Posts Tagged ‘limited edition cassette’

Cruel Nature Records – 24th September 2021

Christopher Nosnibor

The lights that burn brightest tend to be the ones that burn briefest, and it’s something of a conflicting pull on the gut that surrounds reflections on this. The idea that acts who quit and artists who died leaving a small but impactful legacy are somehow unfulfilled and that we’ve been deprived of whatever they may have done is counterbalanced by the contention that perhaps curtailing a career at its peak or even still in its ascendency is the best way, and fans will be forever divided on this topic.

What if Ian Curtis had lived, and Joy Division had mutated into New Order? They would have been just another band whose longevity overshadowed that early career, another Manic Street Preachers. Simple Minds should have called it a day in about ’84, and Kasabian’s early promise was spent after just one album.

ODF never lasted long enough to really break out of the locality of Gateshead. As the liner notes to this retrospective observe, they ‘blasted onto the North East’s harshcore scene in 1998 and were gone in a flash three years later; their 2001 split album with Newcastle’s Jazzfinger the only remaining recorded output’. Everything leans toward the attainment of immortal cult status here, and the changes are infinitely more people have heard of the band, or otherwise heard them posthumously than ever did during that brief but explosive career.

This limited cassette, Harshcore 98-00, documents two live shows, both recorded in Gatehead, with the first seven tracks recorded June 2000 at the Floating Cup, Gateshead, and tracks 8-14 recorded June 1998 at the Soundroom, Route 26 Centre, Gateshead.

It’s pretty fucking brutal. Most of the songs in both sets are around the two-minute mark, and it’s as abrasive as hell. The vocals! Rob Woodcock (Marzuraan; Tide Of Iron; Fret!; Platemaker et al) sounds like a zombie from The Walking Dead on amphetamines, snarling and rasping with the most ravaged-sounding voicebox. There’s a lot going on here: ‘Calisthenics’ brings all kinds of jazz and math elements alongside the full-on, balls-out wild thrasher, and the fifty-five second ‘Aggressive Lowbrow’ brings everything all at once in a racket that suits the title.

Despite the close proximity of the sets, there’s a clear evolution here, so it’s a little frustrating that they’re presented in reverse chronology on the release. The ’98 set is less evolved, less detailed, less jazz, less multi-faceted, and more of its time – brimming with samples and songs that are little short of whirling explosions of whiplash-inducing racket, with ‘O.D.F. Will Kick Your Lame Ass Motherfucker!’ being exemplary, but also marking the band’s first forays into different terrains, with hints of swagger emerging amongst the frenzied racket. It’s gnarly, it’s intense, and it’s fucking punishing. And it really makes you wish you had been there.

AA

a1380330890_16

Outsider Art / Nim-Brut – 4th December 2020

Christopher Nosnibor

I should probably apologise in advance for this one: my mind has a habit of sprouting off on tangents of word association at the best of times, and with the turmoil that is 2020, a year that’s been – and continues to be – an endless conveyor belt of shit on shit, none of which makes any fucking sense, there are many days and evenings when I am absolutely all over the place. Not literally, of course, since I can’t really go anywhere or see anyone. The weirdy collage sprawl of ‘Carving Another Flute’, the first of three compositions on this split / collaborative effort by BlackCloudSummonerand the hypermanic, uber-prolific Theo Gowans, aka Territorial Gobbings is the perfectly bewildering soundtrack to these brain-foggingly bewildering times. So ‘Carving Another Flute’ just makes me think, inexplicably, of the slang term skinflute. That’s probably the only instrument not in the mix in this chaotic cacophony of an album, that’s got everything else going on, probably including the kitchen sink.

‘Peaches and Crayons’ sounds soft and playful, but is in fact droney and dark, and there’s no easy access point here. But they save their harshest noise for last: ‘Playing All My Black Dice Records At The Same Time’ is a 15-minute assault that is pretty much what the title says, meaning it’s a squalling blitzkrieg of screaming feedback and mid-and low-end that growls and bangs around erratically midst metallic crashes and a fizzing circuitry. It’s utterly excruciating, and probably one of the most intense and sustained blasts of noise I’ve heard in a while, being nothing short of an explosive sonic firework display – but, unchoreographed and untamed, it’s more like a blaze in a firework factory, with everything going off all at once, and it’s incendiary and blinding and overwhelming. Crash-landing somewhere between Merzbow and Whitehouse around the time of Never Forget Death, it’s a fucking nasty mess of abrasive noise – which of course means I love it.

There’s no sitting on the fence with this one: if you do noise, you will love this. If you don’t, it’s your worst nightmare.

AA

a2866943211_10