Yet another delectable dosage from Low Res. Getting started Delien resist an ascribed genre. I’ll observe as “glitchy down-tempo experimental digital distortion funk” for the hell of it. Half of the phonetics assumed seem to be sourced from the old Snes, Game Boy & 80’s Coin-Up modules which are then expertly activated as percussion &/or harmonic components. So the kick sound might be a ray-gun burst or the death rattle of the last boss. Pretty much everything has a substantial tunica of distortion yet all is high-fidelity (which makes the distortion all the more cool really).
PREFACE INFO FLASH! : dammit! i wrote this over a year ago & have just resurrected it with new additions. these notes were jotted whilst listening/spinning th record with maximum attention (obviously after many listening’s). going back to it again now (and re-listening as I write) i realize that i have mixed up descriptives rather than having a progressing cogent assessment of each side from start to finish. ta’ hell with it! it’s totally jumbled but so is th music, & yu can see it as random speculation on these immense energies/scenes/sections encapsulated on th recording.
B-syd: this syd emerges from where the last digressed. things finally relent, Cyrille is prodding & skittering on th rims of his drums, Rivers is howling distended maledictions, Taylor is spuming gibberish infantile lallation. messing around with vowels, i don’t know what the guy is doing, probably he doesn’t either? unsettling, awesome. a strange five minute phase of pacified but louring Avant-Garde ensues, with th musicians all contributing then detracting around Taylor, casting off sonic motifs to a totem-pole or sumthin’.
Prolific debauchery & plenty of it! an edgy, intemperate leviathan casting a pall of threat as well as riotous wonder & technical brilliance Cecil Taylor’s splendour trails for fuckin’ decades & frequently clambers to unimaginable alcoves. so’ so much could be drafted, but this review will concentrate on the Nuits De La Fondation Maeght trilogy recordings (captured during live group performances in France in 1969), which for me has so far been his best work from a particularly enigmatic period. Taylor was playing sprawling immeasurably intense reckless refulgence & asymmetrical avant wizardry with the insane Andrew Cyrille, for me indubitably one of the most fantastic & original drummers ever. out of the many things that could be said, I would emphasise that Taylor & his unit redefined the elongated-outburst & prolonged-peaking coming with ceaseless surging’s of unparalleled clamour & volatility. frequently without intervals, extenuation or cessation they would dance an immensely detailed & dynamic squall within the singularity of remorseless & unforgiving outermost, fully-cyclic, hell-for-leather frenzy. a heteronomous hurricane & blitzing blizzard of ebullient fulmination Cyrille was able to maintain physically these momentous requirements but also inflect with a cycle of extensive improvisational embellishment & continually capricious contrasting.
Another divine relic of Freejazz optimum. This preposterously passionate murrain of bone searing instability is a personal favourite & I would say an unquestionable highlight of the entire Freejazz tenure.
The most intense & assaulting album of Shepp’s career! with barely a pause in the pyromania, this screaming sax slaughter over-loads the listener like some giant back-draft fulfilling it’s full blast radius & rinsing the parameter in prolonged cataclysm. pretty much full auto… even as the A-syd fades after a seventeen minute + spate, the flailing continues.
Adjust devise a hybrid of what I would define as Electronic beat-propelled Fusion. There are four trax that diverge considerably. Nerve & Escape From Detroit can be allotted loosely into some kind of down tempo IDM Electronica with a visible digital Hip-Hop pigment. The two others Scorch & Behavior Modification temporize entirely, & stand as a unique encounters of Extreme Digital Fusion. I say extreme not from adversity but more extensiveness, with astonishingly unpredictable & polymerous range, features & content. A constantly shape shifting receptacle for digital formation rather than a set substance. In that much the material or rubric/style is practically impossible to replicate, as Adjust have not committed or determined their own form fully. Pretty fukn cool.
th unfortunate boredom, disappointment & dismay that goes with 95% + of Grind & Noisecore activity gets a rare jolt of delicacy-delivery in th shape of an EXCLUSIVE Noyzcore/Noyzgrynd label Rage For All dropping quality wax & official/pro-pressed CD’s despite th hard times & dearth of fervency for this most nutritious of genres. Shinobi Spiel of Shadow shoots tha shit with th illist of NY’s Rome Tabergus Davruz –
for a long tym indeed, i have been captivated, sated & elated by th incredible treats & beats belting out of this extraordinary & unpredictable diamond vein Low-Res records from Detroit, merging 4 me th best in miscellaneous IDM, Electronic melange & really fucking cool sleeve & graphix on chunky 180gram 4 track LP’s (mostly). th fool in charge (Justin) also tips owt th most wondrous Electronic shit with his project Adjust (an probably sum others), an dat kids is who we are talking wit…
Th very first BS recordings/release from 2004. Contracting during an exceedingly ephemeral time frame & a lot of misfortune & inadequacy with conditions & equipment, all contrived preparations disintegrated into extemporaneous experimentation. Th project just self-defined & billowed over-growth through random tangent & entrenched intrepidity. Th main purple cd was generally more blast orientated but with heaps of Abnorm Avant shit slopped on. Th vocals were all overdubbed, mottled & mutated between Donkey, STUK & Yoon Jee, one of Bollock Swine’s most gloriously overwrought & hysterical screamers ever! Th second dragon fruit CD was a one take totally live expulsion with three other girls of varying delusion & inhibition tumbling in a much more Poise-Spore, intensely Psychedelic Avant sonic-mutational fuck-up directive with Grind , Gunk & Breakcore garnish & goodness knows what other infusions swirling through th multi-FX freak-out misshapen melange. This is one of th few recordings featuring Kikanju Baku on a double bass pedal.
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.