Yximaloo?

So Aube continues to rake in the views, oddly enough.  My first (and second) post continues to be the most popular.  So I thought I'd follow it up with more odd Japanese noise (Japanoise).

How about.......Yximaloo?

https://www.youtube.com/watch?v=Aze1s-Ehx-U

To accurately describe Yximallo, I feel like one would have to be on drugs.  There is simply no rational words to describe this acid trip of a musical experience.

To call it music is a stretch.  Like most of the music on here, that can be said, however this is hard to call music even within that context.  It's sort of more like finding some ancient radio at a thrift store, turning it on, and having the last dying breath from it's speakers come out, mixing with rotting wires, faulty electronics, and general disease.  The sound is essentially inorganic, mechanical, and robotic.

Then alternate of his tracks are firmly rooted to actual music.  Although backed by his odd voice, some of them could almost be mistaken for an odd take on a folk song.  This is what truly marks it as weird.  Were it just odd noise music, well, there's plenty of that bullshit.  But to have an element of folk and childishness to it, that is genuinely a WTF moment.
I speak of this track:
https://www.youtube.com/watch?v=o8eK9AJ8d68

Almost like the closest thing Japan might have to Tom Waits?  In that really weird, every song sounds like a really bad acid trip/hangover sort of way.

I have about a dozen track by this dude, he's impossible to find much information on, and surprising her has actually played live not far from where I live.  But I didn't see him, this was years ago.
Anyway.
Enjoy.

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.

loud volume:  http://www.youtube.com/watch?v=VNJP6FlKFPo

max volume:  http://www.youtube.com/watch?v=eahr5DtIiRU

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:
http://kobyla.bandcamp.com/

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

The "Other" Kevin Drumm

Quiet Noise should be, and now according to this website is, just the introduction piece to Kevin Drumm.
Much has been written and said about this titan of Noise music, from his early beginnings to the current day.  Prolific releasing, a huge Noise release that has been rated as one of the top of all time, and constant experimental music releasings with other musicians have strengthened his influence and his fan base.

His beginning was part of this whole "quiet noise" idea, the self titled Kevin Drumm came out and was recognized for what it wasn't was, vs for what it was.  What is wasn't:  loud, abrasive, ear-torturing noise.  rather it was quiet, droning, and static-y with jolts of sounds and long periods of questionable sound soaring everywhere.

He followed it with Second, Comedy, and several pairings with musicians like Taki Sugimoto, Martin Tetreault, Ralf Wehosky, Peter Rehberg, and Brent Gutzeit.  The majority of time he still seemed to be focusing on the quiet, the sickness that was involved in the anticipation for music, the anticipation of the onslaught of sound.  He turned a very sharp corner when he released Sheer Hellish Miasma in 2002.

I highly recommend the written review on Pitchfork:  http://pitchfork.com/reviews/albums/2465-sheer-hellish-miasma/?utm_campaign=search&utm_medium=site&utm_source=search-ac

This may just be one of the most intense, varied, crushing releases of all time.  The strength of the noise is pure, the motive is destruction, and it is more than satisfied.  What I find most fascinating about this release is that is far more structured, measured, and thought out than pretty much any other noise music I have heard.  The release works terrifically as a 4-6 song release (in the three different releases of this album, the number of tracks has varied).
 It also, however, works great as just individual tracks.  The tracks all have different "themes".  Track one, (going off of the 5 song, second release of the CD) is "Impotent Hummer"  presents a repeating drone sort of vibration sound with a crisscross of noise overlapping it, constantly changing and giving the drone either emphasis or drawing attention away from the drone.
"Turning Point" is a short, sweet number, a jumpy little bug of a song that is slowly overshadowed by a noise screech.  "Hitting the Pavement" and "The Inferno" noise it up, as long beatings of noise sink further and further into your skull.  A barely recognizable trumpet is introduced into the noise during Inferno and it somehow fits in perfectly with the rest of the noise.  (for more interesting noise music with trumpets, check out the Kevin Drumm release with Axel Dorner, or Fennesz's release with Max Nagl)
he ends things perfectly with "Cloudy" a meditative, calm-after-the-storm type track that is just the right length, as a drone at this point would feel out of place.

Kevin Drumm started to have more releases, and a barrage of noise heavy experiments.  In highlight, the beautiful Imperial Distortion explored both heavy and softer tones, while the deluxe 5 CD Necro Acoustic explored older, less available material of his.  He started to self release titles in 2010, and now a lot of his hard to find material is on his bandcamp website, http://kevindrumm.bandcamp.com/

Enjoy
https://www.youtube.com/watch?v=8ZqoALeiJ24

Quiet Noise: Kevin Drumm

There is a subgenre of noise, and it is truly still noise versus being "ambient" or being "electronic".  This subgenre does not have a lot of subscribers to it, mainly because it is hard to master.  But the preliminary master is Kevin Drumm.  The music is what I'm going to call Quiet Noise.

No, it's not just noise music with the volume turned down low.

The essential part of quiet noise must be the darkness, the foreboding presence to be felt.  You might be saying, but then what is Dark Ambient?  Dark Ambient is different because it is more structured, more built around "creepiness".  Quiet Noise exists because like noise, it is structure-less, impulsive, and if it did get loud enough, it would qualify as noise music.  

Kevin Drumm has released many a noteable album.  He is one of the front-runners of the American noise music scene, and a very intriguing dude.  He started to release things via his blog website a few years ago, always limited, usually via CDr or cassette.  Many of these releases are ultra limited, so if you're interested in them act fast.  http://recreationalpanick.blogspot.com.ar/

Anyways, they really change up what the "theme" or "type of music" they are from release to release.  You might buy one and hear a droning, processed accordion (The Kitchen), you might hear fragments of electronic bustle (The Back Room), you might hear an intensely quiet "barely there" whine (Blast of Silence).  It is these later releases I'm focusing on now.

The real start for me was "Twinkle Toes"  which even Kevin described as "airy romantic bs".  It is just that, barely there, single blips of sound, and a throttling background of what sounds like a police siren slowed down about 200%.  It's music that I don't know how to understand, it escapes all rudimentary classification.

Following in its footsteps were "Moving", "UGH", "Quiet Nights", "Tannenbaum", and "Earrach".  I think "1983" is going to be the same, but I have yet to buy it (I know, just kill me now).  That's okay, I literally opened up a new tab and bought it just now.  So there.

I don't know how else to describe this music or to extend to you, my casual viewer, that is is very unique.  Especially if you get your hands on Moving.  I have only heard an excerpt (I don't buy cassettes, sorry!) and it's amazing.  And I would love for anyone with a copy of UGH, to just add a description of it, online, for the rest of us.

https://kevindrumm.bandcamp.com/

https://www.youtube.com/watch?v=RgCHrPdSUvg

Each man kills the thing he loves

I know, this is cheating.  I know, this is one line from one song.

The song:  Yukihiro Takahashi The Core of Eden, which is also on YMO records.  But I just love this track.  I love this track, I love Takahashi, and though I already did Yellow Magic Orchestra once, I just can't seem to stop listening to this track.  And oddly enough it's mostly because of that one line...

"Each man kills the thing he loves"

Takahashi's voice dips in pain at the end.  His voice carries a strength that emphasizes just how easily it can be defeated.  Its a wavering, undetermined, very weak and vulnerable voice.  It shows us all the reality of love.  Love is not a strong worldly power.  Love is a delicate, fragile, easily misplaced and overlooked thing.

Love can't change the world, love can't save a life.  Love is a porcelain vase standing on a towering pile of toothpicks standing end on end, the slightest breeze or sneeze sending them all catapulting toward the end of existence.

Each man kills the thing he loves.

Taken from Oscar Wilde's quote in A Ballad of Reading Gaol.

Oh, and I didn't even touch on the chorus, "This is the end of the Earth"

http://www.youtube.com/watch?v=bFfH8n1rEAQ

Michael Morley: Gate and The Dead C

So recently I've really gotten into the sound of blurred guitars, vocals, drums, and noise that is New Zealand's Gate and The Dead C.  The man behind both is Michael Morley.  I'm going to go on a rant right now, which is at least a bit related.

If you are in the music industry, or any industry, or alive, USE THE FUCKING INTERNET!  I could've seen Michael Morley live!  Recently! Apparently he was literally just in San Francisco live at the Great American Music Hall.  What the fuck.  Unless the website I found was wrong.  But seriously, I don't research what is playing every single week in my area, because you've seen my blog.  99% of the shit that plays I don't care about.  So that means when an artist I care about comes, unless they have an online presence and mention it, I am likely to miss them.  Case in point:  I saw Fennesz when he came to SF because it was on his website.  I missed Michael Morley cause he has no web presence.

Anyway.  That aside.  I love static soaked, low-fi sounds that reverb the fuck outta the listener and crumble away just as they begin to make sense.  Michael Morley, apparently, is also a fan.  I got into the Dead C and Gate just recently, and it is a unique moment for me when I listen to something for the first time and alreayd know: yes, I'm going to love this band.  I am going to love The Dead C and Gate.

They are different in their styles and intensity.  let's start with Gate, cause that's where I started.  Gate: The Dew Line.  This is more drum-free, more noise soaked approach to music.  The droning groans and distorted instruments lull you into a trance like state as they simultaneously ease you down and build you up.  it's strong, somewhat undefinable harshness yet extremely calming and accessible.

I like the vocals in this a lot.  A mixture of shoegaze, and just pure "I don't fucking care" vocal approach, and the lyrics seem to be a bit out of nowhere.  Morley sings, "I needed all the words..." for no apparent reason, or at least none I'm aware of, on the track "Needed All Words".  All of the lyrics are similar, feeling disembodied, unreal, another part of the surreal dream that envelopes you as you listen to this music.

Dead C is like the Skullflower of Bower's projects.  Those of you who are like "wtf" this means that it's Morley's more typical band like approach to music.  With a drummer, and another guy, they create as normal music as you'd expect.  It too takes the low-fi, drenched in decay approach.  It is equally bizarre on different albums, the style changing from garage rock to extreme noise, to just plain strange (I'm looking at you, The White House).  To say that this music is easy to define is a huge mistake.  It is constantly changing, and it never does the same trick twice.

One this that it always is, unique.  Unique, interesting, diverse, and enlightening.  Here is a small weird selection:
http://www.youtube.com/watch?v=CId7PZ1Oobw

http://www.youtube.com/watch?v=2QVelULWPFY

http://www.youtube.com/watch?v=b1yeukmSo4k

http://www.youtube.com/watch?v=7KhdrGJIasM  (same artist.  weird, right??)