This triangle of energie consistius three intergalactic cleaning ladies. They have been traveling the universe trying to escape the ever consuming grey mass 'shvna'. Now seeking refuge on the ADM where the shvna still has not fully taken controle they can bundle their powers with yours. With deadly ska hip-hop and hardcore combinations, lyrical lazer beams and a punk rock passion they combat the ever growing 'shvna' that is eating the soul of Amsterdam.
Evolution? Revolution? Devolution? There is no certainty about the vector of Kurws’ music. The way from the debut ‘Dziura w Getcie’ to ‘Alarm’ leads from a primitive sophistication to sophisticated primitiveness. It is a comic, from which the bubbles are being wiped out with each subsequent page, making it more abstract for some and a lot more concrete for others. More important than a genre or clear explanations here are the nerve, adventurousness and controlled instability of the line. It is these that complement the rest and create images and notions. Kurws speak little, but they throw the news of the world into the cogs of their machine made of nerves conjoined with instruments. In one gesture they reflect reality, challenge it and dodge.
‘Alarm’ is Kurws wrestling with their limitations. Doing splits in asynchronous performance, in expanding their patience and organising silence. There are escapements with the use of many layers, recording tracks with a tape recorder, taking advantage of tape’s physical imperfections. Kurws train in composition, improvisation and – which is relatively new – in casting spells on coincidence, riskily falling out of structures, evading their own habits. They form, lose and cover their tracks. Can you dance to this material? Of course you can, but it is not going to be either the well-remembered Tanz mit Kommune 1 or a clumsy dance with Colossus on clay legs. This time it is a dance on a volcano.
Pascal Quignard has concluded that there is no sleep for hearing. This is why various devices to wake you up appeal to your ears. Sight can be turned away or covered by eyelids. You cannot switch hearing off, though. Kurws exploit this passivity of the ear to the fullest, yet doing so in defiance of the oppression encoded in the music. They use sonic violence in service for peace. They generate tension which releases and diffuses greater tensions. They are like the madman raving in the street that you listen to only to recognise your own fears, neuroses and frustrations. ‘Alarm’ is an alarming album for alarming times. You need to decide yourselves whether it is a fire alarm, a nuke alarm or no more (and no less) than a common alarm clock.
Karol Paczkowski
https://kurws.bandcamp.com/album/alarm
Drawing inspiration from Wire’s frenetic ‘Pink Flag’-era, Aussie degenerates X, and the bleak stride of Crisis,
Structure delivers jagged lines on a cold steel frame of tense dense discontent to vandalise your dirty mind.
The band’s debut 12-inch features six originals, including the future dance floor filler ‘Disco’.
And is out now on HARBINGER SOUND (Sleaford Mods, Chaos UK, Nachthexen). With members of Men Oh Pause and Die.
https://structurestructure.bandcamp.com/releases
Saturnus (1971) by Ludo Mich (filmed with a self made fish-eye lens) is one of the top works of Belgian underground cinema, still fascinating young generations everywhere. Strange pictures and sounds are received from outer space, they show us the bizarre life on one of the moons of Saturn. In a self-designed setting, several characters: a king, a queen, torturers, gladiators and bush women. They speak an unintelligible language (Lingala) and are dressed up grotesquely, painted Ensorian style. The soundtrack for Saturnus was made using fucked up sound sculptures, heavy tape machines, non stop sax outburst and African poetry and was released in 2005 as part of the Ultra Eczema LP Music from Films by Ludo Mich. One of the leading roles is played by Nicole Van Goethem (1941-2000), Oscar Winner for her animation film Een Griekse Tragedie in 1986.
Director, director of photography, screenplay, camera, set design: Ludo Mich
Editing: Ben Mangelschots, Ludo Mich
Sound: Jules Goris, Louis Goyvaerts, Jo Van De Velde
Music: Daniel Doncq (sax), Ludo Mich (vocals), Wally Van Looy (percussion)
Narrator: Magie Dheere
Actors: Nicole Van Goethem, Guillaume Bijl, Lea Wijns, Vera Fret, Daniel Doncq, Marceline Bertens, Mie Van Cakenberghe, Rina D'Hertefeld, Harry Meeusen, ...
This movie was originally screened on 16mm reversal film in black & white.
Philipp's very personal music combines a visually organic aspect with experimental compositions, creating a singular sound world that on the one hand exudes warmth, familiarity and comfort, while on the other hand renders so much yet to discover.
Within the music the varying moods are reflected in the titles of the sound paintings, from warm September evenings to rainy days and from a seascape to a wedding.
The record was carefully mastered for vinyl by Stephan Mathieu at Schwebung.
All cover artwork of the trilogy was designed by Caro Mikalef at Cabina.
credits
releases April 3, 2018
Mastered by Stephan Mathieu at Schwebung
Artwork by Caro Mikalef at Cabina
It is known that during the mid to late nineteenth century, amateur music making, in all its forms thrived in the industrial areas of the North of England. In areas of the West Riding of Yorkshire, various choirs, orchestras and bands of varying instrumentation were founded. The Ashtray Navigations, formed around 1881, was one such unit. Until the 1920’s, Ash Nav, as it is often affectionately known, could be described as ‘just another typical local band’.
It no doubt suffered occasional successes but probably had its fair share of disappointments. In addition to playing many concerts throughout the area, bands thrived on the spirit of competition regularly meeting each other at the host of local and regional brass band competitions of the time. We don’t know what the particular catalyst was but during the 1920’s a much more determined effort was made by the then members to improve their status among the nation’s brass bands. Better players were attracted, probably from a slightly wider area. The hard work paid off in 1929. Ash Nav broke into the highest level of brass banding when they won both the July and September Brass Band Contests at Belle Vue, Manchester, a feat achieved only once before, and not equalled since. They consolidated their position in the top echelons when then won the September again three years running in 1932-33-34 conducted by their professional conductor, the great William Halliwell. Barred from competing in 1935 they regained the title once again in 1936. They have remained in the top league of brass bands ever since, continuing to feature in the premier championship prize lists, but it wasn’t until 1978 that they managed to win again.
Album published in December 2012 in collaboration with the Bordeaux label Les Potagers Natures, the Brussels label Matamore and the English label Ouse Records. Printing of the pocket in offset, sub-pocket in silkscreen three colors by the editions of the parasite. Drawings of Jb, Jo, Nino & Armelle. (...) A quartet in which the instruments (guitars, bass, drums, synthesizer, voice, percussion) are exchanged gleefully to deliver noisy improvisations, between industrial pop, naive serenades and African rhythms. In concert, their music is never fixed and passes voluptuously from tightrope moments in unstable equilibrium to African or Caribbean post-punk trance sequences !! "(i boat, Bordeaux)
https://chocolatbilly.bandcamp.com
Dreamy sounds from Stockholm, Sweden. Conversions, Constellation Tatsu 2017.
Recorded by Otto Johansson in 2016 at Telefonstudion in Stockholm, Sweden.
Mastered by Linus Giertta in January 2017. Layout by Steven Ramsey and Art-Dept.
www.cttsu.com | www.echologmusic.com
The Ideology Of Pessimism is Razgraad’s new album.
It's the suspension between two possibile lives, the unescapable and paradoxical standstill within transformation.
After the pagan rituals/myths of The Water Towers, this second effort is a new magical, isolationistic and situational ritual, about the extreme condition of individual Self.
Here Razgraad steps away from pure ambient structures, his music moves on rough drone-metal territories and industrial dub influences, obstinate rhythms and an intense work on the idea of Riff.
The Ideology Of Pessimism is pure black doomtronica
Includes digital pre-order of RAZGRAAD - The Ideology Of Pessimism. You get 1 track now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.
shipping out on or around November 21, 2017
edition of 100
Fuck On The Beach
If you don't know what to expect here I can't really help, this is brutal, lightspeed clattering blasts, razorwire treble drenched guitar and whirling layered screaming at it's finest. Plenty of ear splitting distortion, feedback, mics peaking and everything way too loud in the best way. This is fun loving fastcore powervioelce from Japan which I'm pretty sure even has a 'clap-track' on the self titled outro track. Fucking excelent. This side of the split is primarily hyper fast d-beats with the odd blast thrown in, so is sonically the inverse of the Terlarang side. For fants of Japanese style everything faster and louder style grindviolence.
Terlarang
Lo-fi to the point of incomprehensibility this side of the split goes even further down the slopes of treble-valley than Fuck On The Beach, sounding like the guitars are physically tearing the speaker cones from the amp and the rest of the band are trying frantically to hold them back in. Everything here is fast, no slow at all on this side. Maybe one or two slightly slower than lightspeed d-beat smashers floating about in there but this is really all about the pace. The fast as fuck and don't care nature is epitomised by the cats on the split cover and the last track basically sounding like black metal but being called 'Stop The Hate' in what seems to be a conscious rejection of the bullshit ideals of traditional NSBM. Nice.
This split is relentless and will hurt your ears in a charming way, fun frantic ear-splitters from start to finish.
credits
released December 24, 2017
www.WOOAAARGH.com
