doncbruital (FMA Admin)

FMA users are brave, venturing right to the edge of the modern sonic map and scanning all the unlit territories where the best stuff hangs out. And since you're way in the know, reader, no doubt you've been privy to one or two free squall instrument assaults in your time. They are--as I've argued before--more or less indispensible opportunities for defocalization, for catharsis, for freedom, and we should not let a single one pass us by. Seriously, if we forgo the kind of cacophonous tunes best classified as "assaults" from our listening, we intensely limit our musical purview,  inviting the chains of conventional songcraft and melody and--never far behind--genuine personal insanity to shackle us right then and there. And if you're reading this paragraph in any mood other than complete agreement, it could already have happened to you. What are you going to do about it?

If I might offer a suggestion: start with some MENSTRUATION SISTERS, a loosed-maniac sort of outfit characterized by its drummer, Oren Ambarchi (Australian noise/jazz/improv linchpin) as "one-string, Minnie Ripperton, a footprint, intuitive chants, and two tree trunks." Their noisy drumcrash/guitar approach, which is sort of a painfully-deliberate conceptual dismantling via instrument destruction with high-pitched squeal vocals overtop (of, yeah, Rippertonian range), ought to do the trick. It's dark, deep soul stuff, with few concessions to safe rational thinking. Of course then there's this compilation track below that's just a recording of I guess a French robot?

Both are necessities, as is the Sisters' entire lauded debut MA, available here on the FMA. Go ahead, get cracking, and stay ahead of the forces of creeping uniformity, way off the map.