Three new releases for late spring/(very) early summer: Circuit Wound, Mason and Being.
Circuit Wound “Symbiotic Cannibalism”
Southern California harsh noise colossus, Circuit Wound brings mosaics of harsh noise fragments, shaping a ruinous landscape of thick and drifting blast clusters on Symbiotic Cannibalism. Jay Howard has been providing fundamental noise disruption since 1999 and to my way of thinking, long been the champion of this important aesthetic continuum in the last decade of American harsh noise and I am proud to be able to release a much needed scalp piercing onslaught into the wild terrain.
Mason “Concrete Mirror”
North Carolina Harsh noise artist/enthusiast who has previously released under the moniker Thirteen Fingers (Self Abuse 2016, Phage Tapes 2013), now performing and recording under the current alias of Mason he delivers Concrete Mirror. Thick and driving cryptic death scrapings, burly skull flooding
frequencies of jutting dissonant slicing tear away into waves of cathedral levels of harsh noise distinction tempered on side B with simmering pandemonium, searing excesses of narrative noise impenetrability.
Dayton, Ohio’s Skeleton Dust Owner & Operator Luke Tandy brings the magnificent Hydrocracker. Throwing down this gauntlet with sublime, omnisource, feedback-laden frequencies giving over to a narrative density, simmering with foreboding textures. Compositions warning of chaos, clipped and airless, churning away a parade of clanging harsh patterns embedded with menacing dissonance. Tracks drifting into thickets of Being’s particular brand of thunderous, unsettling pleasures.
Austin Texas’ Scathing is someone I had the eye-opening pleasure of playing with at the end of 2017 at a fest, I found him to be an instinctually, naturally amazing live performer who to the best of my knowledge has only one previous release on Idiopathic. This release features Kenny’s primal energetic unfoldings of peeling harsh noise, a humid dialog of jagged brain drilling, aggressive discordant noise rippings expertly delivered with a colossal predatory and unrestrained menace. For fans of Sickness, Kakerlak and Macro.
Primordial WoundPure Blight cs oxen048
Empathic, assured achievement from Seattle’s Primordial Wound, Pure Blight’s mesmerizing sorties of harsh noise onslaughts of fried auditory threats. And if you’ve seen Dan live (lucky you!) this release is further, compelling proof of his genius approach towards essential noise architecture. If you are a fan of perfectly crafted, composed harsh noise sonic damage this is very much the tape you want.
Joe & Joecs oxen040
Culled from two live performances in their hometown of Los Angeles, California legendary performers Joseph Hammer and Joe Potts (LAFMS) as Joe & Joe are captured first in trademark anarchic sonic excursions from their live performance from a show in June 2017 with Damion Romero and Hijokaidan at downtown L.A.’s (the) Handbag Factory. Side B documenting their primary aural wrangeling of infinite moments of caustic bliss from a Wof Eyes curated “Psycho Jazz In L.A.” show from November 2017. Extremely proud to be able to put this out thank you to Joe and Joe!
Tokyo based but likely seen in other parts of the world as he’s extensively travelling/performing, Kazehito Seki is, to the best of my knowledge not yet documented with many releases. His live performances center on mouth/vocal + contact mics in a confrontational torturous, feedback-laden compositions carving ambitious sonic explorations of noise suffering, trapping the listener in discomforting, grinding passages. If it’s possible to intimidate and challenge on a recorded medium, Kazehito is the artist to pull that off. Side A features the aptly named ‘Driven Hard’ which is a live document of his 2017 End Tymes performance with Side B track culled from a live 2017 performance from Tokyo’s 20000v venue. For fans of Dave Phillips, Crank Sturgeon and Hanatarash. Artwork by Breathing Problem.
K2 ‘Rainy Tritium 1’ CD
New work from a master of long form compositional excellence, K2’s Rainy Tritium 1 comes in time for what to me seems like a most perfect match for the times; a soundtrack for bleak collapse, broken boundaries of torturous blasts yielding fluttering, caustic textures and exploring an atmosphere of sonic varieties for which K2 is been mining lately. If you’ve seen any of his ambitious Dommune broadcasts from Japan then you’ll likely be familiar with the valedictory density of K2’s aggressively satisfying noise oblivion and if you haven’t, then this full length (60+ minute) 3 track CD 1. Pollution with Huge Lies, 2. MOX, 3. Unpeaceful Song For Rainy Tritium will be most necessary listening. Artwork by Breathing Problem
Unexamine’s 2010 Deserts Dog Our Heels gets an expanded reworking with new material from Danny Costa and Charlie Mumma on this release. Harsh noise brinksmanship is the hallmark of this collaboration’s particular approach to recorded material and if you missed out on the first offering of DDOH on Antropofago Ateo, this is that release remixed, extended and includes new elements plus one completely new track of overwhelmingly violent harsh noise. Artwork by KDM
One of Tokyo’s preeminent noise genius performers, Spore Spawn delivers a release that I am more than proud to present as I’ve been a follower and collector of whatever I can find of his over the last few years. The Spore Spawn/Jah Excretionsplit from his label 16 Shots Per Secondhttp://16shotspersecondrecords.blogspot.jp/ or his blisteringly brilliant Grindcore Karaoke ‘Last Days Of The Invaders‘ release are great examples of his foremost style and delivery.
Ochitsuitara brings any fan of modern harsh noise (nostalgists won’t be disappointed though maybe not specifically catered to) closest to articulating what it is that sets Spore Spawn apart from decades of legendary noise pioneers, his modern myth building utilizing swirling loops of cacophony and squelching stabs, uncompromisingly outpacing any modern competition in his unique patterns of ecstatic jarring drunken fervor and (sometimes) vocal deliveres closely woven into and through electronics culled from homemade disused gaming controllers. Just harsh as fuck. All measurements of harsh noise enjoyment of this genuinely gifted noise artist will be vastly rewarded and on abundant display on Ochitsuitara.
Longstanding project of Los Angeles based Hungarian native Sandor aka ANDORKAPPEN who in June of 2016 delivered a set at the Los Angeles edition of INC 2016 which I later asked (and am happy he agreed) to have as a release.
The resulting cassette Temples Of The Unvirtuous contains the track as performed plus a Side B version which contains the studio elements used as source for that performance; sonic subversion- undiluted deconstructive consciousness of thick lines bursting forth in an uncomplicated march of nightmare textures, bars of tempered loudness chilling figures of black ash, muted alien settings hosting ambivalent beauty awash in a sustained muted swirl of cannon thunder.
$6 Order here
One of my favorite Tokyo based noise artists, Leecher is an artist dedicated to a modern study of harsh noise in live and recorded contexts and this release features one of each. Side A of ‘Retfa’, showcases Leecher’s instrumental powerhouse and compositional excellence delivering extreme patterns of noise salvos weaving in and out of sustained silent avenues which un-mercilessly deliver an Alien birth of multiple jagged uppercuts of blistering harsh noise in sporadic conservative blasts. Side B is Leecher unchained in a delivery of blunt and powerfully heavy vectors of a complicated but thorough death to silence and along the way breaking cranial communications over an aurel wave of nightmare patterns.