Entries from September 2016
Things That Were
[Vinyl on Demand, VOD117]
The first self-titled Lustmord LP appeared originally on Nocturnal Emissions’ Sterile Records in 1981. It is one of the classic releases of a particular phase in British industrial music whose sound is defined by outfits such as S.P.K., Nocturnal Emissions, Bourbonese Qualk and others. It could be said that these and other bands/projects represented a “second wave” after the trailblazers of Throbbing Gristle and Cabaret Voltaire, continuing a grim sound, reflective of the hostile environment of Britain in the late 70s and early 80s.
In 1983 the Sounds-journalist Dave Henderson compiled a nice overview of this scene in the form of The Elephant Table Album, creating a snapshot of that scene as it was already drifting in different directions, be it more dance-oriented strategies or a more dark, ambient noise vein.
Things That Were, released in 2013 by Vinyl on Demand as triple LP box set, collects Lustmord’s material from before that date. The first of the three LPs is a remastered version of the aforementioned first LP, the other two records collect bits from various compilations (including the Elephant Table) as well as several live- or studio-versions and unreleased tracks. This is long before he became well known for his soundtrack-like dark ambient style, with the one exception of the last track of the third record, which anticipates his departure from the rawer and harsher sound of the early years.
The Burial/Jah Jah Dub
A two-tracker on a stamped white label 10” shows FFF with Champa B in a more quiet, reggae-influenced mode somewhere between Jungle and early Drum’n’Bass. On both sides the beat remains rather steady and there are no surprises or ravetastic elements as you might expect, but it’s not too cheesy either.
Stage Invader/Tek Hater
Deathchant reaches number 75 with the man Hellfish battling it out on two 45rpm tracks in his familiar style combining some breaks, start-and-stop techniques and EQ-tweaking with the trademark fierce 4 to the floor pounding. Since number 70 all Deathchant releases have been by Hellfish. Perhaps he figured he might as well just put out his own tunes if he can churn them out at this speed to keep the pressing plants busy (and still find time to make releases for PRSPCT). Now none of them provide new revelations, but I don’t think that’s what they’re made for, they seem to be happy to be just solid kicking Deathchant releases.
Liza N’Eliaz/Laurent Hô
S.O.D.O.M. stands for Slaves Of Devil Our Master and was a label run by Armaguet Nad in the late 90s. It never completely stopped, and after some long gaps there were two releases again in recent years, most recently – January 2016 – the number 001. [Read more →]
[Tri Angle 32]
Lackluster, infuriating? Or just disposable and instantly dismissible? Is this the contemporary conundrum? Caught between the ADD and mindless craving for “more” of the social media generation/addicts and the online “like” hype and bluster of the progenitors themselves. Why even bother to release albums anymore? I’m genuinely lost for words with this particular one even after multiple listens. I wanted to like it. I follow and, more importantly, support his output by purchasing the material. I like what I perceive he is sonically stretching for. I’ve listened to this stone cold sober; after a few beers; blind drunk, but it irritates and annoys me in all states.
The simple fact of the matter is there are no bones or balls to any of it. It feels obtuse and willfully obscure. What he may think is discipline and tech skill can just as easily be dismissed as pretension, even arrogance. “Snow Leopard” my arse! (I’ve tracked one in the Karakoram my friend and only ever saw its footprints, much less imagined a shitty racket like this as a soundtrack to their elusive beauty). Any of these tracks would bring a dance floor to a rapid standstill and see punters heading to the bar or for a smoke. Nothing wrong with that. So then as a listening album where’s the focus? It stutters and farts and crashes and jackhammers away, coated with the usual soft synth pads, washes and cod sci-fi FX/design, disappointingly veering into the weakest and most tired of breakcore undynamics. Only by the end of the 7th track “Pandemic” do we get any sense of slamming groove or focus evolving. And “Burnerz” finally gets into gear (for all of 3 mins or so) in a kind of vintage Italian Broken Beat stylee (think SNS, Anibaldi, ADC and their ilk). But by then so what? There’s a limit to the interest one can hold to repetitive “deconstruction”.
This should by rights be the last statement Rabit makes in this area, but after his even more useless and wretchedly awful 12” with Dedekind Cut on Ninja Tune I fear the man really has disappeared up his own proverbial.
I had a History teacher at school who used to score through whole paragraphs of our teenage scribblings with a red pen and capital letter “WAFFLE!”. Funny I should think of this and in my cantankerous middle age fully appreciate this now, but there we have it. Waffle indeed.
In contrast to Rabit’s fart-in-the-wind of an album this just seems to get better on repeat listening and feels like a well researched, deeply knowledgeable journey through past and current genres.
I have to call him out though. His biggest, most shameful faux-pas is kicking off the whole thing with an utterly by-the-book old-school breakbeat ragga re-fit(shit). Absolute derivative nonsense. By this stage I think we all have to agree there’s nothing more to say or update on the matter. My advice: avoid, delete or fast forward. It’s a better listen without.
Skirting the edges of Deep House, Techno, and Bass, the rest of the material proves a masterfully tech exploration of route finding. There’s no pointless probing or faffing around on the arrangements. They choose their line and go for it, taking in their influences without fuss and with almost casual confidence.
“Gravity” is long slow builder; a subby, banger that kills it on the breakdown with a re-polished, wobbly, reese and vintage doomcore claps. [Read more →]
Disco Documentary Full of Funk
Re-issue of the insanely rare Ghanaian disco record from the wonderfully named Nana Love. I have wanted a copy of this record for years but the high price and normally battered condition always stopped me from acquiring one. Imagine my delight when BBE dropped the re-release on super loud double vinyl. What you get is some of the most mental afro-funk disco workouts in history with Nana dropping her amazingly twisted vocal gymnastics over the top. With a touch of James Brown and Grace Jones in her voice she screams exultations of desire over the hypnotic disco funk. Check the amazing 12 minutes of “I’m in love” with Nana in full flow whilst Moog and horns counterpoint her deranged delivery. If you only buy one Afro Funk disco record this year, make it Nana Love!!
Let that shit breathe
L.I.E.S. have released an amazing amount of vinyl over the past couple of years and have a seemingly endless supply of raw and downright deep and dirty techno to impart to the world. It can be easy to be overwhelmed with their prodigious output but dig in and you’ll find some absolute killer tunes that you need to take a listen to at the right time to understand. This EP from M/R has some pitched down rhythms that at the right point of the night will devastate any dance floor. Sometimes Techno is better slowed down. In the space you can dance heavier. ‘Coconut Jar’ is a killer 106bpm sleaze funk groove for the right moment.
Hyperspace Sound Lab
Essential reissue of rare first vinyl outing from Drexciya’s James Stinson. Some raw Miami bass style rapping on two of the cuts, and the production is noticeably less refined as befits an early release from a producer learning his craft. [Read more →]