Expect blown out noise and blast beats, like an ultra lo-fi version of One Handed Christ Destroyer from the Blockade Unearthly Trance split but with more variation in the drumming. Influenced by World and the like and the last song, which is by far my favourite is apparently an Ildjarn cover.
If you want to relive (or pretend you were there) the days of receiving obscure noisecore tapes from far away lands (hey, Ohio was pretty far away when i lived in Newcastle) then this is probably the nostalgia trip for you.
Nostalgia or not i enjoyed this release a lot.
Urine Cop also played their first and last ever show recently which was a great night out; Cannibal Ferox 35mm print on the big screen followed by a power electronics show just up the street.
Eric did vocals at the end of the set, i wish he`d do more. Every single time i`ve seen Eric do some vocals he`s totally into it, then just loses his place, laughs to himself off microphone and gives up. You can usually anticipate him wrenching all power supplies to his noise gear out of the wall within about 30 seconds of this occuring.
True Music for True Music fans.
Also playing that night were Disgust. There's been a Norton/ Disgust split tape lost in the works for a while now though i understand it's actually coming out shortly.
It was cool to hang out with Mackenzie from Disgust, he's someone who clearly understands the ritual function of art in working through different aspects of personality. I'm not refering to either of the common cliches of catharsis or the interminably crappy "if i didn't play in this band i'd go out and kill people" schtick.
Our understanding of violence in the world match up at the edges and it was interesting to hear his views on the nature of God; i hadn't considered his perspective before (we're from vastly different cultural backgrounds though which has a lot to do with it)
So far this year i think by far my favourite live experiences have been Swans (Toronto; New York wasn't nearly as good) and Autopsy; as i'm getting older i'm suprised to find myself wanting a little more spectacle at shows. Disgust is actually the third most enjoyable live experience i've had this year.
Four guys huddled tightly around a table with a handful of noise equipment; unnassuming, focused, hostile, unconcerned with anything in the room except the table and each other. I feel they would have given it as much had they been playing to no one. There was something intangibly honest about the whole thing that sat well with me.
Power violence dynamics applied to noise and it was everything that a power violence performance should be (and is sadly lacking in most).
Disgust understand the core is the intent; not the useless trimmings holding it together, they come secondary. Genre as a vehicle for greater expression.
Also highly recommended is the Constrictions tape; more power violence approaches to power electronics
Download their demo here and the Zero Discrimination tape here
11 comments:
For the nerds: Urine Cop tape should be on sale in about a weeks time from me for those interested? Keep your eyes peeled to the I Heart Noise board for info....
For Andy: How deep into the noisecore scene were you in the 90's and do you keep up with the current scene?
David, in the early 90s i was fanatically trading, buying and exposing myself to as much of the world of underground culture as i could and got lots of weird noisecore obscurities for my efforts. I loved the energy of it, but i can't say i was much of a deliberate consumer. (Do i really sound like Digby Pearson now?)
7MON, Anal Cunt, Aunt Mary, Deche Charge, Minch, Sore Throat, World, Extreme Hair Stench, Pile of Eggs, Meat Slave, Traci Lords Loves Noise
etc etc
loved that shit
The current scene is something i don't follow, though i thought that Endless Humiliation record was amazing and very noisecore esque in parts.
Thanks for the updates.
I would totally love to see a actual celluloid version of cannibal ferox, or anything from italy from italy in the late seventies, early eighties.
Your post made me wonder, why hasn't there been more of a partnership between exploitation filmakers and underground music? Or maybe more accurately, why aren't the two put together more often? I don't mean soundtracks (the introduction of metal into horror movie scores was probably the worst idea in the history of the genre), but with digital projectors about the cost of a P.A, one would think there would be more instances of kids setting up shows with "the house on the edge of the park" playing afterwards, or "the new york ripper" while the bands play. I'd probably enjoy going to shows if it was more like that.
I've heard winters in osaka before, pretty harsh stuff. I'd be interested to hear this release, but I refuse to go back to cassettes. I bought them way past the point where I should have (I think up to 2003) for financial reasons (being 14 would be the main one) and I can't say I miss them. Its really strange that they've been revived. I'm not really sure what people missed about them, the piss poor sound quality or the small art.
That said, I know tape trading was important to a lot of people. And I guess I am a little nostalgic for the cassettes I made my first recordings on.
I ordered the Urine Cop tape. First cassette I've bought in probably 2 years. I don't know how I feel about that.
Ryan, I agree with you re: not finding people's reasons for being interested in tapes other than they're cheap to produce/buy. I imagine a lot of people don't know/care about what sound quality they may be missing out on (and when the recording sounds terrible in the first place, I suppose it doesn't matter) but I also wonder how many people are into tapes just because it's "cool".
Additionally, I checked out Constrictions. I wasn't really enjoying the demo but Zero Discrimination ended up being something nice. I'll be revisiting the demo to see if I can get into it.
i think if you look too closely into peoples motivations for why they consume the things they consume you'll always find the "because they think it's cool" answer and it's probably best not to be too concerned with that angle.
You can rarely ascertain why people do the things they do or like the things they like and if you're not careful you can bogged down in that whole true/ false, kvlt/ poser bullshit that's killed any reasonable discussion of black metal
personally i don't actually care if people do or don't like cassettes and i'm not all that interested in convincing them why i see merit in them. Sitting at the merch table night after night on tour will perhaps do that to you though.
@ Ryan, i've actually been to a lot of events over the years where gore and exploitation films are projected over the bands. Slaughter Strike has played with Fulci a few times now (in a sense...)
Personally i'd rather just watch New York Ripper at home than watch it being projected over Punch (though that clash of values might be worth witnessing)
I think in a sense maybe I'm just worn out. I go to a show and I really am bored most of the time. Even if its a bit gimmicky, anything used properly to create an atmosphere that transcends watching a couple guys on stage living out their thinly veiled rock star fantasies improves the experience for me.
I would be (for lack of a stronger word) really into seeing Slaughter Strike playing with a fulci movie. I tend to sound like a asshole when I talk about exploitation films, but there is one thing I've noticed, and was wondering what you thought about: These kinds of films are kind of incorruptible in the sense that they don't claim any high ideals to begin with. They really haven't been re-appropriated as fashion (as in "look at these crust records and my vegan lifestyle which show I'm a certain type of person"). I think the claims of artistry in metal and ideals in punk (gross over-generalization, of course) are the entry point for people who want to look cool.
Actually I think this goes back to the interview you posted a couple months and the carcass songs on piano. For whatever reason extreme music is currently considered cool. Most people don't like it because the aesthetics adhered to are different than those preferred by the culture at large. I think this tension ultimately leads people to try and find ways to retain that sense of cool while changing the aesthetic to fit their particular likes and dislikes. It also means that they find reasons to justify it to people with no interest in the genre.
I'm having a difficult time explaining myself on this front, but the general question of artistic justification is one I always come back to.
I think film is a harder thing for music fans to reappropriate; the symbols are completely different and can't be wrenched from meaning quite as easily as they can on the relatively safe ground of music.
There seems to be something easier about making inferences that either aren't there at all or are actually completely different from how they're perceived in say, the music of Archgoat (for a totally random example) if you're a peace loving anarcho punk with a love of black metal than there is in navigating some new (often false) meaning in a film like S&MAN (for another arbitrary example).
Does this make any sense? That last sentence was far too long...
I wrote an article for a forthcoming zine by Jamie (from the very excellent band Drainland) under the guidance of "write something about film" recently.
Hopefully it's out early next year. In a nutshell i contrast A Serbian Film (which i utterly hated) with August Underground (which i think in an ideal world would be the only way to approach violence using art as a medium).
It's framed partially in the context of being a member of a culture (a western man i suppose) of constant one-upmanship. Everything i like is faster/ heavier/ louder/ more real deal evil than anything you like. That kind of crap.
I'll look forward to tracking that article down. I'm ashamed to admit, I downloaded A Serbian Film last night and skipped to the parts that disturbed everyone. There was so hype much put forth about some derivation of "I've seen x,y,z, and I thought nothing could shock me until I saw this".
I can't judge whether its a good film or not, but it not only looked incredibly fake, but incredibly stupid. The infant fucking scene honestly reminded me of troma, and I laughed a little bit. Maybe it was because that having seen a real birth, it looked nothing like it, maybe it was the fact that it was a bald guy with kerry king sunglasses that did it, or maybe it was because it was so stylized, that it just couldn't be processed properly, but I guess I don't get why this, and not, say Aftermath is what bothered everyone. I'd be interested to hear why you didn't like it.
That is way off the point you originally made. I think you're right about the relatively simple understanding (correctly or incorrectly made) placed onto music. It's kind of unfortunate because there are bands that definitely purposely portray a perspective different from there own, where meaning can only be extracted through how this information is framed, something not disimilar to film. I guess I'm still not sure mediumistically whether the potential for ambiguity is inherently higher in one or another, but I think its a good observation that there is a definite difference in the approach to it.
i am more excited about disgust than i have been for any other project in a while, p.e. or otherwise. i wish my copy of the new tape wasnt so quiet-sounding, but otherwise its definitely not a disappointment in comparison to the first 3", which is basically perfect in its own right.
im also loving constrictions, as well as gnawed, koufar (obviously), and abnegate. there is actually a good amount of great stuff coming out right now.
Post a Comment