Imagine you’re a vampire. Then look at the cover of the cassette by the Boise, Idaho based hardcore noise-punk trio Deep Creeps. What do you see? That’s right, a motherfucking garlic. So you panic. This is what the music of Deep Creeps does do you. Hard-hitting, relentless, hateful, superfast hardcore punk with an overdriven, misanthropic air. Repetitive and primitive, like a more hi-fi Brainboms without the graphic lyrics, rather with more incompherensible screams in place of sick fuck fantasies. Maybe that’s a good thing. One can only listen to this much Brainbombs without going on a rape rampage. Anyway, Deep Creeps kicks some serious fucking ass, so pay those 3 dollars for that album or they’ll kick your ass too.
A compilation by the extended Digitalis roster released to celebrate label founder Brad Rose’s 35th birthday (hence the name), it’s an extensive soundscape, a lexicon of different experiences, contacts, enlightenments and visions collected down the road. Collecting works from exactly 35 acts, it’s a retrospective and a future perspective of the Digitalis work, extending from luscious psychedelic folk with a melancholic, autumnal fog descending over it to to computerized krautrock worships condensed into the micrcochip form. Between field recordings and vaporwave, the Digitalis label continues to mine the psychedelic underground for the most visionary and the best. And it’s no the Midlife Crisis, Brad, it’s Midlife Success. Highly recommended!!!
If you ever do something wrong and plan on punishing yourself, then this rusty screwdriver of an album by the Austin, TX based acid industrial band Quttinirpaaq will be a good method of torture. No Visitors is a scraping, plodding mess of inhuman noises and droning basslines, ready to encompass and consume the listener without even a glimpse of mercy. Between the Public Castration is a Good Idea era Swans and the slowest, most chaotic moments of Sightings, this is thick as magma and about as caustic as a vat of sulfur acid. Heavy and unforgiving. Recommended!
If you’ve been a rather normal, healthy human being and been following blogs and websites writing about music similar to the stuff served by Weed Temple, you’re probably already familiar with Huerco S., the Kansas City/NYC based hazy house producer, whose debut album Colonial Patterns dropped via Software label last September. And “hazy” might be an understatement in case of Huerco S. – Colonial Patterns relies on textures and ambience much more than on rhythm and melody. Because the melody usually simply just isn’t there (or is buried under successive layers of hiss and hum) and the rhythm is often fractured, irregular and thrown off its tracks (however, there are some exeptions, like the thumping banger “Ragtime U.S.A. (Warning)”). Colonial Patterns will hit the nail on the head for those who loved Ghettoville by Actress and the works of Swedish stargazer 1991 (in fact, Huerco S. remixes one of Axel Backman’s tracks on the Skogen, Flickan och Flaskan cassette). Go for this album. It’ll sound hazy and random as hell for the first few listens probably, but once the right moment comes, the steely skies will open.
Combining some pissed off fuckers culled from various less or more noisy bands, the Wrocław based quintet Norymberga (Nurnberg in Polish, probably took their name from the Nurnberg Trials) may be one of the noisiest and angriest. Their debut self-titled album crash lands somewhere between Drunkdriver and Bone Awl, adding a brutal, nihilistic edge to the noise rock ear-grating distortions and feedbacks. Mauled, growling vocals spit forth unintelligible lyrics while the wall of tortured guitars and the savage drums form a series of punishing death marches. March or die, you scum! This is some hardcore shit, right there. And check out that classic punk DIY cover!
The heavy buzz of countless bees welcomes the listener in the immersive, droning sonic experience “ABC Ambrosia”, where the hive sounds get worked into a heavy, Vibracathedral-styled drone filled with lovely little pieces of feedback and the heavy hum of the beehive. And then it gets better. Ambrosias Vol. 1 collects various recordings from 2004 to 2009 made by Stephen Bishop – who’s also the founder of the Opal Tapes label. His work as Basic House may not be as rhythm-based as most Opal Tapes stuff, but it’s still a carefully crafted sonic experience, mixing hissy ambience with field recordings, where moments of silence or quietness are just as important as walls of drone that sometimes drown out everything else. And wait for side B’s 18-minute “Panasonium / Matrioshka Brain”, which sounds like a kosmische musik synth jam played in a wet cave and we might have a winner. Recommended!