Posts Tagged ‘Noise’

Splitter Orchester / Felix Kubin – Shine on you Crazy Diagram

Posted: 31 July 2017 in Albums
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ChristopherNosnibor

The split album seems to be in vogue again, and it’s a format which perhaps offers more scope for artists who don’t trade in punchy little tunes than the split single or EP. Shine on you Crazy Diagram may only contain four tracks and have a running time of just over thirty minutes, but it allows both contributing acts to showcase the range of their sound by presenting expanded, developed musical works.

The two tracks by Splitter Orchestra explore and examine weird digital percussion: the ever-shifting pitch creates the illusion of ever-shifting tempo (or does it? Perhaps the tempo does shift albeit subtly) beneath whistling contrails of feedback. They sputter and scrape and drone and hum. ‘Diagram 1’, at under four and a half minutes, is but a prelude to its counterpart, ‘Diagram 2’ which hums and wheezes for almost eleven minutes. There are rhythms in the mix, but they’re pinned back in the mix and bounce around against a shimmering backdrop of feedback and extraneous noise.

Kubin’s compositions are altogether less overtly structured, or at least rhythmic, as swampy swashes and thumps rumble and eddy before – from seemingly out of nowhere – faceripping blasts of distortion roar and blast. ‘Lückenschere’ is constructed around a clattering, shifting rhythm.

‘Lichtsplitter’ clatters and moans and hums and drones for an eternity, before stepping up about ten gars. By the end, one has a fair idea of what it just be like to stand within two feet of a Boeing 474 taking off.

This is, without doubt, one of those releases which lends itself perfectly to vinyl: it is, after all, an album of two halves. They compliment and contrast, and showcase two quite different sides of the experimental digital coin.

There’s a digital bonus track from the Splitter Orchester. ‘Diagram 3’ is a ten-minute extravaganza of thick, impenetrable hums and drones. It might not exactly change the complexion of the release, but it does unquestionably fill out and round off the intangible, non-physical format nicely.

Splitter Orchestra Felix Kubin

Emmanuel Mieville – Juryo: Duree de la vie de l’ainsi-venu

Posted: 21 July 2017 in Albums
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Crónica – CRÓNICA 126-2017

Christopher Nosnibor

The title of the latest album by the super-prolific experimental composer and student of film and musique concrete, Emmanuel Mieville, comes from the Japanese translation of the Sanskrit word and alludes to a chapter of the Lotus Sutra, a renowned text from Māhāyana Buddhism. Apparently. It’s hardly my field of expertise. And so the inevitable question arises: what’s my point of entry?

Juryo is by no means an accessible album and its four longform tracks, which span between nine and eighteen minutes don’t readily lend themselves to lengthy debates about Buddhism and the path to enlightenment. Similarly, that the album consists of four compositions shows no obvious correlation with the twenty-eight chapters of the Lotus Sutra. As such, it’s fair to surmise that the allusion which connects the title to the contents is in largely an oblique one, beyond the fact that the album features field recordings captured in Asia.

This is swampy, abstract, murky noise. On the surface, it’s a formless conglomeration of noise, grating, grinding scrapes and bumps. Woozy rippling bubbles flit and floom over tidal waves of surging extranea, which may or may not be the swash of actual water rippling over rocks: it could equally be an aural illusion, or an intentional simulacrum.

Top-end whistles sustain for an eternity and aggravate not only the aural receptors but the mind on ‘Nyorai’, although in the mix are recordings of Tibetan nuns and FM radio from Hong Kong. These manifests as chants and clattering chimes and finger cymbals which emerge around the midpoint of the seventeen-minute sonic journey. According to the liner notes, ‘Murasaki’ means ‘purple’ in Japanese, but the spinning, swirling sonic discombobulations which eddy and swirl present a kaleidoscopic vista.

In the sleeve notes, Mieville explains that ‘Taisi Funeral’ (the fourth and final track) is a ‘recording of Buddhist chanting for a deceased person recorded in a small village in Taiwan, mingled with my own synthetic sounds. Tanit Astarté is a quotation from Antonin Artaud’s book Héliogabale and refers to the moon goddess, as described in Phoenician myths’. It’s certainly the most overtly musical and rhythmic of the four compositions, but as a rising surge of amorphous sound rises to wash away the voices and the rhythm peters out, it transforms to an altogether more ambient soundscape. Morever, while still linking back to the overarching theme of the Lotus Sutra, we can see that Meiville’s sphere of reference is considerably broader than may first appear.

Juryo is subtly complex and had both range and depth. It doesn’t readily conform to any one genre, but to lazily slot it into the broad space occupied by ‘experimental / avant-garde’ is to fail to recognise the spectrum of stylistic elements it incorporates.

Emmanuel Mieville – Juryo

Full of Hell – 11-band All Dayer – Temple of Boom, Leeds, 15th July 2017

Posted: 17 July 2017 in Live
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Christopher Nosnibor

For those who aren’t fans of extreme music, it’s often hard to see the appeal. ‘How can you listen to that, let alone enjoy it?’ is a common line of questioning. Often, the response can be boiled down to a single word: catharsis.

The one thing that always strikes me about events like these is just how friendly the atmosphere is. The fans are friendly and many, like me, seem shy and reserved – until they completely go mental in the moshpit. And it’s in this context that extreme music makes perfect sense. I may be nursing bruised ribs today after my quest for photos landed me in the line of danger but never once did I feel in any way threatened: it’s all freaks, outcasts and oddballs together in a safe environment.

What had initially been booked as a standard date on the UK leg of Full of Hell’s tour metamorphasised into an eleven-band extravaganza when circumstances dictated a change of promoter. And there wasn’t a weak act on the bill, and the first couple, Cheap Surgery and Hoof Glove both stood at the punkier end of the musical spectrum than the screaming metal end. It’s not so much that it was welcome to be eased in gently as a positive thing to be treated to some musical range: it’s not as if either was light or poppy, with Cheap Surgery evoking the spirit of bands like Penetration. Hoof Glove, meanwhile, are a band of two halves with a metal rhythm section onstage and an electronic noise duo at a table in front of it. Processed-to-fuck female vocals add a different shade of intensity to a grainy noise reminiscent in places of the abrasive angst of Xmal Deutchschland.

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Cheap Surgery                                               Hoof Glove

A close-cropped screamer in a Crass T-shirt leads the full-throttle attack of Hex, and it was midway through their confrontational, fiery set that the slam-dancing commenced, hinting at the shape of things to come.

Led by the Throat may look like four ordinary guys, but they’re the first band to bring the full-on snarling metal assault to proceedings, and they bring it from the first bar of their tight, powerful set. As he paces the stage, the singer emanates a malevolent energy that’s as powerful as his patterned shirt is tasteless.

I can’t remember when or where I last saw Groak, but I remember them being good, and this evening’s performance confirms my memory is correct. Singer / guitarist Ben Southern is wearing a Rudimentary Peni t-shirt and the band’s sludgy, dirgy churn is propelled – slowly – by Steve Myles’ crushing percussion (how many bands is this guy in?). This is music dredged from the pits of the lower regions of hell, and pretty much as intense as it gets. Or so you’d think. But it’s only 6:30 in the evening by the time they leave the stage, and we’re not even halfway through the lineup.

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Groak

Masters of Powerviolence Lugubrious Children, who released a spit EP with Groak last year are up next, and they’re punishing too. The trio bring the power and the pace, and the result is carnage.

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Lugubrious Children

It only gets better, and more intense, with Gets Worse. Very much a beards and long shorts band, they’re bristling additional strings, with a massively overdriven five-string bass bringing the low-end that grinds below a pair of seven-string guitars. And all of those stings are downtuned and sludged to the max. A single power chord sustains for a full minute before the juggernaut chug slams in. This is a full-on, balls-out racket that draws together the slow trudge of Godflesh and the tearing frenzy of Napalm Death to devastating effect.

Famine are one of those bands who just get better with every outing. Having seen them grow from a snotty two-piece into a thunderous, ferocious gut-ripping threesome who are tighter and more ferocious with every show. My notes from their set are sparse and only semi-legible, but in front of a home crowd, they’re assured and received the violently rapturous reception they deserved.

I’d been recommended Unyielding Love by a friend whose opinion I very much respect, and they didn’t disappoint, taking the snarling gnarliness to a whole other level. The seven-string guitar and five-string bass congeal into a thick glutinous sonic slime with optimum low-end. It’s driven by rapid-fire drumming that’s hard enough to crack any skull, and overlaid with brain-shredding electronic noise. Their relentlessly savage set can be perhaps defined as the sound of a goat’s skull being dragged underfoot about the stage echoing amidst a heavy organ drone, before processed reverby vocals erupt into a howling vortex of noise. And tat all actually happened, in real life.

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Unyielding Love

I’ve no idea who I saw performing a ‘secret set’ in the Meatlocker (the venue’s second stage, still draped with original plastic curtains because it was absolutely fucking heaving and I’d had a few beers by this point but they were intense and loud and brutal. But Full of Hell… Fucking hell. I’d run into Dylan Walker shortly before the set and was struck by just what an affable guy he was. On stage, of course, it’s another story: blasting ear-bleeding electronics and brutal vocals with a violent energy amidst a raging tempest of the harshest grindcore around, live shows don’t come more intensely visceral than this. How much of the set was lifted from the latest long-player, Trumpeting Ecstasy, I couldn’t say: I was too busy avoiding flailing feet and flying bodies, and clearly, the pain in my left side tells me I failed somewhere during the mayhem. But this…. THIS is catharsis.

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Full of Hell

I stopped to have my photo taken with some random strangers on my way out: they liked my hat. I may have drunk too much beer, but in the main, I was hitting the cool night air elated and exhilarated, and on a different plane from the one I had arrived on.

Siavash Amini – TAR

Posted: 13 July 2017 in Albums
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Hallow Ground – HG1703 – June 2017

Christopher Nosnibor

TAR is the fourth solo album by Tehran-based composer Siavash Amini, although he’s joined by Pouya Pour-Amin on electric double bass and Nima Aghiani on violin. Not that the individual instruments are readily recognisable in the thick sonic swirls which combine to forge the ever-shifting soundscapes of TAR at least in the main. But when Aghiani’s violin weeps and bleeds emotive from amidst the amorphous aural clouds which turn and taper, billowing and rolling, throbbing and pulsating.

‘A Dream’s Frozen Reflection’ begins droney but gentle, but inside the first two minutes breaks into a serrated sonic tempest. Music that sounds for all the world like a circular saw accompanied by a saw played more conventionally (does anyone play the saw any more? Or has it more or less gone the way of the comb and the washboard?) isn’t an easy sell, but Amini creates an intense aural experience that immerses the senses. But for all the harsh tones, there are contrasts in abundance, and through forging a shifting soundscape, the atmosphere changes, sometimes almost subliminally over the course of the piece.

‘Rivers of Tar’ plunges into murky, dark territory, but crystalline glissandos cascade through the eddying clouds of sulphur, while graceful strings rise and sweep expansively. It’s hard to determine whether or not it really carries an emotional resonance, but as a listening experience, it’s got more than enough range and features some passages which do have that vital drag.

At times, ‘The Dust We Breathe’ is barely there, delicate contrails of soft ambience washing in and out. There are periods dominated high-volume undulations of grating, snarling noise early on, but over the course of its fourteen-minute duration, the track drifts quietly and softly into the background.

It’s Amini’s ability to manoeuvre, effortlessly and almost untraceably, the trajectory of the four compositions from head-crushing abrasion to lulling calmness which is the greatest achievement of TAR. It’s an ambient album which carries a sting in the tail sharp enough to hurt, while equally massaging the mental receptors with its delicate tones.

The extent to which TAR translates Amini’s desire to explore ‘the fragile tensions between and individual and collective subconscious’ is largely irrelevant: TAR is an unexpectedly dynamic work, brimming with texture and contrast.

Siavash Amini – TAR

Sly & The Family Drone & Dead Neanderthals – Molar Wrench

Posted: 6 July 2017 in Albums
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Hominid Sounds – 30th May 2017

Christopher Nosnibor

Matt Cargill’s project still has one of the best names around: it’s not only an example of punning genius, but also one of those band names which sets expectations as to what you’re going to get musically. I say musically, but that’s very much a matter of perspective. SATFD don’t make music in the conventional sense, and Molar Wrench is as sonically challenging as any of the previous releases SATFD have put out. On this outing, they’re joined by Dutch/British free jazz unit Dead Neanderthals, to form what they describe as ‘the ultimate tag team of the murky European underground’.

Given that the two acts featured on a split release last year, this collaboration seems like a logical progression. It certainly marks a departure for Sly, in that the trademark subterranean grind of endless, dark drones and unsettling atmospherics is matched with and at times consumed by the maddest jazz shit going.

The album contains just four tracks, but packs in a hell of a lot of racket. It all kicks off with a frenetic, a wild, free jazz cacophony, a melange of clamorous, ultra-hyped parping horns, sonorous lowed drone and is dominated by truly frenzied, cacophonous bent. Circuits fizz and hum while the percussion thrashes and crashes arrhythmically, throwing the listener around with reckless abandon a rollercoaster of tempestuous sonic mania.

There are two ‘Muck Man’ tracks and the first is ten minutes of slow, throbbing churn made up primarily of low and mid-range sludge, the drums holding a ragged but hard rhythm amidst a maelstrom of thick, dirty, pulsating noise. It’s almost a riff, but more a succession of waves in a rhythmically surging sonic tide, a with the density of liquid mud. Immersive would be one word.

‘Muck Man Part 2’ is altogether more low-key, a dark, atmospheric piece that manifests as a prehistoric sulphur swamp in sonic form. Slowly, the murky drift builds to a screaming tempest of noise; the brass develops from a low drone to a shrill shriek of pain and the drumming transitions from a sedate trudge to an explosive riot of noise, abrasive blasts of snarling electronica and whatever the fuck else bursting in waves of sonic shock.

The title track closes off the album, and it’s an eleven-minute trudge that calls to mind the claustrophobic brutality of Swans’ ‘Young God’ EP. The plodding percussion provides a doomy and tense prickling spine to the oppressive grind that lumbers on for what feels like a skull-crushing eternity.

There is a definite structure to Molar Wrench, in that it starts off wild and winds down to a grinding crawl, but it by no means feels like the energy displayed at the outset dissipates as the album progresses. It’s more a case that having exhausted the listener with frenetic kinetics and gone all-out on the attack at the front end, the album seeks to bludgeon the listener into submission in the later stages. And highly effective it is, too.

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Hands Off Gretel / Brooders / Seep Away – The Fulford Arms, York, 22nd June 2017

Posted: 24 June 2017 in Live
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Christopher Nosnibor

“I’ve fucked my wrist – chipped a bone in rehearsal.” I’m talking to Dom Smith, drummer with Seep Away. His band are due on in ten minutes. Should he even be playing? He’s not exactly a gentle percussionist. But as he and the rest of the band take to the stage to Hole’s ‘Doll Parts’, it’s clear he’s adrenalized and up for going all out. Screamer Jay is kitted out in full mini-skirted drag and looking killer. Seep Away get harder, heavier, denser and louder with each outing, and tonight, Jay is even more manic and confrontational than ever, writhing on his knees among the front rows.

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Seep Away

Brooders might have a tough act to follow, but if it bothers them, they’re not showing it. They may be young – they certainly look it – but this power trio are solid as they come. They knock out some driving grunge tunes, which are dark, dense, and weighty, but also so much more. They pack in some neat and hooky melodies alongside the chunky, bass-driven noise: in many respects, they’re the quintessence of 90s alt-rock, and they know how to nail down a hefty Nirvana-inspired riff.

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Brooders

Hands Off Gretel have drawn a decent crowd, particularly for a Thursday night that’s blessed with beer garden weather. In fact, it’s a battle to get a decent spot down the front on account of the clamour of folks with their phones out, filming. It’s not hard to see – or hear – why: they’re a killer live band, who combine a raw, ragged energy with a musical tightness. And there’s simply no sidestepping the appeal of Lauren Tate.

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Hands Off Gretel

I’ve been criticised on occasion for commenting on the physical attributes of women in bands, because despite the fact I’m equally likely to comment on the physical aspects of a man in a band, it’s not really the done thing. But Lauren Tate doesn’t so much invite the eyes to focus on her, but demands it. If the powder-blue hot pants and matching top, accompanied by knee-high socks, is sort of cutesy-sexy, the heavy eye makeup, smeared lipstick and truly ferocious full-throated vocal is terrifying. It’s the perfect paradox of appeal and repel, the cheerleader slut who’ll murder you and play with the blood. This, of course, makes her the embodiment of the grunge style; the oppositional elements of quiet / loud, melody and discord, introspection and screaming rage. And the songs encapsulate all of this perfectly. Yes: let’s not forget the songs, or the rest of the band. Both are equally essential to the band’s appeal.

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Hands Off Gretel

Tonight, airing a set built around debut album Burn the Beauty Queen, the band positively tear into the guts of those songs, channelling every ounce of fury into those angst-filled aural assault. Dropping ‘Be Mine’ as the second track of the set, it’s a shuddering, full-on bass-led attack. ‘Bad Egg’ is served with a huge dose of venomous self-loathing, and ‘One-Eyed Girl’ is pure Live Through This era Hole – although unlike their forebears, Hands Off Gretel don’t sound ropey, and you can be pretty confident they’ll make it all the way through the set. And by the end of the set, everyone’s a sweaty mess, uplifted by the joy of catharsis.

Golden Oriole – Golden Oriole

Posted: 1 June 2017 in Albums
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Drid Machine – DRM27 – 21st March 2017

Christopher Nosnibor

Having looked over all of the tabs I had open on my computer I had to pause the disc three minutes into the first track. I was confused, I was convinced there were two songs playing at once – one woozy ambient piece, drifting and warping, and a whacky jazz-grunge effort. My head was beginning to spin. Jungle drumming and scrawking bass undulations collide with tearing guitars, weird synth incidentals and all kinds of other extraneous sound effects to create a sonic experience that’s quite bewildering on ‘The Approaching of the Disco Void’. It’s ten minutes of musical mayhem.

The golden oriole is a type of bird, binomially known as oriolus oriolus (which is considerably more pleasant-sounding than the ‘turdus’ genus of the thrush species). According to the go-to source for all information about everything, the call of this extremely common migratory bird ‘is a screech like a jay, but the song is a beautiful fluting weela-wee-ooo or or-iii-ole, unmistakable once heard.’ There’s nothing beautiful or fluting about this freeform chaotic din. This is not a criticism: freeform chaotic din is better than good with me.

The album’s shortest track, ‘The Chrysopoeia of the Trilithon Ass’ is also it’s wildest, a Beefheartian frenzy of discord and multiplicity (I’m recalling the traumatic experience of hearing ‘Trout Mask Replica’ for the first (and only) time, a record that sounds like standing in a hallway listening to seven people, all drunk, playing different tunes in seven different rooms which all open onto said hall.

The hectic percussion drives through a wall of feedback and a grinding, deliriously unpredictable, stabbing bass on the third and final track, ‘The Pyrite Wink’. It’s a nine-minute exercise in working a wonky groove with relentless and increasingly wayward energy, until it collapses in a crackle of overdrive and howling trails of feedback.

As freeform chaotic din goes, Golden Oriole stands as a cacophony of quality, but likely best absorbed in small doses.

 

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Listen: ‘Cuntryfile Part 3’ by Saltwater Injection

Posted: 12 May 2017 in Recommended Streams and Videos
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On Saturday, June 13 Ellesmere Port noise-punks, Saltwater Injection will release their new anti-anthem, ‘Cuntryfile Part 3’ into the world.

Inspired by Bleach-era Nirvana, and Black Flag, Joe Nuttal (bass) and Paul Soames (drums, vocals) are ready to smash up your expectations of what to expect from a two-piece band.

As the press release puts, it, ‘this is quite frankly, pure and proper balls-to-the-wall heaviness, and we hope you’re ready?!’ and yes, it’s as gnarly as fuck: just the way we like it here at Aural Aggravation.

Recorded at The Vic Studios in Wrexham with Michael Harmina (Def Neon), and produced by Addz Milner (The Ladder), the track is a vehicle for the band’s aggression, and an outlet for their defiant and angry creation. Vocalist Paul Soames comments: "We needed to vent our anger at the terrible actions at the policies that we can see ruining our country, and at the strongly unstable people putting those policies in place."

Formed in 2013, Saltwater Injection have toured with the likes of Baby Godzilla, Blitz Kids and Sham 69.

 

Ironically, this news piece is longer than the song itself, which you can get your soon-to-be-bleeding lugs round here:

 

 

Soma Crew – National Instruction

Posted: 30 April 2017 in Albums
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25th April 2017

Christopher Nosnibor

National Instruction is Soma Crew’s debut album. This is something of a technicality, as they rebranded shortly after the release of Another Dead Insect in 2015. And while all of the defining features of their previous incarnation remain, Soma Crew, having solidified with their current lineup, can be seen to have made marked progress since then.

The sonic haze which hangs heavy over all of their previous recordings and which defines their live sound is present and correct. On National Instruction, there’s also a wilful raggedness to the performances, with guitars and vocals titling off-kilter every which way, often to quite disorientating effect. It’s also by far the best-realised representation of what Soma Crew are about, showcasing a dense, murky sound, and a climax-centric approach to forging layered songs which plug hard at a single cyclical riff, nailed tight to a simple, repetitive drum pattern. Yet it’s also the work of a band who are evolving, and National Instruction marks a clear progression from their Soma EP release last autumn.

Si Micklethwaite’s vocal style isn’t conventionally tuneful, but then a melodic attenuation is by no means a prerequisite for singing in a rock band. Given the atonal drone elements of Soma Crew’s compositions, which are more focused on creating an atmospheric dissonance than a technically precise, melody-driven musicality, it works, and, bathed in reverb and a kind of fuzzy-edged soft-focus, he sounds more comfortable than on any release he’s featured on thus far.

‘Got It Bad’ features what is probably one of their most overtly catchy choruses to date, with a more clearly defined structure than any previous song – but it’s perfectly offset by a guitar line that heaves off to the left during one of the chord changes which launches said chorus. The nine-minute ‘Pyramids’ finds the band locking into the kind of groove they work the best. A spindly echo-drenched lead guitar wanders, spider-like over a chugging rhythm and spare, motoric beat that typifies their slow-burning brand of Black Angels-influenced psychedelic rock. Elsewhere, ‘Dangerzone’ is tense and angular, with eddying swells of abstract sound and feedback building into a cyclone of immersive noise close to the end. This is something they’ve got a real knack for.

Having heard a fair few of the cuts on Natural Instruction played live, it’s gratifying to observe just how well they’ve replicated the spirit and energy of the live sound on songs like ‘Remote Control’, which carries a shuddering, ramshackle Fall-esque vibe within its jagged two-chord battery. The album’s second eight-minuter, ‘Westworld’ starts of slow, sedate, but simmering: it’s never a case of if it’s going to break, but when, and while maintaining a pedestrian pace, it’s almost halfway through before the drums thud in. And then the guitars get up the volume… and then… and then… By the end, it’s still plodding away but the layers have built up and it’s a big old racket.

There’s something of a trickle toward the tranquil on the last two tracks, with the closer, ‘Maps and Charts’ being a particularly sedate – not to mention accessible indie tune. But rather than being an anti-climax, it reveals newly emerging facets of the bands, perhaps hinting that future releases will see them further extend their range.

 

Soma Crew - National Instruction

Damo Suzuki & Sound Carriers – Live at Marie-Antoinette

Posted: 26 April 2017 in Albums
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Play Loud! Productions – PL063LP

Christopher Nosnibor

Mark E Smith is not Damo Suzuki. Only Damo Suzuki is Damo Suzuki. Damo Suzuki requires no introduction, of course. However, his vast and almost immeasurably influential output seems to exist almost in the ether, his own name and that of CAN being names to conjure with, but perhaps carrying more connotations than actual connection.

Suzuki’ status as an innovator and a one-off requires no comment, either. The fact he’s been going for multiple eternities, and continues to perform sets that are completely off the wall means his reputation remains unharmed, and this release – one more addition to already impressive body of work which essentially stands to define Krautrock – won’t dent that.

As the title suggests, this set was recorded live at Marie-Antoinette, Berlin, Germany, on 24th November 2011. Damo Suzuki was joined on stage by a stellar lineup, consisting of Dirk Dresselhaus (Schneider TM, Angel) on electric baritone guitar and effects; Ilpo Väisänen (Pan Sonic, Angel) on electronics and effects; Michael Beckett (kptmichigan, Super Reverb) on electric guitar and effects; Claas Großzeit (Saal-C) on drums and percussion, and Tomoko Nakasato (Mio, JINN) on dance and electric rake. No, I have no idea what an electric rake is, but on vinyl, each of the album’s half-hour tracks occupies a side of the two-disc set.

Ordinarily, live releases take the best cuts, or the single best night of a tour. Dirk Dresselhaus’ comments which accompany the release suggest that this recording doesn’t necessarily follow that rule, and instead presents an honest account of a singular event: “I find it fairly difficult to say something about how the music in this concert came about, cause we didn’t plan or rehearse anything and hardly were able to hear each other on stage. Wherever it came from, the energy and course of this concert is very much based on group dynamics and an almost telepathic sort of communication, like a swarm of fish. When I mixed the sound later on in the studio I discovered a lot of weird things on the separate tracks: for example Kptmichigan’s guitar signal is changing level for about +/-30 dB once in a while which is a lot and was probably caused by a broken microphone cable. Luckily the fucked up parts made the sound even heavier and more distorted instead of destroying it,” he says.

At times the lack of planning and rehearsal is apparent, but in the main, Live at Marie-Antoinette captures a collective who are capable of a rare musical intuitiveness. And whatever it may have sounded like on stage, and regardless of the occasional stab of feedback and errant extraneous intrusion, the recording captures a tense, atmospheric musical soundscape which transitions across the various parts with a creeping stealth.

To draw attention to any one passage would be to entirely misrepresent the overall arc of the performance. From the tribal chants to the undulating synth-like tones to the slow-building crescendos and the sustained sonic blitzkriegs which absolutely tear through the curtains of sonic decency, each and every aspect of the set is integral to the overall experience, which is built around a series of ebbs and flows, often rising from next to nothing to a whorling tempest quite unexpectedly. And it’s true that the colossal peaks are accentuated by the shuddering volume and crackling distortion they produce. Sometimes, fucked up is good.

This is all part and parcel of the live medium: while the studio affords total control over every aspect of every element of the sound, when playing live, anything can happen. The real test of a band’s capabilities is how they deal with the unexpected eventualities and how they deliver the show to a crowd under adverse circumstances. There is no audience sound on Live at Marie-Antoinette, which means it’s impossible to gauge the audience reaction to the show. But the sound balance suggests the audience were subjected to a punishingly loud and challenging set. It’s probably one of those rare live albums where the recording is more pleasurable than the actual event.

http://playloud.org/archiveandstore/trailers/damosuzuki/trailercode.html

 

damo-suzuki-sound-carriers-live-at-marie-antoinette

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