XXJFG


26th February 2014

This is Different

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Being awake is hard, exhausting.

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It crumples the day up. Makes things difficult to see through.

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Air tastes dry. Imagination barren. Soul aches like a hangover.

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I want music that’s like liquid, just pure – to wash everything else away. Music you can heal yourself in.

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When I’m tired of everything and my senses are exhausted – when my psyche is too fucked and even music starts to taste bad and smell bad, there is one group of artists I have utter faith in for rejuvenation.

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Geinoh Yamashirogumi – Gasho Kariboshi-Kiruita

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The artwork is panels from Katsuhiro Otomo’s Akira manga, but the sound isn’t from the AKIRA soundtrack. It’s from a 1977 LP released by Geinoh. It’s impossible to say whether it’s any better or any worse than the AKIRA soundtrack – each and every Geinoh LP is equally as perfect, but all different.

“Always different, always the same” as a man used to say about a rock group. But they always were the same. This is different.

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  1. You may find it in your interest to listen to the first track from Lustmord’s “The Word As Power”, entitled “Babel”. The album features the human voice as its sole instrument, permuted and altered to form the infrasound ghosts he has become recognized for. The melody for Babel is the same as the Geinoh Yamashirogumi track, but sung in a gloslollalic language, drifting through the stirrings of awakening deities.


    Yours sincerely

    -D

    5th March 2014


  2. wow, good spot D! will check it out


    Yours sincerely

    20jazzfunkgreats

    19th March 2014


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24th February 2014

Naturaleza Muerta

petman

(Petman portrait from here)

We were surprised to find that Ondness hails from Portugal. The reason for this is that in his dub techno/jeep beats if your jeep was a spice harvester we find a very English kind of anomie.

If someone wrote it up, it would read like the texts of those who have described the feeling of a mass media blasted, mega-complex society.

If it was going to look like a place, it would look like the parking of a warehouse in one of those mysterious industrial states somewhere in between East Croydon and Clapham, or the back of an office building against which rest transparent bags packed with corp-speak-raped language, waiting for the shredder.

A minute shift in the components of the music – a degree of shrillness in the drums, a twist away from the obstinate rolling of the cardiac bass-line – would transform these sites into platforms for drama or splatter.  This would mean release from our intense focus on their terrible stasis. But that would also be a distraction; it would make them props or phases, instead of protagonists and destinations, dioramas that throb with secret meaning, like mementos in Finn’s stall, or ruins in the zone of Tarkovski’s Stalker.

Ondness – Edit sombra

Ondness’ ‘Poor Man’s Twilight Zone’ tape is out in Where to Now Records.

retrieval

We have been reading the latest issue of MIT Technology Review (on the possibilities opened up by cheap gene sequencing technologies), watching videos of Boston Dynamics’ terrifying mecha, and imagining the deep learning algorithms inside Google’s coalescing brain not as friendly service-providing slaves, but frowning insectoid operators in an assembly line fed with shameful secrets and pathetic aspirations.

The terrible possibilities of all of these developments become apparent when you pump your perceptual frame with darkness, and that is what we are doing with Alex Barnett and Faith Coloccia’s help.

Their ‘Retrieval’ is a device designed to hurl our feeble minds crashing through paranoid networks of dystopian possibility.  Each of its sounds works as a clinical exhibit of the location of the outbreak, just before it happened.

Featuring: The abstracted hum of the refrigerators in a server room or in a lab of blinding white full of sleek machines toiling almost in silence, the understated beep with which those machines log the anomality and the microscopic needles of noise when the prophylactic measures are violated, the rhythm of the infection spreading fractally through the network, and the ersatz-winds of muted epic with which the alien intelligence bootstraps itself into being, flexes its powerful muscles and wonders, where to now?

Barnett and Coloccia – Switch

Buy Retrieval from Blackest Ever Black.

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  1. Also check out Ondness’ tape on Cologne/Germany based label NOORDEN via https://noorden.bandcamp.com/album/pelas-margens


    Yours sincerely

    Kari

    24th February 2014


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21st February 2014

Buddhist Economics

Featuring:

The Body

RVNGNL25_COVER

That artwork up there? It’s pretty great. It slices viciously through the Whole Earth Catalog, knocks it on its side and then stamps The Body’s own text on top. Though what’s especially great is that this new text appears to be the words of a fatalistic God. There’s something furiously sad in the album’s bold white title; like a great lumbering bear of a deity gazing upon the world that birthed it and recognising its eventual decline.

And as this God looks down on the bald head of the Earth, The Body play it a suitably spiky Sunrise.

Our Souls Were Clean is the sound of the rapture if the rapture involved the souls of believers being forcibly ripped from their bodies to sate the ego of a failed God. But before that it’s the sound of tension, of a million John Carpenters that cried out as one and were suddenly silenced…under a thundering Industrial jack boot. A synthesis of Doom and Noise and Industrial in your face, forever.

The Body – Our Souls Were Clean

This is taken from The Body’s album I Shall Die Here which is out on March 31st in the UK. You can order it from the fine folks at RVNG here.

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