The seminal shockwave. Passion-sodden discordant ictus lurid contumacious mayhem with all the hinges gone & the screws ejected from their cavities. Sharrock & his mad-moll Linda took certain principles further than anyone & FIRST! it certainly did not always work but this classic LP is an excellent display of Sharrock’s churlish Avant-Garde aggression. Summoned to agitate the storm-currents are Sharrock on guitar & vocals, his partner Linda on vocalizations & two French session musicians that were synonymous with the BYG/Actuel collective & performances – Beb Guerin on Double Bass & the excellent Jacques Thollot on drums. there are three expeditions, one with a hugely destructive radius – “Soon”. Side-A’s solitary track is the unsettling & ectopic “27th Day, a sixteen minute plus metaplasia of cardinal Avant oddity. It’s a spectacular, bizarre & intensely estranging experience. Continue reading Sonny Sharrock – Monkey Pockie Boo 12”LP→
So this is actually the initial Sharrock as a leader effort, recorded in 1968 two years before the more widely vaunted Monkey-Pockie-Boo LP. Sonny scrambles Dave Burrell on piano, Milford Graves on drums, Norris Jones on bass & of course Linda on larynx-lallation. There are five tracks on the LP, all splaying to different dichotomies. Frankly, I think all but one are really quite terrible, albeit very interesting & adventurous conceptually. Some of Sharrock’s themes & the simplicity exacted (stripped back acoustic for example on Blind Willie), plus the nature of the totally admirable but (to my ears) lost & unfulfilling experimentalism fail to accomplish substantiation as a complete track. Continue reading Sonny Sharrock – Black Woman 12”LP→
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→
Here’s one of the most staggering, energetically-strenuous, bedlam-hoisting dynasties in explosive bisecting Free Jazz intensity. As independent musician’s these laureates each excel in their own immense pedigree, but as a trio entity they fused & co-founded a hulking opalescent deluge of atom splintering, non-negotiable, prolonged-pandemonium-pummel-prism & volleyed forth a massive concatenation of consistently eviscerating recordings with a reliability & emblem of quality for the most excruciatingly effusive of outbursts. Lead & founded by pianist Yosuke Yamashita, most references encountered refer to him as “The Japanese Cecil Taylor”! Continue reading Yosuke Yamashita Trio-Chiasma, Clay, Up-To Date & Frozen Days LP→
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.
Right so, it’s 1980! & some goons from Vancouver are about to vault a decade or so ahead in some kind of precocious portendral catapulting. Tunnel Canary! Who were active between 1978-1983 & transfigured tremendous histrionic, chaotic wild & fervent horrisonant scream-stippled psychedelic sundry, or using neophyte terminology – “Noise”. The sodality consists of three antagonists – Aleh Kaheen (Nathan Holiday) on electric guitar, synthesizer & “processed effects”, Ebra Ziron on vocals & David Sheftel shifting bass & electronic effects. A massive menu of manoeuvres & modalities are mustered, but heaps of cacophonic, harsh, high-pitched, distraint & turbulent turmoil, string straining fret-foible & guitar grating, searing & psychedelic synths, harsh/super distorted Noise, Feedback, Power Electronics & stentorian frequencies. Continue reading Tunnel Canary – Jihad CDR→
A humungous harsh plenoast through the soviet junk-yard & hypogeal caverns & cave-complexes. Industrial Noise Revival is actually veteran Stentorian Radek Kopel & his recently deceased accomplice Martin Beraxa, therefore “Napalmed”, the long running Czech Industrial-Harsh-Experimental-Noise goliath. There are three colossal tracks condensed into a single eighty minute convulsion. So a band called Industrial Noise Revival delivering three tracks actually is Napalmed providing one sustained voltage & venting. The two musicians tear through troves of equipment & sound-substances, but remain firmly in intense free-fall throughout. It’s basically a blank frame with multifarious noise wandering through it. In that respect, it can become fairly laborious. It seems much more like a demonstration of very cool sounds, phonics & ideas.
Brian Turner is a poet/writer & ex US Army veteran who served for seven years with stations in both Bosnia-Herzegovnia & Iraq. This excellent book extends many ruminations & accounts during, after & prior to his deployment, defined by Turner’s starkly descriptive & stylized writing characteristic. His style is blunt & terse but also verbose, ornate & often abstruse & cryptic with many peregrine qualities. It’s evocative & can be considerably ambiguous, sometimes to extremes, I would not even be uncomfortable with christening it avant-garde on occasion, whereas at others it’s profoundly direct with a literary brutality. Some of the passages are very abstract & have a dream-like/oneiric angle. The book can easily be read for these qualities alone, irrespective of any absence of interest in modern war & conflict. but should a desire for knowledge in the inner-realities of recent conflicts be present, Turner’s accounts contain reams of salient information from his very direct experience of military conduct in Iraq & the muted phenomenon of post conflict home-coming/reintegration into the civilian sphere & demilitarization. Continue reading My Life as a Foreign Country – Brian Turner – Autobiography/Memoir→
City Of Lies is the fantastic debut by British-Iranian journalist Ramita Navai. An exceptionally engrossing book that I scoffed back in a few days due to the massively captivating content and excellently evocative writing ornamentation/style of the author. The enigma that is contemporary Iran (Tehran specifically in this case) has been a focal fascination for me for some time as one of the most intriguing, ornate, tragic, exotic, and contradictory nations/cultures on earth, where essentially a draconian theocracy adnates with the madness of modernity amongst the vestiges of an early empire commingled with trace relics of a mysticism/religion (Zoroastrianism). Continue reading City Of Lies: Love, Sex, Death & The Search For Truth In Tehran – Ramita Navai – Non Fiction→
Classic mid 90’s contagion! Vomit Spawn! A four-piece Floridian mob trisecting Grindcore, Noisecore & vesicating erratic Death-Thrash regorge six barely digested burners of truly wonderful concerted & obnoxious spastication. I still consider this recording one of the best & most original in it’s field, fifteen years or so down the line & it’s clearly going to stay that way. seems that these guys were a bit older than the more common teen upstarts & had a slew-load of prior-experience & honing from bombing about the Keyes with Thrash/Death/Grind bands that probably never got past a few local shows & small scale demo oligopoly. Virtuosity & cultivated expertise are clearly present, particularly from the guitarist who is shit-hot, blur-shredding & thrashing with a real exigence & revelry whilst also pulling classic Metal pinched harmonics & chord-howling into the much more extreme territory of scathing Grind-Blur & Noisecore that generally dominate this EP. As well as totally antiphonic Blur, well-structured progressions & even quite technical compositional components can sometimes be detected. It’s played often so frantically, decked with the typical discordance that it’s easy to miss & just perceive on the whole as a noisy chaotic arse-whupping, but clearly contrived formation & adept song writing has been thrust into the vicious mangling in some sections. Most of the material is fast-picked & the tempo’s are quite considerable for the time. The next adorable genetic-defect is the drummer, Phony Tony who beleaguers one of the best displays of character drumming available. Clearly struggling to keep up with the required tempos, this guy churns out cult, laboured double-kick blasts, obviously beyond his comfort margin, just about keeping the whole thing streamlined through the straining. It sounds like he could derail or go into cardio arrest on the kick-drum mid blast. Not quite tight but just about making the gap & putting every ounce of stamina into it. it’s brilliant! & the trashy drum-kit with it’s garbage can snare & cracked-cake-tin cymbals are a fucking treat. Then comes the vocalist Ern. Lured from the Florida swamps by the stench of human carcasses, this reptile-mutant bellows & garbles unintelligible lallation & Tourette’s-turbulence with an extensive arsenal of hysterical malformed teratoid retch. You’ve got to give it up to this freaks scope & passion, twisting & strangling so many contrasting malfunctions out of his voice-valve & majorly bolstering the chaotic, fast & overwrought songs with even more trauma turgidity & psycho-fluctuation. Superb! Luckily the lyrics are 98% indiscernible as VS’s occasionally funny but extremely bad-taste ultra-unpleasant gross-out shit is something I can really do without, like puke in the skull cap, I really don’t need this junk soiling my fuckin’ thoughts.
That aside, this is a pretty spectacular kick in the chops with so much damn personality & character. As with most VS releases, great comic art abounds. I snatched this EP up pretty early during my entrance into the Grindcore/Noisecore underground & it set quite a standard. I expected to uncover more of the like but reluctantly realized that this kind of diligent, notably differing, effort soaked shit was far & few between. The old Four Tracker recording production & the fact that the guild are overtly so into their music & playing with everything they’ve got as well as experience & adeptness makes this opuscule-pustule really fuckin’ shine, track after track. After this EP, VS switched drummers & switched styles, doing much more straight-a-head GrindDeath which for me was a substantial fall back from this crazy & maverick style of intense overloaded NoiseGrind, spazz-Thrash.
Viscera– were a bunch of dirty degenerates from Australia doing some kind of feculent ScumGrind. It’s pretty terrible stuff but there is definitely a strange originality here with some non-conventional riffing & influences evidently from outside standard Grind canards. definitely not enough to save it from it’s own ultimate shitness though.