sunny murray’s right foot: rfm on brb>voicecoil, artwhore, no audience underground tapes, teatowels
October 7, 2017 at 8:12 am | Posted in new music, no audience underground | Leave a commentTags: acrid lactations, ant macari, artwhore, brb>voicecoil, churchburner, damo suzuki, fells, louie rice, luciano maggiore, muza muza, no audience underground tapes, pinnel, posset, proboscis, rust ruus, sippy cup, smut, spoils and relics, teatowels, vampyres
brb>voicecoil – Reconfigure Moments (Muza Muza)
brb>voicecoil – Containment (Muza Muza)
Artwhore – Pasty Posture (Muza Muza)
Various Artists – No Audience Underground Tapes
Teatowels- We are the Deadness (Beartown Records & Tapes)
brb>voicecoil – Reconfigure Moments (Muza Muza) Cassette and digital album
“Heavy manipulation of source material and resetting of audio time frames” says the ever informative Muza Muza website.
But even that clear warning couldn’t prepare me for the massiveness of these sonic-boulders or the grittiness of the resulting rumbling on Reconfigure Moments.
Totally elemental with that whole earth, fire, water and air gang being represented at the top of their game. A full bandwidth vista is peeling open my reluctant eyes and saying:
FEEL YOUR BONES CRUSHED,
YOUR SKIN CRACKLES WITH PHOSPHOR,
YOU ARE BRIGHT WITH FIRE…
…until I feel myself lurching for the ‘stop’ button on the booming stereo (and in an instant thinking – the old thing has never sounded quite so vicious as this before).
Phew!
brb’s Kev Wilkinson has collected years worth of field recordings from across the UK and subjected them to the most punishing treatment turning minute taps into ocean-going groans and gossamer strokes into the poisoned lash of a stingray’s tail. This really is ‘sound as weapon’ territory but at no moment does it ever succumb to ‘noise’ cliché. Each sound-mugging is clear as a shiv in the moonlight and twice as sharp. The crackles, rattles and pops are HUGE but placed with delicacy and a dark poetic logic.
The canvas is vast and as much attention is paid to the silences, the absences, as the abrasive implosions and gigantic reversed echoes like someone turned a borehole inside out.
Phew!!
FOOTNOTE: I took this down to Richer Sounds to test out a new tape deck and the smarty pants clerk looked fucking horrified when I cranked this up. The assembled glut of customers looked round, gulped and left as one. What more recommendation do you need comrades?
brb>voicecoil – Containment (Muza Muza) Cassette and digital album
A sister piece to the fearsome ‘Reconfigure Moments’, ‘Containment’ is made up of nine unprocessed field recordings with ears precisely trained on the resonant interior of huge concrete and steel structures (I’m guessing).
This being brb>voicecoil the locations are selected with great insider knowledge of the very mechanics of these materials and years of scientific precision.
What we hear are dislocated ‘clunks’ and ‘squeals’. Sheered of their original context the howling winds whip up these thick steel cables to really sing an unnatural overture. There is a cold ‘thwack’ of metal against cement that reverberates in these man-made canyons, decaying gradually into another whooping collapse.
These recordings being at the mercy of the weather/ambience make strange things happen to the timings. A dry ‘crack’ or gravely ‘crunch’ pop at the most eccentric moments. Like the earth became Sonny Murray’s right foot, this tape swings with an internal metronome that us mere mortals can barely comprehend. Like the freest of all jazz soaring buttresses honk deeper than Ayler and become more ‘out’ than Sun Ra.
Use this tape as an essential stepping stone readers – plug into the industrial Gaia-beat outside your door that’s as syncopated as chrome Dixieland.
Artwhore – Pasty Posture (Muza Muza) Cassette and digital album
There was a time when you couldn’t pass a lamp post in Newcastle that wasn’t tagged with an Artwhore sticker. They seemed to be everywhere at once: playing a thousand shows and dumping flyers to soak up spilled beer in the Barley Mow, Egypt Cottage and Broken Doll.
But while this mysterious crew had their street-art and promotion in the bag unfortunately I never caught them live. Thankfully Muza Muza have released these lost 1996-97 recordings on a kicking and screaming public.
The issue with vintage recordings is pretty obvious – does it stand up today, right here, right now? I’m delighted to say a firm yes to these curious electronic hummers.
The darkness is turned on for the majority of these pieces – dull thumps underscore sleet-coloured drone but an optimistic twinkle, a very Geordie characteristic if I may suggest, peppers these recordings. What I think is ‘Vallis’ is a truly gorgeous rainbow and unicorns number, all pink sunsets and warm hugs. By contrast ‘Hooverdub’ and ‘Electricity’ spit nails and rubber bullets.
The influence of rave culture is another signifier of the time. It hit the toon hard and it wasn’t unusually to find dreads and skins swap their para-boots for flip flops on a Saturday night. This strangely sounds fresh as daisies on ‘Shamm’ and ‘Horseloverfat’.
For younger readers…just think of it as the original vapour wave or something yeah?
Various Artists – Live Series (No Audience Underground Tapes) Cassette with occasional inserts and detritus
And so it came to pass.
As I mentioned before on RFM the much-loved NAU stalwarts Fucking Amateurs called it a day with their 100th release (give or take a few) earlier this year. I’d hinted that the baton had been passed and I’m delighted to say their grubby, semi-legal but thoroughly heartfelt, true and D.I.Y corpse is being reanimated by David Howcroft (ex-Helter Skelter Records) and the impeccably named No Audience Underground Tapes.
A straight-outta-Gateshead thing NAU tapes are attending those shows that you can’t get to, jamming performances direct to tape and bundling them up in outrageous packaging. Then dear reader they are being offered to the global underground FOR FREE!
Yup. Keeping this real is important to Dave so he is just asking for postage right now. But I know you are a generous bunch so an extra quid for tapes and stickers might be an idea eh?
So…what are NAU Tapes offering? It’s an eccentric and ever-growing catalogue.
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NAUT 01# brb>voicecoil / Vampyres / Spoils and Relics / Ali Robertson & Joyce Whitfield. Live at Soundroom Gateshead 23/07/17
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NAUT 02# SMUT. Live at Soundroom Gateshead 13/05/17
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NAUT 03# Watts / Fells / Church Burner. Live at Soundroom Gateshead 30/06/17
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NAUT 04 # (Limited Edition Band Members Only) Church Burner. 30/06/17
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NAUT 05# Trevor Wren / Proboscis / Eigengrau. Live at the Little Buildings, Byker 15/07/17 (Ed – Dave notes – quality of recordings compromised by tape recorder malfunctions)
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NAUT 06# Sippy Cup / Ant Macari & Posset / Acrid Lactations. Live at The Old Police House 30/07/17
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NAUT 07# Damo Suzuki’s Network. Live at Cluny2 04/08/17
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NAUT 08# Louie Rice & Luciano Maggiore / Pinnel / Rust Ruus. Live at Workplace Gallery, Gateshead. 12/08/17
OK…that’s the infomercial. What do the damn tapes sound like?
NAUT 01. Captures the dark shudder of brb>voicecoil and Vampyres in grim fidelity. The boiling leaves a grey scum shot through with diamond streaks. On the other side of the equation Ali Robertson & Joyce Whitfield gabber like geese in an old-timey hairdressers (the ones with huge machines you put your delicate head in). Spoils and Relics fashioned their gruff-pumps through wires to hiss like an old factory of dreams. They are the equals sign, the fulcrum that balances a perfect evening.
NAUT 06. Acrid Lactations swirl a hand round the gene pool and pick out several chromosome-jamz. Both skitter-dry and tape deep –the first recording of the tiny AL with powerful lung! Dullard Posset and real-live artist Ant Macari continue their world domination thru corporate hypnosis and evil vibes (spoken word). The wonderful Sippy Cup (Drenching/Armitage) are as jazz as they come; each hand grabs an implement and drains it of sound-juice with expert timing. Total clutter core!
NAUT 08. Rust Ruus presents his piece for solo snare drum, tapes and steel butter dish – KLAKA, KLACKA, KLACKA energy! Pinnel loops soft voice and mouth pops on her Black & Decker Workmate. The crowd went wild after their vacation in these gentle hisses and slips. The most Eno! Rice & Maggiore are dressed in black and vibe out the audience with their regal focus and concentration. Performance for modular synth, puckered lips, red hands and two sets of big stamping boots. An outstanding show of control and timing. Don’t believe me? Order the damn tape yeah!
There’s no website comrades so please send questions, requests, stamps and good karma to : howcroft.d58@gmail.com
Teatowels- We are the Deadness (Beartown Records & Tapes) Cassette
As the gardener must prune their prize roses with regular surgical snips the musician must occasionally take a hatchet to their craft. Slicing out overused approaches, chopping back any excesses and burning the lazy ideas to truly grow.
The Teatowels have cut and cut and cut until all is left is one guitar/one drum/one voice. Even the idea of a song is sliced and diced in a semi-improvised blur. Sure, some pieces on this extraordinary tape are recognisable ‘songs’ (track 6) but others are fumbles, sketches and essences that make this like a long-lost practice tape found in the bottom of a shoebox.
The rehearsal room ambience is thick with amp fug and ideas blooming in the moment. It’s a secret shared in hot breathy gasps. The shamanic use of repetition and lowest of all known ‘fi’s’ becomes a grey carnation shuddering in an autumn storm.
If you’re looking for less botanical references the mumbled vocal, spindly guitar and boxy drums take me back to the woollen-scratchy and indistinct world when the Dead C and The Fall and Sonic Youth had a lot more in common and seemed to answer a three-way conversation back and forth across the international freak-rock underground.
And like all three examples above the process of recording became part of the signature sound: cheap studios, busted amps and exhausting schedules gave this music a patina of sleep-deprived itchiness, a splitter van’s claustrophobia.
Teatowels have built this up into an impressive whirl where things abruptly jump-cut between half-remembered jams, free-rock (track 2), drum-led moaning (track 3 ) and more realised explorations. A deft finger on the pause button (track 7) makes some of the more hectic jamz blur with distinctive tape smear and is the perfect hot sauce on this tasty wiener.
The closer (track 8) is a lengthy nine minutes and boils all these approaches into a thin gruel applied in erratic brush strokes over the bones of the type of speaking –song-dramatic-build that Slint favour.
But instead of the Louisville drama we get an unrelenting British chug – all tension and no release; drizzle sizzling forever on the vinyl roof of a Ford Cortina.
brb>voicecoil, Teatowels are playing TUSK festival 13th – 15th October.
–ooOOoo-
human knotty complexity : joe murray on katz mulk, daniel carter/george lyle/fritz welch, downer canada and brb>voicecoil
March 27, 2017 at 6:04 am | Posted in new music, no audience underground | Leave a commentTags: andrea kearney, ben knight, ben morris, brb>voicecoil, daniel carter, dictaphone, downer canada, drone, fritz welch, george lyle, graphic score, improv, iorram records, jazz, joe murray, katz mulk, muza muza, noise, power moves library, sacred tapes
Katz Mulk – Katzenungen (Sacred Tapes)
Daniel Carter, George Lyle, Fritz Welch – So Long Farewell Repair live at The Glad Cafe (Iorram Records)
Downer Canada – Snarl like a Poem (Power Moves Library)
brb>voicecoil – Cloth White Skin (Muza Muza)
Katz Mulk – Katzenungen (Sacred Tapes) C30 Cassette
(i)Introduction
A new project from N-AU stalwarts Ben Knight, Ben Morris and Andrea Kearney* should make the most cynical of listeners burp – but I can report back from my comfortable trench that Pepto Bismol is not, repeat not needed. This Mulk slips down easy as sherry trifle.
(ii)Inputs
Knight continues his imagineer work for a darker-Disney building a domestic palace of half-song and chant. He adds delicate plonks with increasing grace and moves the air with a palm, then a knee. And Morris knits these materials into a thread-bare tapestry that celebrates the tiny, the small and the microscopic. Kearney provides the graphic score…
(iii)Outputs
Side one: truth bandits, engaging rumble of an outboard motor, the squished goose honk of decaying electronics and wet hiss of traffic. A voice says ‘squeal, squeal’, a bell rings and tinfoil gets crushed underfoot, a plate spins. Alligator goodbyes!
Side two: roar of a space heater, hectic metallic scrape, a voice battles sense against ripped rubber electronics, taped blister pack wrench overlaid by gentle footsteps. The plumber’s mate fouls up the pipes leading to complex knocking (at the7 min 30 second mark) that is both wet and dry, hard and soft, immediate yet attached to memory.
The end is heralded with the kind of repetition pin-ball/gong-strike/marble rolling I could listen to forever.
(iv)Outcome & Impact
The rare art of listening is engaged in this most rewarding of tapes. I’m guessing this is a patchwork of ‘live’ and ‘studio’ jamz with the idea of sparse pushed through a nozzle, so the language bacteria grows in a dish; the rattles of accompaniment become as real as altitude ear-pop.
One to catch in a butterfly net no matter what!
*a most fortuitous bumping into Andrea enlightens me that her presence on this tape is purely graphic score construction rather than future-ghost player. But FFW to the planned Katz Mulk disc on Singing Knives coz itsa trio of all-three-players-playing!
Daniel Carter, George Lyle, Fritz Welch – So Long Farewell Repair live at The Glad Cafe (Iorram Records) CD
Real-proper JAZZ chips from this sax/piano, double bass, percussion trio and sadly the last ever recording from Glasgow bass-face George Lyle.
The dials are set for human knotty complexity rather than eviscerating fire and that is all super-smashing-great for me.
It’s like this. My simple mind is pulled in several directions at once. George saws an undercurrent of resin-soaked wood so it glows like a fire biding its time. Fritz supplies the sizzle of gentle rain on the griddle – a liquid bada-bing! Sax sings for the brassy siren then Daniel moves to a dusty piano playing all the in-notes outwards.
But each piece tightens the jewels further, like when you find the bite on an old socket set and each bolt and nut clicks an extra few revolutions. This is true open-jaw music that plays the lush valleys between the craggy peaks.
Even the most casual listen reveals ear-gems and brain worms: the guilt marimba, felt ravioli all come seeping out a blowhole and begin rolling around my feet.
But weirdest of all, the closing minutes of ‘News Loom’ seem to suck god-save-the-queen backwards over all the rippled sonic scree. That can’t be right eh?
Shit! What more do you want me to say? This threesome are impressive enough as lone gadgies but the sum is most definitely more when all those ears and fingers (and feet) get warm and busy.
Bop it!
Downer Canada – Snarl like a Poem (Power Moves Library) CD-r in classy envelope and free digital download
This slim CD-r is packaged between two pieces of thick card and makes me think that the music is being coddled in some way – like it’s a delicate thing that needs protection from my fat, greasy fingers.
But when played ‘Snarl like a Poem’ is surprisingly robust – a full frequency exploration of brushed steel flux and hissing radiators. It knocks like the ancient plumbing attached to your old head (a gaseous ghost in the pipes, hurtling through copper joints , whipping right and left) until you are not quite sure what’s going on.
And then…a feedback suite; a feeble keening smooth as marble. Limp Morse that rolls as a cylinder would over a deep ice puddle yet fuzzy at the edges like someone just smeared my glasses with Vaseline – most agreeable!
Tones on the edge of collapse send oily ripples through my ear canal, a lo-tech Eliane Radigue, until things blister, bubble and pop.
Dry mouth sounds… ‘kah’ and ‘schah’ and ‘khow’ reveal dusty language roots. Is this the lost speech of the sand-encrusted pharaohs? Or perhaps a sound poet’s secret library hiss?
What was once ultra-minimal collects the grit of a classic Dictaphone approach with each surface filled and smoothed-over with fizzing huss.
It fills my head with sweet drizzle!
brb>voicecoil – Cloth White Skin (Muza Muza) C25 Cassette and digital download
The perfectly dank sound that joins the dots between classic long-form drone, field recording and musique concrete.
Kev Wilkinson’s bands Drill, Big Road Breaker and the more recent brb>voicecoil, have been stalwarts of the Newcastle noise/drone scene for as long as I can remember. After years of steady, underground activity his brb>voicecoil delighted a whole new generation in a triumphant performance at last year’s TUSK festival.
This cool-looking tape is the next instalment in an epic story.
Using source material recorded over an 8 year period the side-long title track ‘Cloth White Skin’ weaves an arcane industrial process (cast-iron rollers flattening bone fragments / blast furnace being stoked with terrible energy / huge tumbling spikes) with the spluttering of cold liquid metal and the distant thunder of Xipe Totec .
But it’s not all spitting-bluster. The final short movement is an introspective shudder, a ‘someone’s-just-walked-over-my-grave’ uneasiness of rusty tin slowly coming to rest.
The itchy rhythm of ‘Crack Vessel’ mimics exactly the enamel rattling of a child’s tooth in a jam jar. The accompanying offset, slopped-shunts of sound remind me of dancers limping after brutal rehearsals, all sore toes, ripped calves and swollen ankles.
The closer, an aptly named ‘Vent 2’ treats us to a Heath-Robinson industrial scene. Grey gas escapes under enormous pressure from cracked terracotta pipes. The hullabaloo flips a series of leather coated buttons to perform an organic, irregular beat. The surrounding soundscape is crisp with busy electric crackles and fades into one lone drummer drumming.
A taste of the grim future? Automation gone loco?
Regard the prophetic warnings of brb>voicecoil!
-ooOOOoo-
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