Sublime! you should all fucking know about Final Exit by now? They are a Tokyo based NoSkoolNoyzcore duo, one of the best & most distinctive Noisegrind bands of all time with a long lineage beginning in the early 90’s. they are also committed to perhaps the smallest musical movement in history, No-Skool-Noyzcore/Gunk, i.e. sedulous Noisecore with effort & input practiced by literally something like x15 bands (presuming you exclude FreeJazz) over the last 20 years or so. They are fabulous musicians commanding an immensely assiduous tightness playing on most of there recordings with profound syncopation & coordinated-kinetics …. This is controlled chaos. They have personalized an utterly unique brand of Gunk, where they phase between professionally played Rock, Surf, Jazz, Blues, Grind, Metal & a medley of other niche & standard genres with absolute out-&-out BlurNoise, just one massive sodden saturation of total Bleeeurk, either encompassing extremely low-end-bassy indiscernible distortion or/& ultra fast strangled speed-picking high-fret percolation whilst drums blast-blur & tumble with signature pogo cymbal smashes & stumbling fills.
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.
