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Kazumoto Endo and Kazuma Kubota - Switches and Knobs (Phage Tapes, PT: 133, 2010)

The style of Endo Kazumoto noise of either could be defined with one word : spasmodic. In signing the work under his own name and those of their projects as Ryke or Bug Killer, Endo tends to create compositions from frantic and virulent stacking dynamics are inevitably followed by abrupt cuts. "Switches and Knobs" presented in collaboration cd format between this monster of noise and Kazuma Kubota, part of the new generation of harshers from Japan.
The first cut, recorded in studio, pure precision: the silences are ideally suited to the noisy intrusion of both participants. The massive blows that the duo gives the leaden silence are composed of layers of distortion modulated and appear as suddenly as they disintegrate in the air. After each volley of severe acid shock, ferrous raw sounds are inevitable moments of emptiness, silence settles like a huge monster, ready to crush even the slightest movement. While both exchanges are becoming more virulent, increasingly hostile and fleeting, as if his compulsive soon seek to dictate the death of any structure. The second cut
abounds on the same dynamics but extrapolated to a live presentation. I can hardly think of few situations as difficult as trying to carry this burden of formal discontinuity to an environment like this, especially knowing that this is a situation in which both performers must operate under very precise accuracy. The result is a resurgence that borders on the absurd, shot records sound even more sordid whose mission seems to be the destruction of any kind of musical convention. The awkward reactions of the public make it clear that the Kubota and Endo is an ideal sonic difficult to tackle and to follow up and refer to those moments when the noise usually understood as a perversion, an acquired taste incomprehensible, absurd for the adherents of the most obvious places melomanía. In this court every silence becomes a kind of abyss cageiano where laughter and murmurs have their share of ownership. This joint
Kubota and Kazumoto Kazuma Endo is more than welcome in the current context of noise, showing as evidence that noise may still occur that has a unique character and away, fortunately, the conventions. (SS)

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Winters In Osaka - Mutual Collapse (WKFEWR, WKFEWR # 1, 2010)

Through the years, Winters In Osaka has become a Polymorphic grouping, usually change of members and mute sound styles, in order to accommodate conditions prevailing at the time of interpretation. "Mutual Collapse recorded precisely its sonic diversity: moments of pure experimentalism converge with absolute noisy pictures of erosion, becoming between cuts, the group practically jamming the most common instrumental electronic assembly focused on industrial items. The seven tracks that make up this work from a variety of live performances that took place on location in the U.S. and Europe and see the current lineup of the band expanded to accommodate many guests.
"Mutual Collapse," as album, retraces a path variable. The violent, dynamic harshe opening featuring "Voyeur Pt.1" contradicts the subsequent download of power electronics "Baby Pop," in which Nicola Vinciguerra-Fecalove-spit his gleaming fiercely vocal while the band accompanies him with beats and mazes modified recordings. The intense shock and anarchist rage interference of Le Syndicat de "Toll" in stark contrast to the quasi-metal onslaught of the theme "Mutual Collapse," in which drummer Rich Hoak gives another dimension to the noise conventionally heavy quartet. The dark industrial demonstrations "Waterweight" and "Voyeur Pt.2" unfathomable up a fog machine-which is inversely reflected in "Stairwell," blackened psychedelic jam in which they are attached again and drummer Mark Hoak Solotroff and Isidro Reyes of Bloodyminded and The Fortieth Day on an extensive exploration of the depths of feedback and distortion driven by the fierce Banging percussionist.
"Mutual Collapse" structure inevitably results in something closer to a trailer of a handful of bands that shaped an album. This undeniably can be a disadvantage anyone looking for an album thematically consistent, or just the opposite for him who prefer to venture into the finest collections of a band with excellent fluency in several dialects of industrial experimentalism. "Mutual Collapse" is the first work on cd-no pro-cdr or cdr of the band, published by the novel and mysterious WKFEWR (for more information: MeatalUlcer@aol.com ) (SS)

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It's spring ...

It's spring, it's time to wake ...

is time to enjoy the light, to plunge into color, aromas and painted ...

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to plant our dreams ... and watch them grow ...

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"I was afraid ...

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Hamann / Astro - Limbo (Buh Records, BR16, 2010)

The split between the musician and the noisy Hamann Peruvian Japanese Astro is dedicated to the exploration of images astral through sound. Both artists agree on the composition of songs based on themes unearthly, in the representation of the heavenly bodies as objects of their sounds. However, both artists offer sounds in "Limbo" does not necessarily coincide in their records. Hamann
themes are closer to more stereotypical electronic scanning, drawing imaginary orbits in a way that vaguely recalls some of the early works of Tangerine Dream, as "Alpha Centauri" or "Zeit." The opening track, "Uranus," is clearly conventional in this regard, with its ponderous atmosphere by drawing a brief flicker in the life of a circuit planetarium. Its dynamics is slow, colossal, circumference, based on the slow oscillatory sequences of a synthesizer. "Aldebaran" Alpha Tauri, also presents a dynamic painting of the majesty and spatial depth is surprising, however, the brevity of these sonic images, which certainly could function as larger issues. The same is true of "Undetectable" perhaps an ironic reference to human languages, in which short lines, which resemble those of Coil or Cabaret Voltaire-fight by panning with crystal shine. Hamann's contribution to this split is certainly delightful despite being undeniably infiltrated by the past, which is completely evident when contrasted with the explosive material Astro.
In a subject that spreads itself far more than the 3 tracks together Hamann, Astro presents another of its features psychedelic compositions, based, like those of Hamann, in an incessant use of synthesizers. Although much more mechanical than usually, Hiroshi Hasegawa generates a delusional world of sounds from acid sequences highly obtrusive, almost tidal waves of electromagnetic waves, which are contradicted by acute barely squeaks, whose record is in turn violated by manipulation parameters. Maybe that cover an axis mundi menstrual with the world again at its zenith a tangle of nerve endings prostrate before an androgynous god delusional to describe their sound a bit better than my words. Content fully hallucinogenic. (SS)

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Ignacio Briceño / Crazy Girl - Split (Buh Records, BR07, 2010)

The delirious combination of environments and sound materials Ignacio Briceño makes his work a kind of cousin distant from the hysteria that featured Scissor Shock few years ago. Electronics, guitars, programmed drums, samples of porn and sitcoms, and even truncated melodies Sabato teacher's voice is processed in the first two cuts in the famous Briceño Ableton Live program, creating an extremely thin, as post-rock, lo-fi of the era of communication. The extensive "Climbing the mountain upside down," in fact, it is enjoyable in a strange, inexplicable way, taking as a pastiche of a very musical quality. The second cut Briceño, tecladito bathed in delay and reverb in the way, confirms what the post-rock although not so pleasant, but at least serve as a respite from the impending attack of Girl Crazy.
The songs are obvious intention Girl Crazy-project's music, Diego Contreras-to create music stuck in corners ritualistic, pseudo-shamanic (and what about the name of the piece: "one more Spirit in my soup.") The ghostly vocals are complemented by bells, drums and drones elusive that first impression, do not get to say too much. Halfway through the track, however, all the elements begin to achieve some consistency. The recording fidelity quite low, adds a prickly air the issue, as if it were the record of a sort of pagan ceremony underground industrial earring. As in the case of Ignacio Briceño cuts, the participation of "Girl Crazy" is a job offer fully spontaneous based on the experimental improvisation feverish, which undoubtedly holds the charm of the moment but inevitably lacks the power of compound work. (SS)

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OVMN - Maximum Volume Optimum Noise (Industrial Recollections, s / n, 2010)

Following the recently resurrected reprints Mother Savage made the tapes just OVMN a couple of years, many begin to point to this side project of Macronympha as one of the first signs of what is now known as HNW or Harsh Noise Wall. But while it called "subgenre" of harsh noise, as practiced today Richard Ramirez and Vomir for example, refers to absolute-even absurd-immobility, the harsh noise of OVMN-Noise-Optimum Maximum Volume is a multidimensional and dynamic dramatically. Rodger
The duo of Stella and Joseph Roemer is clear from the first-generation American in practice, properly, the noise. Along with projects like Mlhest, Intrinsic Action, Taint and the aforementioned Richard Ramirez, the duo established under the names of a parallel OVMN Macronympha and unprecedented Japanese noise, which during the nineties, was in full swing. Like their colleagues Nippon Incapacitants, MSBR Merzbow and the time, developed a compression intuitive OVMN the possibilities of noise. which is fully recognizable in its exploration of the different ranges of noise and possible interactions of their frequencies and tonal possibilities.
His debut, Optimum Maximum Noise Volume, sees an alliance with Akihiro Shimizu (better known as Thirdorgan) in 1996. And despite the obvious hyperactivity that are beyond their creators, never feels like a battle of egos and volumes, but rather as the steady flow of a unifying vision, as the product of frantic work by three operators who, absorbed in their mission channel and give meaning to more fierce, abrasive aural chaos. The textures Rispa, grotesque draws largely on the nature analog computer and the original format in which they were recorded: ribbons. Corrosion, unusual bleeding frequencies offered by the use of magnetic tape is present in the reissue to Industrial Recollections performed. Mastering it refuses to offer two cuts of pure raw audio, reminiscent of the original versions.
The sound on two cuts never go to extremes: no near-subsonic gravities or sharp sharp, but the total focus, almost exclusively, the midrange, with its load granular alibi flawed. With two identical themes, symmetrical in its adaptation to the original tape, OVMN destiende channels, tunnels often rough in a barrage of psychedelic noise unstoppable. Without a doubt I can say that this is one of the most affordable classic noisy produced by Mother Savage Noise Productions and dark piece of that puzzle that is the history of noise. A delicious plain slowly fluctuating noise, hypnotic abyss. (SS)

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The New blockaders - Live at Hinoeuma (Hypnagogia, GIA04, 2011)

The reviews that describe the event recorded in "Live at Hinoeuma" mark him as a recital brutally deafening mercilessly insulted the ears of reporters. The New blockaders, having formalized in "Changez Blockeurs them" model that would draw the majority of the productions of noise, has obviously a huge weight on their backs. Probably for this reason, the perceived obligation to its extremely sporadic appearances true events that preserve the heights of radicalism to which have been traced throughout history and discography. Leaving
somewhat nihilism and histrionics that characterize them (at least in the audio, as during the event Phil Todd was in charge of "anti-performance"), The New blockaders in this paper concentrate their forces in a pair explosive cuts, full volume, certainly could not have seemed much more than a wall of noise, but evidence in this record have been formulated from a composition that maintains a huge weight despite never cease to vary. The samplers and is used for this occasion concentrated bursts of shrapnel, storms, unchanging and static tones brutal levels, logically, would produce constant bursts of feedback. The result is a formidable mass of unending noise in movement, seizures sonic frequency that shoot weightless as the air surrounding electromagnetic spirits.
Interestingly, although the chronicles point to event as an extremely hostile to the senses, "Live at Hinoeuma" is, in my opinion, the calmest of all live records I've heard of this group. Broadly, this work bears a disturbing resemblance to what has been given for calling harsh noise wall in their meditative aspect, forcing almost hallucinogenic introspection on the listener. The second part, mainly thanks to the careful overlapping of layer upon layer of static wind flows, only topped by some heavy spurts of serious noise, manages to create an appearance of formal freedom is absolute, strangely refreshing.
"Live at Hinoeuma" aspect makes The more sordid New blockaders become fascinating displays of coordination dynamics. No doubt this is the perfect complement to their live register more abrasive as the dreaded "Das Zerstorer, Zum Gebaren" or crudísimo "20th Antiversary Offensive." This work is limited to 300 copies and marks the resurrection of the consistently excellent record of Rupenus, Hypnagogia. (SS)

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Mark Solotroff - Archive01 (Bloodlust!, B! 131, 2010)

Since last year, Mark Solotroff worked in a retrospective that brings together seven-volume work during the decade of the nineties published in limited runs for classic labels of the era, as Slaughter Productions of the late Marco Corbelli, GROSS of Akifumi Nakajima or her own Bloodlust! This retrospective can know Solotroff sonic side difficult to access because of the shortages and excessive prices of the originals. That
Solotroff path that this series is different from what we had become accustomed to their productions under the headings of instrinsic Bloodyminded Action and is reflected to a surface even heard of "Archive01." In its first cut, this paper presents "45 Minutes of Rape and Murder," which happens to be the first item Solotroff produced under his own name, back in 1995, and originally appeared as the A side of a film called "Instrumental-Noise Demonstration of Death." In this uncut version, in his caustic stream 45 minutes Solotroff made a deep study of his very particular vision of harsh noise.
As an exact parallel to the disk OVMN that I have just outlined, "45 Minutes of Rape and Murder" has qualities that can be identified as noise-American whom some called americanoise an obvious reference to the famous Japanoise - to be part of that defining moment that accounted for half of the nineties for the development of noise in the underground of that country. The most obvious thing in common that it has to work is that fascinating evolution OVMN tunnel extending along the length of the tape. While at the same time undeniably the Japanese tended to work on very large noise channels, these two projects the Americans have a completely ignores the dynamics intrinsic to spasm-Japanoise , focusing almost exclusively on a runaway movement , unstoppable in its linearity. Solotroff The track is so clearly geared toward that end you could say at times possessed of a quality ocean, including establishing a certain community with its immanence hypnotic drone. The dynamics are minimal and fade at the enormity of an issue that extends unstoppable, like a lava flow or a tsunami in the static flow directed. Halfway through the track, the insistent use of delay refers to what it Maurizio Bianchi did in his earlier work, these middle repetitive psychedelic, half-horror movie that characterized the first stage of the work of Italian.
In a sense, Bianchi's influence is evident in this work in the formation of a primal sound, very physical and failing states Solotroff keyboards used in its production-and in-depth, careful exploration through the rickety filters that provide minimum modulators such as guitar pedals. "45 Minutes of Rape and Murder" is a very measured and hypnotic piece, a torrent of modulated distortion.
The second track, entitled "Instrumental Demonstration of Death-Noise (Edit / Remix 01)," is an unreleased remix of the two items contained in the original tape and is basically an edit of the item described above.

Mark Solotroff - Archive02 (Bloodlust!, B! 132, 2010)

The second track included in "Instrumental-Noise Demonstration of Death" comprises the bulk the material presented as "Archive02." This song called "The First 45 Minutes After Violent Death to" sordid romp with the name of a classic theme of Coil. The modus operandi of Solotroff here is basically the same: the sound contained in the subject is divided into two layers, a distortion in the sharp edge that holds a chaotic flow, such as static and another in the grave, more serious edge in the previous topic, it is some tone caps contained in the parameters of a delay, deployments for which any claim most of the movement of the subject. The movement is minimal, again, but the result is still another fantastic tunnel noise hallucinogen, supplementing symmetrically "45 Minutes of Rape and Murder." Again, Solotroff remix uses a precedent in this case to close the second volume of this collection.
The first two volumes in this collection go hand in hand, the obvious problem that can not offer the publication of these cuts in digital format without going through the terrible knife seems to have forced Bloodlust! to present them separately, though, is true, as subsequent volumes with nearly fifty additional minutes between the two courts added. It is certainly good for this type of documents that might even be considered lost in the history of noise are finally rising from the dust. How are you two reissues work and OVMN's debut are not only fully enjoyable, but also serve to question the originality of the sounds that today are presented as new. (SS)

Swollen Eyes And Tongue

The dance of the stars ...

Our DANCE OF THE STARS was beautiful ... I assure you the room was filled with stars, was filled with music ... is full of light ...

Best of the dance is not over ... each one went @ with his dance partner ..., with its star to keep dancing ... every time ... every day ... to let go ... let vibrate ... ... left sonar

Many thanks to those guests luxury, stars, come to dance WITH U.S. s. .. And to stay and within each one @ ...

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is the most beautiful thing I've heard in a long time ...
is BEAUTIFUL ...
and BIODANZA ...

I have this afternoon a beautiful session of Biodanza:
THE DANCE OF THE STARS ...

I hope you enjoy all biodancer @ s as much as I enjoyed preparing it ...

let us go, let us vibrate, let us dream ...

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're just the instrument ...

ownership as yours Do not

the flower that you proceed,

but let it flow .

channel is not owned

water is delivered

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you flute, you're not wind

or inspire the melody.

're just the instrument

to whom another guiding hand.

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pay attention to the child I wish we were ... and still present ... hopefully back to look at life with innocence and enthusiasm ... I hope you can live the magic moments ... For our eyes shine again ...

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We can always look a little further ...



What good would that we take these glasses forever ...! we judge least, we would love more ... and feel more at peace ... I think ...