Confession time: I had no idea who Scott Walker was prior to the announcement of Soused. As those of you who read this here blog on the regular might have guessed, I’m not particularly hip to the avant-garde scene. Furthermore, I was a tad apprehensive about another Sunn O))) collab being released this year after experiencing Terrestrials, their underwhelming team-up with Norway’s terminally overrated Ulver. If you’re in the same boat as I, fear not; one doesn’t have to be familiar with Herr Walker’s work to enjoy Soused, and it blows Terrestrials out of the goddamn water.
Universal Consciousness, the label run by Andorkappen of Lord Time (aka Sandor GF of Harassor), is home to some seriously “out there” metal acts. Voci dal Passato, the debut full-length from Italy’s Tony Tears, might be the label’s weirdest release yet and a fine example of an outsider take on an established form within the metal paradigm. Originally released independently back in 2009 and finally getting the vinyl treatment here, it’s forty minutes of quasi-psychedelic traditional doom that’ll likely leave you scratching your head for the first few listens, yet will quickly endear itself to you due to its naive charm.
2014 will be remembered as the year that actually got me excited about extreme music again. I haven’t exactly been bored, but it seems like this year I’m finding so many exciting young bands that are doing something truly interesting within the genre paradigm. One such band is Austin’s Street Sects, who are releasing the second part of their “serial album” in the form of Broken Windows, Sunken Ceilings. The duo creates what can best be described as electronic hardcore; violent, jarring and noisy as hell, like a factory full of automated machinery going haywire and collapsing on itself, the machines still trying desperately to function however imperfectly amidst the burning wreckage.
At thirty-five, I don’t often have epiphanic moments while listening to music anymore. It’s typically more along the lines of “been there, done that, no alarms, no surprises, etc, etc.” But when I stumbled upon the UK’s Sleeping Peonies during one of my increasingly frequent trawls through the depths of Bandcamp, it happened. This was music I had been waiting my whole life to hear. I realize this is already sounding like hyperbole to the nth degree, but the band’s mix of black metal, shoegaze, synthpop and noise really is as close to perfect as these ears have heard in what seems like forever.
I’ve spent a lot of time covering cassettes here at THKD, not just because I dig them, but because I truly believe that some of the best and most interesting heavy music today is being released by smaller labels who have embraced the format as an affordable way to bring the underground to the masses. As such, my relationship with several of these labels has become far more personal than just receiving an e-mail blast from some faceless PR company; their owners have proven to be incredibly personable and genuinely appreciative of the coverage I’ve given them. But, as deeply as I’ve delved into cassettes and as much as I’ve chatted with those who are in the business of releasing them, I still had many unanswered questions. What motivates them? What brought them to the format? At the end of the day, does the format even matter? In an attempt to answer these and many other questions, I gathered the gents behind the labels for a virtual round table discussion of all things tape-related.
By some miracle, I’m actually managing to do one of these per month; I can only assume it has something to do with the sheer volume of quality music available on Bandcamp, because it isn’t like I’ve gotten any less lazy. For those of you that might not have been too terribly keen on last month’s all-slamming edition of this here series, I think you might just find this one more to your liking. This month sees Bandcamp Band Crap skewing back toward black metal and there are some real gems here that should please fans of all the genre’s wondrous guises. So without further ado, let’s dig in.
When I think of noise, I tend to think of it as the apex of extremity; pure sound so harsh it’s going to melt my brain and cause it to come oozing out of my ears. Granted, my introduction to the genre was the ultra-abrasive works of Relapse-era Merzbow (Venereology, Pulse Demon, etc) and Masonna (Inner Mind Mystique); ungodly endurance tests which I later came to appreciate for their ability to make even the most abrasive extreme metal seem like child’s play. Noise certainly has the power to obliterate, but I’ve come to learn that it also has the power to soothe, as evidenced by Crowhurst’s Everyone is Guilty.