Wednesday, April 30, 2014

Prurient "Mash-ups"

So.  Prurient could almost be described as death-core grind-metal meets synth-pop poetry.  It's extremely hostile at time, defiant, and in your face.  Yet it's also catchy, sing-songy, and somehow innocent.  It basically defies all logic and all understanding and smashes you in the face with its weirdness.
"If I could, I would take a tree branch, and ram it inside you.....but it's already been done,"  Dominic Furnow says, as innocently as you might ask someone how their day is going.  It's demented, it's creepy, and it's simply amazing.
But his "mash-ups" or the releases where he is accompanied by other artists always bring a fresh and deep vibe to his music.  I have specifically listened to:
Hototogisu and Prurient: Snail on a Razor
Kevin Drumm and Prurient:  All Are Guests in the House of the Lord
Burning Star Core and Prurient:  Ghosts of Niagara
Sutcliffe Jugend and Prurient:  End of Autumn

I was initially introduced to Prurient through Kevin Drumm (please see the two Kevin Drumm reviews in this blog) on the amazing All Are Guests in the House of the Lord release.  It's intensity, the reserved-ness of it, the sheer abolition of restfulness, is something unmatched in my opinion.  Whether it is the two musicians working together to create it or it just happens, this release has a sort of a trepidation to it, and uneasiness that fucks with your mind.  It makes you think the music is both really loud and very quiet, really scary and yet relaxing.  Very chaotic and yet soothing.

It is matched by the excellent, super long Ghosts of Niagara.  I am just sort of getting into Burning Star Core and C. Spencer Yeh, and this is what I would call a necessary step into the BSC world.  It's less vocal than a lot of Prurient releases, and sometimes when the vocals are there they are warped and completely incomprehensible.  But that's good, I think, as it makes the vocals more like the distorted fuckery that is floating around in the music.

The Hototogisu release I would classify as "weak" and or "needs to be listened to again".  I tend to dislike that version of Matthew Bower's music, it's too drone-oriented and "shimmery" for my taste.  The addition of Furnow helps, and I'm glad that these guys teamed up, but it leaves something to be desired I thought.
And as far as End of Autumn, I have only heard a bit, but it sounds promising so far.  Very dense.

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Thursday, April 10, 2014

Кобыла и Трупоглазые Жабы

So, my translator is probably broken as fuck, but the band name here is "Mare and Toads Trupoglazye searched Cesium found late morning Whistling Henna" also known as "Кобыла и Трупоглазые Жабы Искали Цезию, Нашли Поздно Утром Свистящего Хна".

I discovered this group, who knows how, just recently.  So as I said in my Gate write-up, something has to make quite an impact for me to write about it right after hearing it.  And in fact, I've probably only listened to about 15 minutes of this group, but I find it odd, and to my liking.

It's likability comes from a simplicity in the type of music.  Clearly made from a drum machine, simple synthesizers, and a bass guitar sometimes, it's melodies never get overly complex, and ease of the sounds gives the vocals an odd company.  The man behind it, whose first name is Anton (he goes by the nickname "Mare"), definitely has a strong and durable voice, it's riddled with a sort of strength and odd sound that you just don't hear much.

The tracks have an industrial, rhythmic feel, very measured and precise.  This clashes well with the unpredictability of the singer, who is quite sporadic at times.  Other times, it fits right in, keeping time as exactly as the metronome drumbeat.  It's the minimalism, and the vocals that really drew me into this artist.  That and the fact that all of his releases are available for free online.

His only music video is very fun as well, check it out here.

Check out his bandcamp online at:

The first release it defaults to, Саяны, is really good.  I especially like the first and the last track.