Sonny Sharrock was an American guitar-maverick/revolutionary who inspired by the turbulence & absonant progression/permutation of John Coltrane & Ornette Coleman (& others) transfused what is to me the earliest form of Noisecore through the prism of chronic Avant-Garde Free Jazz Expeirmentalism. Imbued by the saxophone as a leading solo instrument, Sharrock created his own approach to the electric guitar, adhering loosely to the same antiphonic expression & intense extemporization as colossus saxophonists in The New Music/Avant Garde. During the mid-sixties he performed in session with Marzette Watts, Herbie Mann, Pharaoh Sanders & incredibly even Wayne Shorter (on 1969’s excellent Super Nova LP) before finally recording his debut as a leader “Black Woman” on the Frisco label “4 Men With Beards” in 68. Sharrock’s indelible supra-progression was largely in his course, anti-phonic, aggressive & ludicrously advanced methodology of guitar playing. At his most abrasive & “out-there” sections of Sharrock’s mid-sixties cacophonic-clarion sound, very literally, like modern-day Noisecore, Extreme Music, Improvisational Noise, Harsh Experimental genres. I find it difficult to overstate his precocity, the guy was there in a developed stage decades before anyone else (certainly to my knowledge) was doing anything like it. again, even comparing these bouts & techniques to neoteric “Noise” assimilating rubrics, this guys ridiculously futuristic & astoundingly-atypical playing style & compositional approach is so far forward it’s hard to believe, & I see his unique innovation & musical hostility as the first incarnation of so much modern “Extreme” music from Metal to Noise & it’s sub-strata’s. Continue reading Sonny & Linda Sharrock – Teleport & Time-Warp→
Ok, so there’s two groups that you have probably never heard of, unless you are one of the most tenacious, autocephalic, crypt-raiding, independently-sourcing & intransigently-intrepid LURPS-like deep-density-explorers running off the kind of pure renegade fervency that so’ so rarely finds a host in today’s barren paste-land of tube-fed monopolized-media miseducated morons & couch-negatos.
There’s always someone that transcends logical progression & will jump a whole series of evolutionary frames & drastically escalate or indeed, upend entirely, the genre or rubric they are operating in. These two incomparably mutated outfits redefined the whole sonic-scape & took the whole professional-demolition & “Anti-Listener” decimation proficiency to a barely fathomable vertex with tons of idiosyncrasy & lashings of perfectionist experimental birth defects & phonic deformity.
5yv new jolts rippling with unfathomable destructive prepotency & stuffed to bursting with hysterical femininity n’ insatiable Gunk frenzy User-Hostility, painfully pushing the body way beyond it’s natural abilities & thresholds resulting in truly cataclysmic & totally & utterly unrivalled pink-pandemonium-punishment & acme-ambulance utmost urgency. Chappa’ai really smash, bash, tear, rend, bray, mangle, shatter, demolish, level & tear down with inveterate Anti-Listener Torikowashi Blast-Noyz Gunk. Released on Tetsubishi Gob-Stopper Tapes, with lovingly hand-made sleeves, in a green cassette case, on a “plucky” pink cassette with hand sprayed on-bodies & limited to 377 individually numbered copies.
Further disturbance from veteran Tokyo turbulence trisectioned by/with/on/amongst “classical” genres & quality musicianship slamming headlong into Noise-Blur, Gunk expertise unt splendido spastication & non-musical No-Skool-Noyzcore spasm-spate & involuntary convulsion, projectile perspirations & priapism (probably, poku-poku). Excellent recording clarity, six new studio recordings & six live cuts from a recent central European tour, on Y-Records Japan. Ryohei/Y-Recordsnoise.email@example.com
Reforester-Sylvanic Sprawl Demo CDR:
Lofi, berserk, unforgiving Torikowashi NoiseGrind venerating trees, forestry & non-urban existence. Fucking fast as a mad beast of myth, non-stop (literally) ultra single-foot blasting from super sinews with improvised Grind, Noise & Metal guitars zipping through the foliage alongside. The ultimate verdant speed blast attack. Released on Kaz Records, Slovakia & limited to just 56 hand numbered copies. Rado/Kaz Records – firstname.lastname@example.org
Eradicate the evidence! Myth-manufacturing & selective documentation. Supress the remnants, concrete it over & set-up shop flogging the approved specimen where the temples once stood. It’s easier to look radical/unique/vanguard when all your peers/predecessors have been redacted, especially the formidable one’s. This is how the music industry generally likes to do it (these sub-human politician scoundrels too). So we go back to the truth, back to Choice, Bitches With Problems, Hoez With Attitude, Bo$$, Ghetto Girls, (Me-naj-ah-twa) & others for the true account/derivation of the hardcore female MC. How in the dastardly such originators have been expunged from the history files is just another shocking & unforgivingly shitty crime/further proof of the music Industries complete deficiency of commitment for the arts, quality or originality & the female MC’s that kicked it straight up the arse before Lil’ Kim got anywhere near a microphone. Nothing new there, but these warrior bitches & their almost total excision show the scale of unimaginable subterfuge/ignorance of industry failure & malpractice, underscoring an especially rank impression. Stunted off industry swill, historians/critics/writers/journalists seem to think/collectively assert that Lil Kim, who’s debut “Hard Core” surfaced in 1997 (that’s late on the scales), was the first female “hard-core” (explicitly raunchy, profane, hardcore/ganksta) Rap album/artist. Dunno’ where these deluded exegete’s get their deplorably erroneous shoddy-as-shit misinformation, but this is an out & out lie/irrefutable fallacy. To quickly clear something up, the lesser extreme female MC’s preceding Kim were artists such as Yo-Yo, Queen Latifah & MC Lyte. But none of the aforementioned were very vulgar, extreme, slab & hardcore. They were not exactly soft but there was a well-defined ceiling on their extremism, a respectability & a decorum benchmark that they would not exceed (which is respectable enough, I’m not criticising any of them for those artistic decisions just clarifying their intentional limits). The pre-Kim posse of female MC’s that completely fucked it up from a certified street perspective was Bitches With Problems, Choice, Hoez With Attitude, Bo$$, The Ghetto Girlz, The Conscious Daughters & (me-naj-ah-twa). Some have issued brilliant material, some cult classic, but due to the deplorable quality of journalism, industry conduct & disrespect for the craft/parentage have largely been excluded historically despite ground breaking contributions that will still knock a mothafukur straight into intensive-care. So lets set the bloody rekad str8 on these bitch-ass desk-job jerk-offs that don’t kno their arsehole from their mouth-piece…..
Just when yu thought it wuz sayf 2 come owt wit shabby as fuk gender stereotypes – Phlegm Fatales pt-2, full reviews of Choice-stick n move, The Ghetto Girlz-ain’t taking no shit, Hoez With Attitude- az much ass azz u want & Bo$$-born gangstaz on Bleg!
Implausibly eccentric extremists Bollock Swine recently resurfaced from years in th pink custard with new releases & material, once again gashing new realms of ridiculousness with their unmistakable extemporaneous BlastBlurShredNoyzAvantGunkVacuum-Screamcore fluster-deformation. This exotic intensely divergent clamour of unbelievable Neko-Neko-Noyzcore nonsense debuted in 2004 with th double CD Empress Orchids Joobachi Quantum Drive Indictment Committee on Tetsubish Gob-Stopper, joining arguably th words smallest musical minority of th No-Skool-Noyzcore/Gunk outlaw guild such as Nee, Final Exit, World, OPS-PSF, Himitsu King & th harsher high qualities Wage-Slave Exchange & Nikudorei at their brief & best moment. BS was th only band to heed th call of absurdist Anti-Listener drum-machine enhanced champions Asscavern & Jet Jaguar KR3 Kill Spree in asserting th whole “inhuman” escalation & intensification by rivalling & even exceeding these machine enhanced Noisecore revolutionaries. “Tatsumaki” or “Blurbeat”, playing a two-handed blast-beats on th snare whilst one arm flits back & forth between a cymbal saw pretty much all th inhuman drum-machine & cyber-grind bands usurped in tempo, bpm & stroke. Bollock Swine blast harder, faster, longer & with more blast & blur variations than any other Noisegrind, Grindcore or extreme metal groups, underground or overground.