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.firstname.lastname@example.org
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 – email@example.com
Yet another superb album from the incredible Sam Rivers. This 1979 recording drafts the exceptional talents of Dave Holland on double-bass, Thurman Barker on drums & George Lewis on trombone serving seven sedulous, versatile & dynamic tracks encompassing cryptographic compositional pieces, roving free-form & Avant-Jazz.
Here’s an outstanding example of why Roscoe Mitchell represents such a distinctive & singular plenary of terminal sonic extremity, quite clearly unmatched by any other saxophonist past or present. I am not exactly sure when Roscoe’s pioneering “circular-breathing” specialization emerged, but it seems to have surfaced in the eighties, instigating with an already explicit mastery/quality that presumably was perfected “off-record” before being unleashed. This remarkable four track album seems to be determined to austerely affirm & assert this technique/phenomenon from his inexplicable expiations of receptor shattering overdrive & overwhelming obstreperational onslaught. Think of ten minute tracks in the form of one giant diatribe, dissertation in destabilization with terrific quite literally almost unimaginable intensity in overextended euphoria & efflux that neither abates or relents & somehow manages to expand, in an inexorable periphrast of ant-upping, self-usurping invention that defies belief. Continue reading Roscoe Mitchell – The Flow Of Things→
Here’s a real esoteric erogenous oddity for die-hard crate-diggers & vault-robbers. Japanese poetess Kazuko Shiraishi delivers sensual, stern, spectral, ritualistic poetry/spoken-word/incant engirdled in richly atmospheric Avant-Garde & recherché Jazz derived oddness & ambience. Kazuko has convoked a wonderful collective with Abdul Wadud on cello, Buster Williams on bass, a percussionist by the name of Andrei Strobert & the elite virtuoso Sam Rivers on multiple reads & piano. This is undoubtedly an exceptionally novel record! Sam’s contribution is enough to swing it for me, but the erotocentric enigma Kazuko, cantillating like some kind of witch-seductress compels an allure of it’s own with the other musicians further fortifying with excellent contributions. I am uncertain as to whether this LP was recorded live or in pieces as a selection of independent over-dubs? All free-floating ambulation’s encircle Kazuko’s recitals, evidently with no premeditation or script.
Dewey Redman is an often unmentioned & overlooked arch-potentate of manic fully-frenzied tempestuous Free-Jazz & challenging Avant-Garde experimentalism as well as an almost paradoxical much more traditional formula of Jazz & Blues. A set of Redman’s early records contain a considerable flurry of fierce & mucronate tracks/compositions which from my fairly extensive study of his back-catalogue are massively reduced in intensity & adventurism by the mid 70’s as his craft underwent significant amelioration & restraint.
Here’s Dewey’s 1975 (recorded in 74) follow up LP to 73’s “The Ear Of The Behearer”, still fuliginous from the scorch radius. On Coincide the same line-up is conscripted (minus the extra Cello player & Percussionist from the previous outing) & also with the adjunct of Leroy Jenkins on violin. It ignites with Seeds And Deeds, an expeditious explosion of exhilaration & elation. As with before, this chaotic outbreak of erratic & acutely accelerated Off-Road euphoria is expelled with immense effusion from all accomplices. Lavish octopus-limbed percussion from Eddie Moore rains a “deconstructive” downpour of ceaseless precarious tumbling & invigoration as the base foundation for all manner of group/duo & solo summary exasperation from this fantastic gathering of sonic extremists. As usual with Dewey, it’s crammed to the rafters, rathe, delirious n’ deliciously cavalier & debauched with it’s excess of energy, flammability & flamboyance. The playing from all members is exquisite & the roof is thoroughly incinerated.
Here’s yet another fantastic display of stringent pyromania from the maverick Chicago collective & their first-class convulsive bedlam & eccentric Jazz/African/Avant-Garde medley. The album sounds to me like one track/take, that’s split over both sides of the LP but is noted as four separate pieces on the sleeve.
The A-side unfurls with lively African orientated percussion drenched clamour but proceeds into quite a subdued almost diffident juncture (certainly for the kind of inflammatory & exceedingly idiosyncratic ebullience that AEOC were so famed at compelling), messing more with sounds & atmospheric experimenting, seeming somewhat an instigation or warm-up.
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!
some years back Marco of Zas Records (lyk eight years now?) alerted me (after a mutually declared predilection for cult 90’s CyberGrind band Hate-Box) to the antagonists latest project, the thermo-phenomenon that is Divelto. i ended up with a succession of 3 tapes of the most brain-fuckingly awesome & genre-challenging Cybergrynd which i now conclude is th best i have heard from the Cyber-circumference. this material would eventually result in a split CD release on Tetsubishi Gob-Stopper years later. the stupendous individualism, drastic innovations & just sheer audio-brilliance that is Divelto are volleyed from the atrabilious coenobite passive-misanthrope that is the dastardly Fulvio Diverio & the following interview was carried out ages ago (2006) by a cluster of hand-typed letters (from his end at least) on ancient asymmetrical yellow paper…this is everything the underground should be –
Here’s one that’s very difficult to forget. Two unhinged & remarkably vicious MC’s assaulting with a psychotic misandry of almost unimaginable venom & runaway aggressive animus. I think these girls have been through a lot!!! The level of anger (bordering on apoplexy) which often sees the protagonists shouting into their microphones & the sheer extremity of their pretty much perdurable invective constantly splashing acid over testicles. These girls stomp so much cock & lop so many scrotums they end up making bollock chutney! It’s not just men that get cursed into the coffin, battered, shot & humiliated – massacring harassing police officers, whilst menstruating female boss’s & jealous bitches get utterly annihilated by these extraordinarily offensive & massively flagrant vulgarity viragos. To say this album pulls-no-punches would be a catastrophic understatement, it’s a ceaseless murrain of extremity fired at close range, either by absurdly pugnacious aversion or utterly salacious profanity. this may well be the nastiest most sexually explicit Rap album of all time! Seriously! Despite all the awful venereal horror that’s spilled out in the Rap world, I don’t know anything that’s as ridiculous as this album. Yu only have to listen to the ludicrous Is The Pussy Still Good or Teach Em with it’s revoltingly graphic excesses. it’s funny to think that regardless of being outnumbered by thousands of male rivals, the girls out-did the boys in terms of staggeringly explicit conduct. The anger & poor self-control levels also need to be noted as these girls are berserk! If you enjoyed the intensity of raw ultra aggressive Vagrant classics like The Geto Boys-s/t album, this heated, violent-altercation themed instability level that constantly escalates into shouting with tons of hate-saturated inflection infused into certain expletives will split your jam-jar! It’s completely over the top, clearly genuine & to me utterly brilliant. The group consists of the callous as fuck Lyandah who dominates the bulk of the album & also her psychotic apoplexic Brooklyn sidekick Tanisha. Mark Sexx, an obscure DJ/Rapper & producer from Miami (I think both the MC’s are from New York) who produced the album & released it on his No Face Label (& who supply’s some brilliant cameos on this album) graces the album with vintage early 90’s sample based beats. The album is a complete riot, utterly out of control. All disputes & gripes are resolved in the most extreme fashion imaginable with undeniable flair & confidence. Even on We Want Money, an appalling display of chronic materialistic female avarice at it’s most unforgiving apex, I can’t help but love this shit, delivered in such an irresistible brash, raucous & humorous manner by Lyandah the serrated, poison-dipped battle-axe with a spiked tongue that can strip flesh at sixty paces. Sexually impotent men are mass-slaughtered on Two Minute Brother & No Means No, whilst on Hit Man with an eerie 80’s synth sample Lyndah facilitates the shooting of two dudes in emphatic enmity with horrendous proficiency & deliberation to make any dick wilt. on Shit Popper, her response to domestic violence is to stealth into the bedroom & shoot her sleeping man in the head (3 times! just to be sure). The rapping from both MC’s to me is grade-A crude, & if you like the extreme hardcore oldskool shit with the intensity dial on max, this will pop ya’ cork! It’s a shame there is not more from Tanisha, but the little that she gets in leaves resounding damage, she is outrageous! This album/BWP is a crucial piece of Rap history. It’s too extreme to ignore as well as to me clearly being a hardcore classic with a terminal hostility that’s literally hard to contest. Also it’s importance is amplified by the fact that IT’S TWO FUCKING GIRLS!!! I honestly feel that you can competently put this up against any X-raided, Geto Boys, Convicts, Street Military, Too Live Crew, Convicted Felons or any of the coarser, nasty, hyper-aggressive, copiously offensive Rap albums. These girls/bitches/evirating warrioress testicle-cutters are totally obscene, I can’t even listen to trax like Is The Pussy Still Good & Teach Em regularly because even i find the stuff too much/foul!
BWP would return two years later with Life’s A Bytch in 93. In one of music histories most astonishing episodes the album was banned & confiscated before it hit the stores on obscenity charges!!!! It remains unissued to this very day! Considering the male stuff that was permitted (& I know my shit), with endless graphic violence, misogyny & downright gynophobia at momentous volumes, some serious sanctimony needs to be squashed. even if we dismiss the more under the radar releases, the high profile male acts such as The Geto Boys, The 2 Live Crew, Poison Clan to name just a few produced some of the most devastatingly extreme/explicit material/content, so how the fuck these girls get singled out & excluded by state intervention I don’t know? Perhaps it was that extreme? As Lyandah & Tanisha really are undisputed in their offensive genius, or more likely/typically some apprehensive shit-sack (no doubt a male one) just could not withstand/condone such fury & foulness from women MC’s. either way, clearly that album now needs to be released at last. I consider BWP one of the best & most unpleasantly jarring Rap groups of all time & I have yet to see anybody challenge the altitude of their obnoxiousness, The Bytches remains a shocking cult classic.