disinfectant: wrest, culver, joined by wire
April 21, 2016 at 8:22 pm | Posted in new music, no audience underground | Leave a commentTags: culver, inyrdisk, jamie wrest, joined by wire, lee stokoe, matching head, wrest
wrest – dark green (tape, Matching Head, mh212)
Culver – Seven Eyes (3” CD-r in DVD jewel case, self-released)
Culver – It Bleeds (CD-r, Inyrdisk, iyd126, edition of 30)
Joined By Wire – Two Thousand & Fifteen (self-released download)
Recent experience settles in drifts, in piles – like folded blankets in a cupboard, like books angled into inadequate shelving. It fills space, imperfectly.
Some is good: the chocolate buzz of my son Thomas’s third birthday celebrations, the marathon runner’s pride felt when my wife Anne’s hard earned promotion was confirmed. Some is tough: a journey diagonally down and to the West for the funeral of my Grandmother. No tragedy: she died aged 96, in her sleep, well looked after. On the train back up I stared at sodden countryside and thought about what I’d heard.
Imagine a little girl, the legs of her bed sat in jam jars full of disinfectant. A forlorn attempt to stop creatures crawling up into the mattress. Imagine sleeping with that smell, imagine rinsing out the drowned and poisoned in the morning.
Details like that lead me to reassess what is ‘consequential’. Aside from my family and my health (to which it seems inextricably linked) my relationship with fringe music is the most important thing in my life. Yet the numbers are statistically indistinguishable from zero: 20 people came to the show, 40 people bought a tape, 80 people read a blog post. Almost literally no-one cares but despite this – and because of it – when the pilot light is extinguished it can be really fucking hard to get it going again. I press the boiler’s red button and panic because all I can hear is the hiss of gas and the impotent tang, tang, tang of the ignition mechanism.
Nothing for it is there? The only choice is to chuck everything off the single bed onto the floor (that isn’t another metaphor – the tape deck is in the spare room), open the window and start with something reliable. I wonder what Stokoe is up to?
—ooOoo—
wrest – dark green
You can’t blame me for being surprised – I’d assumed that this shortish, single sided offering from Jamie Wrest on Lee Stokoe’s ever-reliable Matching Head tape label would be balls-out noise-metal of a North-Eastern variety. It’s not. Instead we hear a recording of a rainstorm outside accompanied by a simple, evocative, melancholy guitar and… that’s it. I was moved.
Imagine standing in the kitchen of an elderly relative – it’s curling up at the edges, it smells of its corners. In the back garden is an overgrown castor oil plant, its leaves a brilliant dark green in the rain. As your relative – half the size he used to be, hands shaking, absolutely delighted to see you – pours two mugs of tea you remember digging the hole for that plant with him when you were a child. You take your tea and turn back to the window so he can’t see you crying.
Aye, thanks,
you say,
I’ll be with you in a minute, you go sit down.
Culver – Seven Eyes, It Bleeds
To Lee himself. Seven Eyes appears not (at the time of writing) to be ‘officially’ released but rather is being distributed under the counter to those addicted to his particular brand of Mugwump juice. Submit yourself to the same humiliating rituals that Scott McKeating and I have done and maybe you’ll get on the list. It runs to 22 minutes or so, is indistinguishable from previous offerings to all but the most attentive acolyte, and is completely obliterating. This rumbling conflagration cancels thought – its bloody-minded nihilism makes any kind of higher function irrelevant. To comment further would be like engaging in polite philosophical discussion whilst attempting to escape the choking smoke of a factory fire.
It Bleeds, released on CD-r in a tiny edition by the excellent Inyrdisk (I’ll say nowt about the cover art. My prudishness at Lee’s prurience is well documented and he clearly doesn’t give a shit anyway), runs to around 37 minutes in two parts. The first follows a typical Culveresque structure: contemplative intro swallowed by entropy, lengthy panic-inducing roar, initial theme resurfacing drained by the experience. It is a time-lapse film of an abandoned, decaying cabin in the woods, played in reverse until it almost appears habitable again. The dried blood on the axe left on the porch deliquesces, glistens. The second part is harder, brittle. ‘Melancholy’ isn’t a strong enough word to describe the vibe – here we have someone wet-eyed, jaw-clenched, about to make a tough decision as they listen to their neighbours play black metal at abusive volume and police helicopters throb low overhead.
Yeah, compelling stuff. Now what else is there on the review pile?
Joined By Wire – Two Thousand & Fifteen
Ah, Stephen Woolley’s Joined By Wire (or ‘joined by wire’, or ‘joinedbywire’, or ‘JBW’ depending on typographical whim) project has always been a favourite nephew here at RFM. Albeit it an emotionally intense nephew with a worrying glue habit. Stephen himself may be as calm as a zen cow of course, but this racket brings to mind the mutant stepchild of Ashtray Navigations and a fax machine, fidgeting at dinner all moon-eyed and gabbling about how green the peas are. Here’s an extract from the notes accompanying this release:
./You (sing.) survival or caution or ghost house Mr Robot brains 100% on off. On Monday reach a peak of the highest level of the lowest level of between … and … to …, two million warning warning, you are here. 1 2 3 4 5 6 I’m sorry, I’m sorry, but, We can’t. CALL 0800-MAGIC PORTAL. Great Galaxalaxies, immense as the space through “light-years” stop this way 15 000 000 15 million million tons Pulsed light ellipse intense. Default energy x Actual energy JxBxW -re -length zzz soft places our solar system. The central plane of the galaxy, the myriads of stars, vast formations of cosmic dust, Ace ace I use the power and authority I have to make others comply, y My enthusiasm is contagious 49 00,59,01 duet turbine-harp cooool. Our solar system is somewhere here. Road captain X riders 1% riders biker Take some!!! Yes Touch Here view even if I told you I can’t see anything here No Touch Here RRRR 1000 1000 TRAX trax…
Bracing stuff, eh? Anyway, 2015 is an album of two halves. The first six months are full-on thug-psych, a gloriously exuberant over-clocked riot and possibly the noisiest JBW so far recorded. Percussive elements hidden under piles of splintered mirror suggest that these were once songs, now shredded beyond recognition by Cenobites driving agricultural machinery. The second six months are a change of pace. I raised an eyebrow at the relatively sedate ‘Midsomer Titan’ but soon swooned over its epic scope and irresistible charm. I listened sitting on a bench, back against a cool stone wall, sunglasses on and challenged myself to remain absolutely still and do nothing but watch the clouds and absorb every detail of these liquid fireworks.
What a privilege, I thought, as the pilot light in my head relit with a satisfying ptouf.
—ooOoo—
Matching Head (no official online presence, contact details via Discogs)
last few thuds of a heart: scott mckeating on recent turgid animal
June 15, 2013 at 9:56 am | Posted in new music, no audience underground | Leave a commentTags: culver, drone, george proctor, improv, karst, la mancha del pecado, lee stokoe, lucy johnson, matthew bower, miguel perez, mike simpson, new monkey, new music, no audience underground, noise, samantha davies, scott mckeating, skullflower, tapes, turgid animal, voltigeurs, wrest
Various – Behind the Toilet Door Part I (C90 Cassette, Turgid Animal, TA390)
Voltigeurs / Dark Bargain – Split (7 inch vinyl, Turgid Animal, edition of 300)
Karst / La Mancha Del Pecado / Culver – Split (CD-r, Turgid Animal)
OK folks, here’s the sophomore effort from new RFM contributor Scott McKeating in which he reveals what is behind the toilet door, confesses his obsessive love of long-term psyche/noise fiend Matthew Bower and gets grumpy about vinyl again. Over to Scott:
Despite being a Turgid Animal release, Behind the Toilet Door Part I has the feel of a Fuckin’ Amateurs production wrapped in the aesthetics of Matching Head. A prequel to the 2009 release of Behind the Toilet Door Part II, which actually did come out on Matching Head, like its predecessor this earlier-in-the-day instalment features some lesser known North East noise players and their uncracked aliases. With each of the artists performing their sets in the confines of a carpentry workshop toilet cubicle, y’know as you do. Experimental arts festivals take note. With Behind the Toilet Door Part I having been recorded in the same lowest-fi quality as Part II, there is no concession to spit and polish clean-up here; this is organised, glorious and enjoyable chaos. As you’d except from a Dictaphone type handheld thingy recording set-up the sounds dips at points, conversations are overheard and the levels of applause (and ‘waheying’) sometimes hurricanes out all sound. These mini-sets are as varied as they are dissonant, alongside Wrest’s solo vocal take of ‘My Grandfather’s Clock’ there’s demolished sound collage, free percussion/samples, static cut-ups, stop-start field recordings, the sweep and pluck of solo violin and a dose of virulently energetic New Monkey. Yes, you read that right. New Monkey on Turgid Animal.
There’s no point in being coy about this, I’m a fully paid up Matthew Bower acolyte. We tend to operate in sleeper cells, tracking down his prolific output across disparate labels like randomly strewn Dan Brown clues. As one of the very few still active, evolving and enduring artists from the post-industrial noise scene of the 80s, Matthew Bower can be relied on to deliver the goods whatever the project title. Much like Black Sun Roof! and occasionally Skullflower, Voltigeurs is a duo of Samantha Davies (ex of Harm) and Matthew, and away from the glare of daylight and the accord of reality they hunt the hinterlands of bliss OD and layers of feedback noise. Turgid Animal has become something of a home to Voltigeurs, having previously put out three and a bit releases. So, needle down and right away it’s like being plugged directly into a stream of breathing charred sound that has the Bower/Davies union demon-bound in a living amber covering. It’s heavy. ‘Strangled Angels (In Our Hedgerows)’ has no time wasting coming-up intro, no mirror/signal before the manoeuvre, Voltigeurs are intravenously instant. The layers of haze-horror noise sound like they’re created through an energetic hands-on expelling. From-hand-to-instrument-to-pedal-to-overload, Voltigeurs’ chaos is a living thing far beyond any concept of a mere blackout of harshwallnoise. Howling around a pulse of (possibly) piano notes and an impatient rhythm, this side of vinyl makes me want to turn the volume up till I break on through or kneel in masochist reverie. This is music that inhabits and endorses both the concepts of cosmicism and the glory of the self as simultaneously the only important thing. And then it’s over. Just as immediately as it began we are spat out again into reality. No fade out, no winding down, just a complete and utter removal of everything. Dark Bargain is another spurt from the incestuous pool of the north east of England’s noise/experimental people. With a cast of Lucy Johnson (of Smut and co-runner of Turgid Animal), Mike Simpson (of guitar noisedrone Xazzaz and the Molotov label) and Wrest (of Fuckin’ Amateurs and affiliated labels), Dark Bargain are suppliers of fuzzed-to-hell bleak rock. Their ‘A Fillip To The Senses’ circular riff is a more an aggressive horizontal burrowing than it is primal rock repetition. A battered beat, a seven minute millstone grind that comes careering to a feedback crunching finish, Dark Bargain’s debut track is a shakily solid teaser for this new unit.
(Pedantic vinyl gripe Part 2. No rpm on this 7” means I’m on mental tenterhooks thinking I might have to get up off my behind to change the speed)
A part of Turgid’s appeal is that while they put out pro CD and vinyl releases, they also still slip out the kind of home burnt and photocopied CD-rs you can imagine them putting together at their kitchen counter. This facet of the label often puts out some of its best offerings, keeping up the regular flow from George Proctor and his close allies. This three-way is a strong representative of the label’s pool of close to hand talent. And while there is no evidence that Proctor has angels chained in his basement, Karst’s ‘Shipwreck’ is a good exhibit A to kick off the rumour. There’s a touch of the blinded angelic to the start and end of this 27 minute track. If you can imagine a take on the idea of a watery grave, de-toned and hidden from daylight, then you might be a third of the way there and you’ll still need to pick this disc up. Nurse With What? Salt Marie Who? La Mancha Del Pecado is the lucky Pierre of this CD-r and needs no introduction to RFM readers. Miguel’s 22 minute piece is occult slasher horror visuals made aural. I’ve no idea who Julieta from ‘Julieta En Las Catacumbas’ is, but she’s bleeding out as I write/you read – no doubt about that. Stasis drone that attracts a clattering breath industrial rhythm heard through the last few thuds of a heart.
The disc is closed out by RFM ViP Culver, and it feels like something of a slight departure. Where ‘The Fiend’ feels a little different is that it seems to be purposefully constructed as opposed to having just materialised through one of Lee Stokoe’s feedback rites. A twenty-minute slow burning noise-influenced dose, the track soon switches into a collision with harsher sounds once the opening reverse tones are swamped. ‘The Fiend’ is drone dragged through an arterial stream of black Lyle’s, Stokoe’s touch drawing queasy sound and industrial ambience poisons from the track.
All available via Turgid Animal
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