide with the ‘C.R.U.D.E. exhibition’. This is a new and extra program of the 3rd CRUDE Transmissions festival at Resisistor in Leiden, The Netherlands. Organized by Charnel Ground.

Askratx, Jonathan Bergen, Dean Lloyd Robinson and Max Kuiper will be exhibiting their visual works on both the 25th and 26th of may 2024 and will be performing (alternative) sets at the gallery on the 26th. The C.R.U.D.E. exhibition is at the Troef gallery, Middelstegracht 87, across the street from Resistor. Open 14:00 - 18:00.

CRUDE Transmissions Line up saturday May 25th: Psychward (AU) Urall (BE) Fleshlicker (UK) Kastrata (PT) Svartvit (NL) Jonathan Bergen (DE) Viimeinen (UK) Awenydd (NL) Knifedoutofexistence (UK) Snake Oil Merchants (BE/US/NL) Birthed (NL) Dystopian Control (PL) Sumnja (DE) Line up sunday May 26th at Troef: Les Horribles Travailleurs (NL) Kastrata (PT) Jonathan Bergen (DE) Knifedoutofexistence (UK) Hesker (NL)

A lot of information on the festival can be found on the profile of the organizer, Charnel Ground: https://www.instagram.com/charnelground/

[disease]

THE BODY TRAIL ONEOHTRIX POINT NEVER [AGAIN, SEPT 2023]

[postpunkindustrial]

Negativland – Fair Use: The Story Of The Letter U And The Numeral 2 Book and CD

From a description from the Bleak Bliss blog

“In 1991, Negativland’s infamous U2 single was sued out of existence for trademark infringement, fraud, and copyright infringement for poking fun at the Irish mega-group’s anthem “I Still Haven’t Found What I’m Looking For.” In 1992, Negativland’s magazine-plus-CD "The Letter U and the Numeral 2" was sued out of existence for trying to tell the story of the first lawsuit. In 1995 Negativland released "Fair Use: The Story of the Letter U and the Numeral 2," a  270-page book-with-CD to tell the story of both lawsuits and the fight for the right to make new art out of corporately owned culture.

The overwhelming (and very funny) "Fair Use" takes you deep inside Negativland’s legal, ethical, and artistic odyssey in an unusual examination of the ironic absurdities that ensue when corporate commerce, contemporary art and pre-electronic law collide over one 13-minute recording (and to hear the actual single itself, go here: I Still Haven’t Found What I’m Looking For - 1991 A Capella Mix (7:15) I Still Haven’t Found What I’m Looking For - Special Edit Radio Mix (5:46) (Links inactive see below)

The book presents the progression of documents, events and results chronologically, contains the suppressed magazine in its entirety, and goes on to add much more that has happened since, to illuminate this modern saga of criminal music. Also included is a (at the time) definitive appendix of legal and artistic references on the fair use issue, including important court decisions, and a foreword written by the son of the American U-2 spy plane pilot shot down over the Soviet Union in 1960.

Packaged inside the book is a full-length CD containing a new 45-minute collage piece by Negativland, “Dead Dog Records”- which is both about artistic appropriation and an extensive example of it- plus a 26-minute “review” of the U.S. Copyright Act by Crosley Bendix, Director of Stylistic Premonitions for the Universal Media Netweb.”

For the book Fair Use doscumenting the legal battle between SST and Negativland you can get it from my Google Drive HERE

For rhe accompanying CD you can get that from my Google Drive HERE

And here is the thing that started it all you can get it Here

[haveyoulistenedtothisalbum-poll]

Tracklist:

Gelid Ascent • Spiteful Intervention • Dour Percentage (free) • We Will Commit Wolf Murder • Malefic Dowery • Ye, Renew the Plaintiff • Wintered Debts (free) • Exorcismic Breeding Knife • Authentic Pyrrhic Remission

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[haveyouheardthisband]

[bluetapes]

blue forty-two: Gultskra Artikler

Sometimes deeply unnerving, other times playfully surreal, the sound collages of Alexey Devyanin aka Gultskra Artikler on blue-forty-two are the stuff of dreams so deep they're abyssal. The kind you get lost in and fear you might never escape from.

Escape is an overrated concept, anyway. Surrender is deeper.

There are words in here, but they're not lyrics - they're pleading statements delivered in a robotic, unheimlich deadpan. 

There are notes down there, but they're not melodies - bleeping, repeating phrases that belong to Alzheimer's-afflicted robots.

There is no other 'music' like this. (This is a good thing.)

[iamlisteningto]

Croatian Amor’s The World