Posts Tagged ‘Neurot Recordings’

Neurot Recordings – 2nd August 2019

Christopher Nosnibor

The best collaborations are greater than the sum of the parts, and transcend 2 + 2 = 4 equations of artists playing to type while rubbing up against one another in a predictable fashion. We often hope for more, but artists seldom really deliver.

The self-explanatory Neurosis & Jarboe, originally released in 2003, now fully remastered and with entirely new artwork from Aaron Turner, and available on vinyl for the first time sounds neither like Neurosis nor Jarboe, nor 50/50 Neurosis and Jarboe, but something that draws on the best elements of both to forge something very, very different.

The lugubrious slow grind of Neurosis is present in the low bass churn and the more ethereal elements of Jarboe’s vocals, which have brought grace to Swans since 1986 and her own solo work over a good two decades now. Both artists’ work has a certain timelessness about it.

In context, this is both noteworthy and, if not exactly ironic, a point of cognitive dissonance. In my head, 2003 is recent and this reissue is shockingly close to the original release. But this is the point at which the passage of time and its acceleration comes screaming in my face to remind me that 2003 was sixteen years ago. There are kids who’ve been born and are now of a legal age to raise families and to vote since the album was first released, and yet Swans calling it a day the first time around in ‘96 with Soundtracks for the Blind still feels quite recent. How is this album sixteen years old? Nostalgia isn’t what it used to be, and Neurosis & Jarboe has very much stood the test of time, largely because it doesn’t sound quite like anything else.

‘His Last Words’ is perhaps the most overtly ‘modern’ cut on offer, and after a slow guitar grind, hits a groove that straddles dance and psychedelia. But there’s a deep, dark atmosphere that creeps over this and the album as a whole, with the majority of the tracks stretching out beyond seven minutes and pushing repetitive motives which worm their way under the skin and penetrate the skull by means of sonic bludgeoning.

The nine-minute ‘Erase’ brings some heavy, emotion-wrought doom-country with a distortion-tinged vocal that alludes to a dirgy Come, with Jarboe sounding more like Thalia Zedek in the song’s early minutes before the anguished howl emerges, culminating in a throat-tearing, raw-spewing roar by its uncomfortable climax.

Then, ‘In Harm’s Way’ recreates the woozy two-chord grating attack of early Swans when they were at their most gut-churningly jarring and abrasive, and it hits hard.

So why remaster, and why now? What does it add? According to Steve Von Till, ‘We recorded this ourselves with consumer level Pro Tools back then, in order to be able to experiment at home in getting different sounds and writing spontaneously. The technology has come a long way since then and we thought we could run it through better digital to analog conversion… This new mastered version is a bit more open, with a better stereo image, and better final eq treatment’.

And because they got Bob Weston of Shellac, and engineer at Electrical Audio to work on it, it does sound bloody great and lands with maximum impact. And the new artwork’s rather nice, too.

AA

Neurosis and Jarboe

Advertisements

A new video for "Espirais da Loucura” from Brazilian trio DEAFKIDS has been shared this week. The song is taken from the band’s explosive third album, Metaprogramação, which was recently released through Neurosis’ label, Neurot Recordings.

The new video for for "Espirais da Loucura” was directed by Vitor Jabour. The band offers, “‘Espirais da Loucura’ illustrates the desperate layers of absurdist madness in its inner and outer aspects – cloistered witnesses in fields of agony – the inner war between our own personas and desires. In its outer aspects, it reflects the chaotic confusion of our daily struggles in socio-political realities, where present and future are being written in hopeless and dystopian lines by this fascist and corrupted misgovernment we are currently living in Brazil. The video was created through analog circuit-bending by the Brazilian VJ Vitor Jabour, collaborating with what we call the ‘Brazilian Lo-Fi Abuse,’ by creating violent synesthetic sensations through the abstraction of colors, lights and sensory movements."

Watch the video here:

With harsh noise and industrial elements seamlessly melded into a volatile and rambunctious hybrid of ethnic jazz/world music-influenced punk, DEAFKIDS thematically tackles existential socio-political topics and dystopian themes through their own artistic lens. Their singular sound and manic energy coalesce to form one of the most intriguing and challenging acts in recent years.

DEAFKIDS will tour across Europe in support of the album this Spring, leading with two sets at Roadburn Festival April 11th and 12th. These shows will be followed by several weeks of shows, the tour lasting into early May, and the band joined by Rakta for the journey. North American touring with Neurosis and Bell Witch has also been announced. Dates and details below.

DEAFKIDS w/ Rakta:

11/04/2019 Roadburn Festival 2019 -Tilburg, NL

12/04/2019 Roadburn Festival 2019 – Tilburg, NL w/ PetBrick

14/04/2019 – Amsterdam, NL

16/04/2019 D. K. Luksus – Wroclaw, PL

17/04/2019 Underdogs – Prague, CZ

18/04/2019 Urban Spree – Berlin, DE

19/04/2019 Merleyn – Nijmegen, NL

20/04/2019 The Lexington – London, UK

21/04/2019 Soup Kitchen – Manchester, UK

22/04/2019 The Hope & Ruin – Brighton, UK

23/04/2019 Moon – Cardiff, UK

24/04/2019 The Cluny – Newcastle, UK

25/04/2019 Rough Trade – Bristol, UK

26/04/2019 Olympic Cafe – Paris, FR

28/04/2019 SWR Barroselas Metalfest 2019 – Viana do Castelo, PT

29/04/2019 Mag4 – Bruxelles, BE

30/04/2019 Bar Hic – Rennes, FR

01/05/2019 Tri Martolod – Concarneau, FR

02/05/2019 Léo Ferré – Brest Espace, FR

03/05/2019 Les 3 Pieces – Rouen, FR

04/05/2019 Het Bos – Antwerp, BE

05/05/2019 Donau Festival 2019 – Donau, AT

w/ Bell Witch, Neurosis:

07/08/2019 The Masquerade – Atlanta, GA

08/08/2019 Cat’s Cradle – Carrboro, NC

09/08/2019 9:30 Club – Washington, DC

10/08/2019 Theatre Of Living Arts – Philadelphia, PA

11/08/2019 Brooklyn Steel – Brooklyn, NY

13/08/2019 Paradise Rock Club – Boston, MA

14/08/2019 Corona Theatre – Montreal, QC

15/08/2019 The Opera House – Toronto, ON

16/08/2019 St. Andrews Hall – Detroit, MI

17/08/2019 Thalia Hall – Chicago, IL

DEAFKIDSPROMO20192CREDITJEANRIBEIRO--2

Neurot Recordings – 15th March 2019

James Wells

They probably started off with perfect hearing, but a couple of sessions rehearsing this cacophonous melange at infinite decibels would soon put paid to that. Monastic chorals meet Sunn O))) with the wordless vocal drones that build sinister spirituals that echo into eternity on ‘Vox Dei’, the opening piece on the colossal noise fest that is Metaprogramação by Brazilian act Deafkids. And then all hell breaks loose: ‘Alucinações de Comando’ is a blizzard of lasers, manic percussion, and messed-up vocals echoed to infinity. The overall result comes on like listening to Whitehouse duetting with Dr Mix from across the street.

Metaprogramação is an insane work. Seriously: where are their heads at? Thrumming bass bounces around on the dubby, experimental electro-ish ‘Pacto de Màscaras’, while ‘Mente Bicamerel’ packs a dirty, amped-up groove as it pounds away at a single riff motif – albeit with the occasional chord omission – for what feels like a very long time, but is actually only four and a half minutes. This isn’t to say it’s arduous, but recognises the rewards of repetition.

All of the aforementioned come together on ‘Templo de Caos’, a frenetically drum-driven riot of echoed vocals, grating bottom-end and stun guitars, while ‘Raíz Negativa (Não-Vontade)’ is a mess of murk, with everything as muddy as hell, and even more oppressive as they crank out a repetitive cyclical chord sequence on bass and guitar, while the vocals are more or less lost in the fog. Then again, ‘Vírus da Imagem do Ser’ goes full-on thrash, a hypercharges blur of crusty grind.

Ending in a short, sharp blast of white noise, there isn’t a moment to breathe here. I’ve no idea what the fuck it’s about, but it’s a sonic blitzkrieg that’s nothing like anything else going.

AA

Deafkids – Metaprogramação

I See What I Became is the new full-length from Mirrors For Psychic Warfare, the industrial collaboration between Neurosis’ Scott Kelly and Buried At Sea’s Sanford Parker, incoming on Neurot Recordings this September.

Produced by Seward Fairbury (Corrections House) and Negative Soldier, mastered by Collin Jordan (Eyehategod, Indian, Wovenhand, Voivod etc.) with decibel manipulation by Dave French (Brothers Of The Sonic Cloth, The Anunnaki), the duo’s follow-up to 2016’s critically-lauded, self-titled debut boasts eight tracks of unsettling and unapologetic audio demolition.

In advance of its release, the duo have shared an official video for the album track ‘Crooked Teeth’ created by Chariot Of Black Moth, which you can watch here:

AA

MFPWlesschipsmoresun1

Prepare your mind, body, and the deepest recesses of your soul: the black gates that Dark Buddha Rising opened a decade ago with I, open further in 2018, as the band announce the II EP, due for release via Neurot Recordings on 23rd March 2018. II continues to traverse spiritual planes, opening up a vortex with their sonic, and following calls from beyond.

For 10 years, the Finnish band has convened in the now-famous Wastement studio space; set below their home city of Tampere, Finland; to roil in the sounds of the underground, to meet dark spirits, to breathe in time with rhythmic pulses sent from the skies, the stars and the very dirt around them.

On the surface, the band emits the blackest of psychedelia. Deep down, their sounds are forged in the blue fires of the ancients, exhalations of gods, goddesses and demons alike. Of this new offering, V. Ajomo says: "To drain our sonic temple, we wanted to record the new material which was made for 2016 shows in order to proceed towards the unknown with open minds and hearts. After the cleansing, we initiated our chamber with ambient meditation and opened the portals of inspiration for our future work."

II sees Dark Buddha Rising return to its purest incarnation: a three-piece rhythm section; J.Rämänen on drums, P. Rämänen on bass and V. Ajomo on guitar; and with J. Saarivuori on synths and M. Neuman on main vocals. "We have done a full cycle of the orbit and now is the time for gravitational slingshot towards the new dimensions in sound, deliverance and vision"; Ajomo adds.

The EP’s A-side was recorded and mixed in Space Junk Studio by K.Nyyssönen and B-side was recorded in Wastement by DBR and mixed by S. Tamminen.

It has been two years since Dark Buddha Rising found a home amongst kindred spirits at Neurot Recordings, who released Inversum; the first album recorded in the band’s Wastement home: "the asylum of eternal feedback".

Get a taste of II here:

Neurot Recordings – 20th October 2017

Christopher Nosnibor

Mass VI may have six tracks listed, but effectively, it only has four full movements, with a brace of brief interludes breaking up the blasting, blistering intensity. And what intensity. Five years on from Mass V and Amenra have not softened their sound one iota.

The ten-minute ‘Children of the Eye’ makes for a slow-building opener: there’s a full minute of silence before a quiet, gentle intro of chiming guitars rips into a screaming vortex of noise that channels a spiral straight into the depths of a world far below the earth. The delicate, reflective mid-section offers much-needed reprieve, albeit temporarily, before the deluge of guitars bring a return to the tempestuous anguish. No doubt, the Neurosis comparisons stand as obvious, and it’s not hard to make the connection as to why Amenra have made their way to the Neurot label. But the howling, barking vocal derangement is altogether more frenzied and tortured to the point that borders on the inhuman. It’s the sound of a voice detached from the world and detached from hope, desperately screaming into a sonic vortex which swirls as an emblem for the pain that is existence.

‘Plus Pres de Troi’ brings a heavy, dolorous trudge and a sinewy, organic guitar sound. The thick guitars grate in an epic Sunn O))) -like drone. Gradually unfurling, transitioning between the aural equivalent of delicate fronds to boughs torn asunder by hurricane-force blasts.

It’s on ‘A Solitary Reign’ that Amenra really show both their depth and range. Epic doesn’t come close: yes, it’s post-rock, post-metal, and it’s raging, brutal shoegaze with an emotional dimension that’s deeply affecting in the way that only music can be. There are no words to fully articulate such resonance and the levels sound and voice can reach into the soul and affect the mind. As a reviewer, there’s a real sense of impotence when faced with something like this. It’s so much easier to write either objectively or to dissect technical issues, or to otherwise slate in the most violent terms possible something that’s inherently shit or lacking in whatever, way. But how does one articulate music that turns the innards to liquid and melts the brain? What do you say about something that leaves you feeling numb, incapable of movement, and utterly overawed? When the last thing you want to do is analyse, and instead sit back and let the experience touch every corner of your innermost being, how do you reconcile the role of fan and critic? You give yourself over to the music of course, and accept that this is bigger than you.

Mass VI is bigger than your small world, your little life. Mass VI reaches deep into the heart of the human condition through the medium of sound. The fact that the lyrics are impenetrable and inaudible for the most part only heightens the experience: it’s the language of sound which conveys so much and means everything.

The eleven-minute closer, ‘Diaken’, combines all of the elements of drone / doom / post-metal / post rock in a thunderous and sprawling behemoth of a sonic journey to create something that’s both cerebral and physical: the crushing riffs played on obliterative guitars contrast with the delicate, detailed breaks to breathtaking effect.

Despite its duration, Mass VI feels remarkably concise, largely on account of just how focused it is. There’s no waste, no packing, no flab: everything about the album is centred around distilling every sound into creating optimum power, and the result is stunning.

AAA

NR108_Amenra_cover