SUMAC feature an impressive calibre of members, (Isis, Baptists, Russian Circles), so it’s a real shame I’ve never encountered any of their work previous to this. Keiji Haino I’m even more unfamiliar with, but it seems he has built up a significant body of work and collaborative projects over time. Continue reading
New Gridfailure. Great. More nightmares tonight for me. Why do I even bother listening to this kind of stuff? I mean, what’s to like here? Is it the urbanised terror of an impending soulless apocalypse? Is it the gradually-encroaching realisation that everything you have ever loved and everyone you have ever known will eventually be taken form you? Is it the digitised psychic pain of countless trapped, hopeless lives? No? Then what? I’m really asking. What draws you, and me, to listen to something like Gridfailure. If you’re reading this then you must have at least a passing interest in hearing the aural equivalent of long-buried mental scars burrowing their way to the surface, so why do you subject yourself to it? Why do you, actively, probably passionately, seek out this experience, a horrific, mind-killing experience like Irritum? Go on, tell me. Please. I’m begging you. Because try as I might, I can’t help but really, really like Gridfailure’s work, so I need to know why I’m so irresistibly drawn to it. Maybe this says more about me than the music, but there’s something maddeningly relaxing about having your ears slowly bleed as you endure the 52 minutes of grim soundscapes that occupy the radiation-blasted landscape of this album’s playing time like corrupted mechanical cockroaches. Something about Irritum calls to me in binary, demanding to be understood by my hopelessly out-of-date grey matter, clawing at my subconscious, like a cyberdaemon being birthed behind my eyes. I mean, what the Hell? Why can’t I let go? Why do I rate this stuff so highly? Why do I think that Irritum is actually some of the best material that Gridfailure’s twisted controlling intelligence has conceived and unleashed so far? Maybe I’m just in pain, in deep, internal pain, and Irritum soothes me, by letting me know I’m not the only one suffering. Or maybe I’m just a masochist, torturing myself with prolonged exposure to industrialised fear. Or maybe I’m just deceiving myself. Maybe I’ve known the truth all along. In fact, I know I have, I’ve just been unwilling to admit it to myself, as if admitting something as terrible as this would make it somehow even more real than it already is. The real, true secret is terrible. Of course it is. The truth is, that I
Known for his many contributions to the UK music scene, (Lazarus Blackstar, Medulla Nocte, Murder One, Barrabus, Bedwetter, to name but a few), he also undertakes some lesser known forays into the land of electronic music. Continue reading
The Conqueror Worm is 43 minutes of experimental soundscapes and grim ambience, taking in drone, noise, industrial, and dark atmospherics. Continue reading
This is album is a collaboration between The Body, an experimental sludge band from the US, and Full of Hell, a grindcore band, also from the US. It’s the second time these two malignant entities have teamed up to create an album together.
This is filthy blackened doom, added to with some violent noise and harsh sludge. There are only three tracks on this album, but they total almost 40 minutes, and it’s clear from the very start that the band aren’t messing around. Continue reading
Featuring the inimitable vocals of the singer that graced Khanate with his serrated, searing voice, 2013’s Horrible Chamber was a must-listen record as soon as I knew it was available. It’s been a long four years, but now we finally have the follow up in Cutting Pieces. Continue reading
From the prolific mind behind Barrabus, Medulla Nocte, Lazarus Blackstar, The Sontaran Experiment, and more, this is crazy stuff. A sort of chaotic, avant-garde grind/hardcore blend of violence and insanity, Bedwetter have unleashed seven minutes of frenzied absurdity on the world. Continue reading
Boris are a legenday group from Japan. Over the years they have produced so much music in so many different styles it’s actually quite difficult to keep up with them. Suffice to say, whatever they do, they usually do it very well indeed.
The last time we caught up with Boris it was only a year or so ago, with their split/collaboration with Merzbow. This was experimental noise at its very best, a style I’m not a huge fan of, but done so well that I couldn’t help but take to it. Continue reading
Full of Hell play grindcore that’s both primitive and innovative. Combing death metal, powerviolence, punk, crust, harsh electronics, and noise into a gruesomely violent and nasty grindcore package, Full of Hell are Continue reading