Friday, October 19, 2012

Cannibal Ox [USA] - The Cold Vein [2001]

This is by no means a return, simply a forced holiday and if you're anything like me you held on to that corrupted Cold Vein copy you downloaded from Napster a decade ago. I finally acquired a physical copy, you can judge its useness from the battered cover but hey, these are antiques. 320kbps for optimal sustainability. Get it quick before I get car jacked by lawyers,

Raspberry text input fields [zippyshare].

Thursday, October 18, 2012

SWARRRM [JPN] - Against Again [2000]

Hello there, I was wondering if anyone still pays attention to this blog, I do get a lot of  DMCA file suspension notifications. Ear here.

Against a gain [zippyshare].

Monday, April 23, 2012

World (Osaka, Japan) - Discography (1996 - xxxx)

Posting up stuff from Japan again I got to thinking why I've never posted World up, even though people have been leaving comments, sending emails asking for just THAT. You know, somebody probably already posted something like this, somewhere out there in the blogosphere, but if you haven't seen it, this one's for you. And, well, me. That said, no Thanks should be directed at me, because all these rips were dropped off at the comment section of a post that I can't find for the life of me! Might be a bit of a stretch, but hey, does anyone remember? Already went about looking for a way to search the comments section, unsuccessfuly.

"Both singers ... perform their own songs independent of each other. While Right is singing a song by one name Left is singing a different song with a different name, including different starting and stopping points. So for every World release there are two tracklistings, one for Left and one for Right playing at the same time."

I'll explain: World is a dead noise/grind band from Osaka, Japan! The line up consisted of Hiroshi Zen on noise & vocals, Akira Wakabata on second vocals, and Tadahiko Aono drumming on all of 'em (except for Kaname Ohara who filled the spot on Why Who What, their very first EP). That's right - three demons - two clutching microphones, one behind the kit, which also means that all the noise is produced by Zen's magic microphone. As for why that's such an amazing feat... Son, had you heard any of their songs, you would not be asking such questions. Revered for a reason, this is harsh, harsh noise with fierce drumming exhibitions, from the expected noisy bursts resembling blastbeats, to rhythms more primitive, tribal. I might've (re-)written the phrase too many times in too short a while, but have you heard that the blastbeat is the apotheosis of rhythm?

Why Who What 7" (1996)
- first EP
- download

Why Nobody Understand? 7" (1996)
- tracks from the split w/ yesmeansyes
- download

Space (Grind Osaka) 7" (1998)
- second EP
- excellent
- download

New World 7" (1998)
- tracks from the split w/ Cripple Bastards
- download

Snarl Out (1997) & Osaka War (2000)
- tracks from compilations
- download

Why deprive the world of World??? digipack (200x)
- AKA "18 Minutes and 2 Seconds CD"
- a collected World discography [Space, Why Who What, New World, and...]
- nice sound quality (!)
- download
[is this the correct cover art?]

Also got a track from an alleged split with CSMD of which there is zero info to be found anywhere; judging by the actual sounds, I think somebody got something wrong with that one. That said, Akira Kawabata (I think) now plays as a solo noise act and/or in Osaka grind band Red according to a comment on this here blog on this here post. Perhaps it is Hiroshi Zen who does one of those things, and Kawabata - the other.

Saturday, April 21, 2012

the Dreadful Eardrum Assault a.k.a. Teizoku Komaku Bohkoh [CAN/JPN/USA] - 動機死者 [2012]

right on top of you .karlo, my procrastination is fetal/fatal. if birds could dive we'd probably stay afloat.

this one goes to all you dreadheads, swallows, robots, teenage hipsters and badminton players out there!

EDIT* edit** working on it.

dead download link [ftp].

Sunday, April 15, 2012

Zmajevdah (Croatia) - zmajevdah v.0 (2008?2012)

"Grindcore is love," I thought, some seventeen years of age. Life was ambivalent, except for when it came to love. Part of it came out with these recordings, initially meant for a split with Twitch Savant. Yet years go by, you know, maybe nothing even happens, but all of a sudden connections disappear, disintegrate in some strange post-natural air of our skyscraper hell. You might even think, for a while, "Hollow pocket, hollow heart - to slave away my body or my nerves..."

Noisy nights. Keep looking. How many blastbeats does it take? Eight lo-fi tracks of some steamy, DxAx worshipping, cyberpunk enthusiastic, scrap metal hybrid, no ten minutes long. It went like this:

zmajevdah v.0
01. Tachikoma
02. Perfect Blue
03. Bullet Ballet
04. Zenislev
05. Megastructure
06. Search
07. Antarctica
08. Ingram

[DL 01 - 08]
Zmajevdah is a solo project abounding with blastbeats - thanks to everyone who gives it a spin! Glad to be putting it finally up (recorded way back, early 2008 or so / date of e-release: today), "embarassing lyrics" and all (with original [pre-bitcrush] photos of our City, courtesy of Smetnja), as it's been bugging me for quite a while, even though I may have not managed to do what I wanted, especially considering the (sound) quality of the mix. In any case, those who like it may do whatever they want with it.

+ bonus track
09. The Jenova (GridLink)
[DL 09]
Good or bad, that's probably the first GridLink cover to have happened (Earth, 2010): The Lo-fi Jenova! Twitch Savant (the guy behind [for example:] Blaencathra) doing the drumming, with me on guitars & vocals. It is included separately as I wouldn't want people downloading the whole package on account of a covered song, (especially) as there is no Zmajevdah / Twitch Savant split anymore. That said, I've never done coke, nor have I dived with a parachute, but playing Matsubara's riffs ought to be a fairly similar experience (next cover, Mortalized?!).

Alternatively, download the whole thing @ Grindcore Karaoke.

A split CD soon to be released on ZugZwang Records: Zmajevdah with Emotion of Loss, a Russian industrial doom project by the man behind the Quagmire label (who released Sete Star Sept's 4th demo).

Saturday, April 14, 2012

Realized (Japan) - 21st Century Terminal World (2005)

Have you ever realized how well Realized grinds? That cover art might scream Classic! in both senses, but, erm, never judge a book by its cover. Why not?

Why yes, pal. If you like your engine greased up a notch by a steady feed of blastbeats, rock'n'roll has come to a conclusion with 21st Century Terminal World. Alright, perhaps not - but we can always pretend! And this we certainly do, as if d-beat was ever a good answer to anything. That bass sure is heavy, um... One toke over the line, sweet Jesus. Guzzle that gas like grandpa & let the realization run you over.

Good old crusty grind. (Mediafire)

Friday, April 13, 2012

Insect Warfare (Texas, USA) - At War With Grindcore EP (2005)

Grind's not dead! (zippyshare, eh?)

Unlike Insect Warfare. Seems like it was shit well worth hearing, though. What insect were they on about, anyway? I could never figure that one out. Judging by the cover art alone, you'd think it was the Mantis religiosa, but its scythes are hardly crucial to a "death to all life" esthetic (killing hornets?). Must've been the bee. If bees go - we go. Unless you put your trust in an automatized future where we'll have our own lil' robots that'll pollinate instead of bees, as well as cook, dance, and play grindcore in our place. Hell, they'll even jerk you off! "Look papa, no hands!" Could you do that a hundred years ago...

Fuck utopia. (Goes without saying? But I am aaalways just sayin'...)

Wednesday, April 11, 2012

Self Deconstruction (Japan) - S/T (2011)

1. Self Deconstruction
2. The Anger Which I Wait For
3. Delusion, Confusion and...
4. Superficial
5. Present
6. Hypocrite
Total playing time 4min 52sec

Self Deconstruction was formed in February, 2010, after Kuzuha "left ... Sete Star Sept" because "many troubles happened in December, 2009." First, he recruited Hiroto for blastbeat duty, and after a while the two of them got Shimano + Kubine as male / female mic assault duo, making for today's line up.

"Our music style is FREE STYLE GRIND."

Well, it sounds cool - and it is! Where Sete Star Sept runs self-destructive Arsedestroying noise through their veins, Self Deconstruction is hyperactive with riffs, blasts & breaks, thrashing on a path more similar to Swarrrm (don't take me wrong! - the bands are very different [all three: 7s7, SxDx, Swarrrm]). It might be worth mentioning (in respect to poopy purists) that I've always found grind bands with clean, low volume interludes ("Superficial") damn SWEET. So when all is said and done, SxDx remains a very crusty thing with a hard-to-pinpoint core, which is by no means a negative notion. For those who are mad on identity, always clutching a shit idol or two - let the rest of us breathe!

Get this one over @ Grindcore Karaoke!

Monday, April 9, 2012

Sete Star Sept (Japan) - Demo #4 MC (2010) + Lovely Labels: Quagmire

Grind is not a contest, pal. Grind is not a job. There is no High Priest of the Blastbeat, no place for flattery, sycophancy. Or at least we thought so - now fast music is for snakes? - until, for example, Magrudergrind established an acceptable prostitution, all by a few alright grind songs (conclusion on account of hypocrisy, nothing else / we're only words here, anyway). Lovely Labels is partly an answer to the question: are we with these guys and their efforts? [Includes "being in it for the music."]

Quagmire is one man in Russia. It's a dirty DIY job. This guy (alias "dirt") keeps releasing raw, obscure sounds from all over the world, endeavoring in limited packages in a mode similar to ZugZwang's (naturally - lucky for us - they communicate & collaborate). Take, for example, Sete Star Sept's fourth demo here, on cassete. [Not to forget!- Regarding your assumed interest in the kickass Quagmire label, you also ought to check out the video teasers that he puts up for upcoming releases, like the one for Horse Latitudes / Loinen.] For those who haven't checked 'em out, SSS is a grind project "formed (in 2008) by Kiyasu (ex. The Endless Blockade) in Tokyo, Japan" and the current line-up consists of Kae (Vocals,Bass) & Kiyasu (Drums). The band is a wonderful flurry of noise, blastbeats and all, strolling by with a rabid snarl. I haven't asked [dirt], but this particular tape is likely to be sold out.

Luckily, I used to be an insomniac bent on spreading Japanese grind, so we're left with the blog here, for all your grindy needs, one click away from fulfillment (y'know, in lack of plastic...). The Sete Star Sept debut full-length - Revision of Noise - was released in 2010 by Fuck Yoga Records in Macedonia and Idoneum Bello Records in Germany; for more info, read Nigel's enthusiastic review on his blog, Hipness as a Second Language. Among other things, another band seems to have "sprouted from" 3S / 7s7, one you might have noticed on Randall's Grindcore Karaoke - Self Deconstruction's freestyle grind, likely to be talked of very soon on Cephalochromoscope.

Revise Noise! (Mediafire)

In order to conclude, brothers and sisters, I can promise that you have not heard the last of Quagmire on Cephscope!

Saturday, April 7, 2012

Noisear & Magnicide (USA & Singapore) - Split 7" (2008)

Magnicide, Noisear. That's the fucking alphabet, there. And it's full-blown grind. Thank Rescued From Life for the realization (and damn, look at that roster: from Unholy Grave to Netjajev Society System). And these might be familiar bands for familiar readers, but we've a lot of catching up to do. If Noisear's dying to live, I'm writing to read. Love me do -

I like grind!


That, and only that is the reason why the Wormrot guys - a year+ ago in Ljubljana - knew (yet couldn't pronounce) Cephalochromoscope. We like grind; me & Mr. C & Nigel & Shane & The All-Natural-Blastbeat-Duo & many more contained in the link-list of the blog. Step right up.

Noise to the Ear, a midsummer evening in Singapore. (Mediafire)

Sunday, March 25, 2012

Cephalochromology Class I: [AB]Use of Tags

This time around, I just want to remind you all of some of the bands that have inspired Cephalochromoscope in the first place. Why? Because the last DxAx-centered post seems to have been back around... December, 2008. Damn! So Cephalochromoscope is actually pretty old. We've never really noted the blog's birthday or anything of the sort; I just checked and the first post fell on April the 19th, 2008, which means that, in less than a month's time, the blog will be, uh, four years old. Anyhow, that first post was all but interesting; regard my writing (perhaps it was comprehensible then, at least?): "I really like the audibility of the bass guitar." - so I guess it must've been the content that sealed the deal: Swarrrm (Japan) - Chaos & Grind EP (1998).

You know, once I would have noted bands upon bands here, but not today. If you scroll a bit down, on the right you will see a much shorter, *golden* list (that I'll certainly be updating) titled "Cephalochromology" / can't remember when I put that one up, but the bandnames lead to the relevant posts of releases of the relevant bands (with a few exceptions to the impossible requirement of "more than one post" for each sweet band's inclusion). This means something along the lines of "324, Agents of Abhorrence, Assück, Birushanah, Cellgraft, Corrupted, Damage Digital, Discordance Axis, Final Exit, Fuck on the Beach, Gate, Gore Beyond Necropsy, Hellchild, Hellnation ... Melt-Banana, Mortalized, Muga, Noisear, Noism ... Rinjyu-Zange, Rise Above, Robocop, S.O.B. ... Slight Slappers, Spazz, Swarrrm, Unholy Grave, Wormrot, Xinlisupreme, Yacøpsæ."

Let it also be known that the blog is generally full of very useful tags for the visitor (once a blog has gathered over 500 posts, tagging becomes necessary for navigation unless the only format you're providing with is "Band Name - Album Title"), be it for a genre-specific search (as the blogger search bar seems to lead into somebody's pitch-black ass), or for a self-destructive, time-killing ramble, nothing short of the video below.

Saturday, March 24, 2012

Luddite Clone (USA) - The Arsonist and The Architect

1. Bottom King
2. Circle Template
3. Oratory of the Jigsaw
4. Arthropod
5. The Contortionist
6. The Arsonist and the Architect

Luddite Clone is a burst of contradictory blastbeats and ambigously conclusive contortions. Starting with the band's very name, rational analysis increases risk of depression in adult chimpanzees, children dolphins, and ingenious humans alike. Hear that Oratory of the Jigsaw? Discordance Axis was putting Chang's Oratorio in Gray & Jigsaw to plastic around the same time. How's that for irrelevant info, huh? One cool, short-lived band, here. Those who like it - love it. Feel the enthusiasm dripping riff after riff within tracks title something like Arthropod (i.e. Lobster), Bottom King (Butt Kisser?), or The Contortionist (probably some Spazz), samples at the start and all. Even the breakdowns don't get on my nerves, and breakdowns always get on my nerves! And the brain cells lost on the melo-mellow death metal of Arthropod are well redeemed by the short walking jazz intermezzo on The Contortionist. Sure, they burned out quickly - this and a split with Burnt By The Sun and some live recording - but if at least one song reminded me of Parade of the Lifeless how could I not consider the band damn worthy of cephalochromoscopin'?!

Dr. Ludditle (Minifire)

"we are all programmable shells we are an experiment such an intricate maze comprised of a simple mind begging for the needle to inoculate the virus and eliminate the doldrums will you kiss the scientist or eliminate the spectacle"

Thursday, March 22, 2012

Magnicide & Toxic Revolution (Singapore & Germany) - Abusetrap / Short-Fast-Loud LP (2009)

1. Your Path Ended In Hell
2. Catcher In The Eye
3. Hello Misery
4. Abusetrap
5. New Blood Generate
6. A Life Of Meaning
7. Broken Cloud
8. What Lies Ahead
9. Not Dead Enough
Toxic Revolution
10. Alemere Can Suck It
11. Speed Freaks
12. Scenepoint My Ass
13. Theme Song
14. Shallow And Plastic
15. H&M Crust
16. Coffee Association
17. They Live

Nothing wrong about giving Wormrot all that attention, but do direct a few bits at Magnicide (!) "...another Singaporean band deserving nothing but love from the grind-enthusiastic masses ( (with...) Memeng and Jali from Demisor... Musically, ...something like 324 sped up." See, Toxic Revolution are just as fast and blunt, with the appeal of thrash metal's impatient son and/or some moldy cheese run amok in the best of ways. The magnitude of blastbeats here exceeds the number of zombies on film, so you might as well get the vinyl at TVG.

Happy New Speed! But, Magnicide - what does it mean?! Don't even get me started on the adorable track called Catcher in the fucking Eye. As usual, I'd like to be of as little help as possible. I mean, I wouldn't call Cephalochromoscope a surrealistic snake of a blog. Not yet. Although, I can't help but wonder what a random visitor with no blastbeat-encounters at all might perceive while hearing and reading. A Toxic Revolution is a gift, just like an orgasm. Of what magnitude?! When all my brains die, I'll still have my gut! Associations come, civilizations go. Remember 324? Mouth to mouth. Reminds me of breathing. Japanese Queens of Grind & blastcrust clusterfuckers; they've got their bees, like Parlamentarisk Sodomi and Magnicide, a powerful bandana, and a bunch of rabid snare drums. Grind heals, I swear. Well, at least time did nothing here.

What? (Mediahanger)

Rule 324 // "...the second most important rule of grind (just behind "play fast"); that is, to be absolutely relentless, at all times."

Tuesday, March 20, 2012

Insect Warfare (Texas, USA) - Fuck HPMA (2007)

July 29th, the only day the Houston Press Music Awards mattered to some dude in Croatia. Never forget!

Do you believe in noise after noise? Gotta Keep Death to False Grind Alive, that's what's up. Looking at you. Looking at you, baby.

Hitler? Palpatine? Mao? Ahriman? (Hellfire)

Sunday, March 18, 2012

Attack of the Mad Axeman (Germany) - Scumdogs of the Forest (2009)

1. Scumdogs of the Forest
2. Hors(E)T on the Corridor
3. Klape Zu, Affe Tot
4. Hier Kommt Knut
5. Nazi Worms Fuck Off
6. Die Diebische Elster Von Brooklyn
7. Squirrel VS Glen Benton
8. Eichhoernchenwaterski
9. Moshen Wie Gott in Frankreich
10. Morbider Angler
11. Grind, Grind, Grind!
12. 16 Faeuste Fuer Ein Halleluja
13. Die Schnellste Vogelspinne Von Kiel
14. Knut For Breakfast
15. Schneckenozid
16. Knut
17. Elefantophobia 2
18. Arschbombe Des Monats
19. I Like Bands
20. Knut 2
21. Woody Woodgrinder
22. The Undertaker

Decided to post up some excellent newer [grind] releases that seem to have been neglected! Ones that I might have already mentioned, but wasn't feeling comfortable enough to post, for whatever reason...

Remember or not, this I have said! - "Attack of the Mad Axeman scared all the birds and bunnies out of the forest with slick death-grind chops of a kind that no one pursued as nicely since Matsubara-san of GridLink and Otake-san of Gate. I mean, these are somewhat grown men in animal costumes refreshing the shit & vomit-stained genre. Reel around the fountain, smack me on the patio, play fast or don't, but I'll have a piece of that Schwarzwald grind any time. And to think that I didn't get to see 'em live 'cause one of the guys caught the swine flu! Karma, what the fuck are you doing?"

Now don't you be visiting this blog looking for pornographi, son, but you ought to know that you're in for some damn naked animals!
"Animal grind is an attempt of deconstructing boundaries: not only between humans and animals also within the animals themselves: snail on drums, a bee on bass, a growling turtle on vocals and a squirrel and a night owl sharing the dirty work on guitars."

Mein Gott - a bee buzzing the bass, a turtle raised by Nietzsche, and a fucking snail playing blastbeats. Tierisch! Verdammt, they grind so well together! Props also to the squirrel & owl duo, with riffs crusty like the bark of maples, shiny 'n' saturated like its early Autumn leaves, with a Rotten grip on their Sound in an altogether earthy, less synthetic approach. I've a short fuse on my will to describe, jerked away by intelligible associations; something like: what if Forrest Gump was the woods, thus he could not run, yet he could mosh, and so...

Download (Forestfire) / buy LP on RSR, CD on Scrotum Jus.

God is dead.

Saturday, March 10, 2012

Dephosphorus (Greece) - Axiom (2011)

It's been a couple of Gregorian millennia and none of us will live to see any sort of historical conclusion to our century. The fragile quality of history might be worth a dime only in retrospect, hence I can respect The Beard as the actual entity (that was) behind Marx. Can't trust anyone / no time to waste / it'll all be gone before you know it. And here I am, considering grindcore with a resolutely notched grin... "...using a blank piece of paper, the page of some notebook, as the point upon which one can develop / form and develop expression - what if one's canvas was... the blastbeat?" I've got a thing for grind, and I'm not the only one.

Last year might have been the year grind went into space - again! It's been about a decade, ten years spent tediously drilling into the Earth. Not talking about any band in particular, and I missed out on creating a list of "2011 favorites" 'cause I didn't have it in me to write one down after 2010, not to mention being well out of the loop. Still, it was certainly impossible to ignore all that sexy space grind, from Psudoku to Dephosphorus. Mr. C did a one-question interview with the latter, a Greek trio bent on swinging among those stars & checking out what spring is like, erm, on Jupiter and Mars. Once we trash Sinatra we're left with a few words from the vocalist - Panos - a few utterly true and very different words that could appear just as romantic were it not for well over twenty years of various, concentrated physical manifestations of the Blastbeat (circular, primitive / intuitive, one tension and endless potential, droning on the edge of reason through but one wondrous question: what is the durability of instant catharsis? To find the greatest possible span of time within which it all happens, and to stretch this moment into the horizon... ( illuminating the world with a moribund firefly!)):

"I love listening and playing grindcore because this genre is the apotheosis of rhythm //"

Yes!! It is the final frontier of rhythm. And, as the most self-indulgent lad in the review business, I do prefer to talk about form over content, despite the lyrics that go with "Axiom" ("Mere form is irrelevant-"). I've neglected Dephosphorus enough, though, and now I wish them less bombast & metal, more blastbeats & rebetiko! On a more serious note, it's hard to actually badmouth a band so dynamically crusty. Most helpful reviews are purely comparative, really. We have 324 in Japan, Magnicide in Singapore, while in Greece, we have - Dephosphorus! Sometimes spaced-out - anyone remember Gasp, those Puzzle Zoo People?! Psychedelia is certainly uncared-for in fast music... (sans the ritualism of hypnotizing black metal) - often on the verge of ambiguous death metal, the riffs ride more often on cosmic gloom than discord; nevertheless, I did think of Norway's Diskord and their awesome "Doomscapes" (won't ever be posted seeing as a bandmember noted to me how their label would, indeed, mind). Now I don't know jackshit about Greek, old or new (except for some possibly Greek Catholic ancestors), but I enjoy Joyce and I guess I might be writing a fair amount of gibberish [rapid chatter like that of monkeys] most of the time anyway so I might as well end it with a buoyant proclamation (under the temporary pretense that it is the thought that matters).

Dephosphorus Stephanophoros - Grind Stephanumenos!
(Click away for the download link(s) on their site-)

See you next century on blastbeat therapy!
Grab onto your skull - last remnant of the drum.

Tuesday, March 6, 2012

Lovely Labels: Kythibong

In this Lovely Labels installation, we really won't move much, at least if we consider the distance geographically (within the borders of Bretagne, is it?); some puny ninety kilometers from Nantes to Angers, a very comfortable drive for what my memory's worth, myself not hitchhiking for a change / courtesy of Jyb (ZugZwang Prod.) driving (both directions) with Tetsuo and a French band, whose name I forgot, on the stereo, yet I do recall nicely how they sampled - just as nicely - Allen Ginsberg's Howl on the opening track; that and the poor car's windows down to the bottom owing to my damp socks drying as best as they can on the heaters up front, below the windshield, but I guess that's one thoroughly irrelevant story... Anyhow; here where I'm at, we set up gigs for inumerable bands from all corners of France, the only rule or worry being a DIY incision in their brains. Or hearts. Once the gash is there, you quench the thirst - how many people can you meet? When John Makay, having already done it once, sent me an email explaining how they were touring again, this time with Papaye, it seemed natural that we had a deal before the mail was even written.

Time to get to the point! Mric of Papaye is one of the individuals behind Kythibong - a Nantes-based label representing a bunch of complicated noise enthusiasts, and, while some of them appear to be running about fifty weird projects at once, they usually perform as ansambles of one, two, even three (redundant info, huh). Judge the eclectic roster by band names alone, - Komandant Cobra, Piano Chat, Room 204, Papier Tigre, Papaye (video below)... - and you might live to speak of colorful psychedelia, beasts of paper, general synesthesia the size of an A4 page of LSD, and at least one face-to-face encounter with some guy's crotch.

The general penchant might be for something along the lines of noise and/or math rock, so if this happens to be anyhwere near your line of interest - better check it out lest you lose out on several experiences as traumatic as falling in love. What was the title of that early Jon Hughes teen flick... the one with a cover of that song that goes, erm... "Wise men say only fools rush in, but I can't help falling in love with Pneu." [for example, sheesh...] This time around I'm all out of download links, but I know Kythibong's there for you if you're there for Kythibong. Gotta keep our relationships healthy, you know, and we all know how that shit doesn't work at all when it's only one side giving.

Friday, March 2, 2012

Resonance of Spiral (Japan) - DEVBLU EP (2011) + Lovely Labels: ZugZwang Productions

We all know that independent labels with wortwhile, perhaps obscure rosters deserve at least as much attention as some of the bigger ones, and certainly more than the big ones, if you catch my drift. This is why I'd like to, well, not introduce, 'cause in this case, it already happened, but anyhow ~ I'd definitely like to give 'em a bit more space on Cephalochromoscope (hence the "lovely labels" tag), especially considering in what fashion we deliver what we deliver, i.e. "for free." I've known Jyb's penchant for extreme music for a while now, but his label, ZugZwang Productions, is still as fresh as dew, although you wouldn't know it from the releases considering their quality in-general, starting with the whole physical part of the deal; naturally, I'm talking about the packaging, and the time and enthusiasm that he puts into all of them. If there is a guarantee, it pertains to receiving something new and homegrown as opposed to receving another bundle of kitsch. Just like that, he decided to hand me this release in order for me to upload and write up a few impressions.

Resonance of Spiral is a Japanese two-man band from Japan, vaguely industrial in expression. What is it in their music that would make me use "Japanese" as an adjective (I mean, except for my idiocy)? That's easy! The authentically oppressive, hermetic atmosphere that I can connect all at once to Corrupted and Tetsuo and Xinlisupreme. On one hand, it's all damn blunt: the drum machine is blunt, the distortion on the vocals is blunt, and The Bass - let me tell you - is as blunt as the apocalypse. Sounds damn wonderful, doesn't it? You got that right, so there really is no other hand (but I'll try to lay off such flea market modes of reviewing...). As heavy as concrete, DEVBLU could resonate only between skyscrapers and similarly alienating structures, and hey, you might fancy putting "The Value of Knights" on your dubstep party's playlist if you'd like to test your guests. Have you ever seen a man cry from his ears? The flesh of God, our ears. You know, back in 1910, in Barcelona, in Santa Cruz, boy, at least one apocalyptic writer coughed his last cough by the urge of turberculosis. But that was some hundred years ago, and today we've got a myriad of different illnesses to compensate. Might not be the time to die of MUSIC, but there's a certain mood of our time, or at least JAPAN, of which one could compile an ace collection of chansons as alienating as the stuff of their inspiration - I talk of things urban - and it could start and end perfectly with Kenji Kawai's Unnatural City.

Assault yourself! (Mediafire)

Check the presentation below if you've any heart left in you, because ''Zugzwang packages all these fragile, feeble pieces of plastic you call records in lovely handmade packagings. Specially designed for each release, these packagings will protect them against the hazards of a life spent on the shelves of a record collection...'' Aaand you can buy the sexy thing right here for a mere 6€.

Friday, February 3, 2012

Robocop (Maine, USA) - Robocop II (2011)

1. Intro
2. I Hope All Your Friends Die
3. Assassination Markets
4. Feminism Über Alles
5. Car Sex Crash
6. Fed to the Wolves
8. Cut Up
9. You Suffer (Napalm Death, as if one man had wondered...)
10. Skramz
11. Maine is the Bastard
12. Aftermathematics
13. Outro

I did already mention how Maine's own Robocop "makes you wonder how no band already made claims of instant ejaculation upon Alexander James Murphy's cold, metallic touch, how no non-cyborg organically dreamt up Burroughs-style phallic flesh-guns, machine-gun-hands, the morning shaving ritual resulting with resistors & transistors on the rusty yet self-aware razor, pre- or post- Verhoeven or, uh, Shinya Tsukamoto." At least aesthetically, Robocop made a futuristic move for powerviolence, an inevitable act akin to what Discordance Axis did for grind's often faceless political, erm, face, and gave the genre some new colors, some more noise, all scary and bleak but more immediate and contemporary in the best senses of both words, if art does indeed imitate life. That said, I don't want to be repeating the words of a certain Mr. C as I am, more often than not, late to the party, althought there might be just as little sense in repeating how I am generally repeating myself in & out of this sentence. This is why I'll get to rambling as I often do when I see no future for any given text as an useful review anyway, especially as I've used up all my sexy adjectives in that post about their 2009 demo.

"This is the brave new world of hardcore," concluded Mr. C, and I like it. Concerning my own comment on Robocop establishing somewhat new concepts, if not riffs, within their respected line of PUNK, it might be nice to reflect on some newer happenings, releases, in this whole "extreme music" deal. For example, the frontman of that band Liturgy put out his "Transcendental Black Metal Manifesto" and I think this sort of content is an awesome novelty, although it might, actually, be a pretty damn retro thing to do, as most of us have at least heard about all those (predominantly avant-garde) manifestos throughout modern (art) history. So I find it interesting, even if I might consider the content pretentious, vain, shitty, etc. Did similar things myself, with my own crap, like 鞠螺千世, although the destructive/dadaist mode might give it a paradoxically anti-intellectual aesthetic, whereas the actual music, the sounds, are fairly naive beyond specifics like "the blastbeat" or some of the elements of actual composition, sample placement, whatever. No hypocrisy. We're all concerned with aesthetics. Page, too, in regard to Robocop (or Body Hammer). This is why we get to observe such nice artwork along with the album, with informative notes and Baudrillard quotes, and I might not even like this Baudrillard guy (or that Barthes guy, thus the song titled "Death of Roland Barthes") and his postmodernist complications of reality, although I might've lost not only Ockham's razor, but the usual razor, too, and shaving machines still look and act like Cronenberg fathered 'em. Alright, man, I've lost my train of thought by now... Merely recalling something about the difference between words & actions and a bunch of barely comprehensive bits against academia. So hey, just listen to "Maine is the Bastard" for a very effective Robocop experience - if it ain't powerviolence, I don't know what is - where each alienating chug is worthy of that ecstatic cyborg-gone-awry finale.

Get it over @ Randall's Grindcore Karaoke.

Tuesday, January 31, 2012

Sakatat, Archagathus (Turkey, Canada) - Ucuz Can Pazari, Slaughter-Extinction Split 7'' (2008)

A whole load of minced riffs - a genre one might better call ''shish grind'' (or simply ''šiš pank'' in our upper Balkans here). 'Cause hey, ''mincecore''? Not much better, really. On the other hand, pretty much everybody has had a close encounter with a kebab by now, and some of you also with čevapćići, I am certain. Perhaps the bands here sing against this whole culture of shish (yet, wouldn't ''sakatat'' translate to something along the lines of ''offal'', anyhow? [or '' gut''?] / best name of all the mince-names, there). Perhaps, if I got to the point, I could sell you a few lines about Agathocles worship (as it is what the Archagathi generally profess, you know, in life + a Sakatat cover), about all this damn beautiful noise, wild things that make my heart sing, and so on, but you gotta feel informative to be informative, and this is music to men mincing their own flesh.

Shish ke-punk (Mediafire)

Šiš panker je onaj s istetoviranom jetrom. I see I messed up a few titles (like "Archagatus"), the year, etc., so type a few new letters there if you believe it matters. Was certainly on To Live A Lie. What else? Don't know. BUT, relevant to all the Sakatat, you can check out a one-question-interview on the one-and-only Grind & Punishment.

Sakatat, Matka Teresa (Turkey, Poland/Netherlands) - Devletin Terörü Kimi Koruyor? / No Justice No Peace Split 7'' (2011)

Fastcore, grindcore, etc. What the Sakatat trio pulls of is comparable to a drill the size of a train merely doing its thing. Yup, they're naturals. And not only are they devastating by themselves, but they also do an Assück cover on this one (Wall of Shame). Matka Teresa, on the other hand, like the slow, filthy violence, but - of course - only in-between "lenghty" amounts of The Speed. Sure, they might sound like Mother Theresa, had she ever come to her senses, however, some sort of influence was obviously imposed upon Sakatat, here, as they also decomposed a few of their riffs into greasy slabs of sludge. But only a few. As for the distros, uh, there's a list here.

Suck at THAT, Mother Theresa! (Mediafire)

For some reason I immensely enjoy talking about Assück, a band with all the right notions, 'cause civilization comes, civilization goes... "Quarantined by the plague of government. Ideological barriers of ignorance. Lives changed by concrete. Suppressed by autocracies throughout the centuries." Lives changed by concrete, man.