“Noise” (Used 335 times)
wmmberger on 08/02/2014 at 11:46AM
Ah, Grasshopper! A mainstay of My Castle of Quiet playlists from the very beginning. This Brooklyn duo has traversed the most-eerie of improvised / otherworldly territories, and come out the other end, as outstanding soloists and collaborators, in many projects outside of Ghop. Their musicianship remains expert, the sheer quality of them "knowing what they're doing," and choosing to do THIS, is one of the great charms / inspirations of Grasshopper, still very much the "mothership" for Josh and Jesse.
Fans will find the band largely in familiar territory here, painting a slow-burn garden of creeping dread and pulsation, cradled by ethereal long tones. "Witch's Blood in a Sauce" finds them especially "on," adding unanticipated horror-dressing to their usual array of mesmerizing sound evolution. Always good, and always at home on MCoQ.
Grasshopper have new work out or coming soon, on various formats / labels. The new, full-length Grasshopper LP (their third 12" on vinyl), Dark Sabbath: Symbols of Evil is coming soon on Hausu Mountain. Jesse and Josh also have a solo / split tape, Josh Millrod / Shingles, also on Hausu, there's a full Shingles cassette, First God Planted a Garden (2AM Tapes) ,and a Josh Millrod solo cassette, Seeking the Millenary Kingdom, on Solid Melts. (MCoQ archive links: Josh | Shingles)
Grasshopper on My Castle of Quiet, v.1 (2009; our second live-musical guests, ever!)
Thanks as always to audio engineer Juan Aboites, for his professionalism and talent, and to Tracy Widdess of Brutal Knitting, for continuing to immortalize my crappy iPhone band captures.
Schemawound on 06/13/2014 at 04:12PM
newweirdaustralia on 05/23/2014 at 10:18PM
Dig deeper into the Australian underground with four new releases from the Wood and Wire label - Black Pines offer a ragged, psych-damaged lava-wall of ash and guts and glory; Motion erase improvised boundaries, merging avant-garde jazz and left-field electronics; there's an audacious leftfield avant-rock debut from Perth's Mudlark; and Gatherer offers ambient/drone pieces intended for the spaces between your headphones.
WW27: MUDLARK Zimdahl
The debut release from Perth's Mudlark has already been dubbed as "bristling, vibrant instrumentals that prove antsy and unpredictable" by Mess + Noise, "a hard listening indie-jazz fusion cacophony that destroys your ability to think or reason" by The Music, and Cool Perth Nights concluded that it was "a weird riddle, a fascinating and deeply enjoyable mystery". Pivoting between only two instruments, with no re-amping or overdubbing, Zimdahl aims for a truly accurate rendition of Mudlark’s unique sound in a live environment.
WW29: GATHERER Amoeba Miasma Void
Amoeba Miasma Void is the new EP from Gatherer - the solo project of Morgan McKellar, one-half of Canberra improv-noise duo, Cold House, formerly of Sydney band Underlapper and his now defunct solo project Morning Stalker. Manipulating (mostly) found-sounds from audio libraries, online video, and field recordings to create improvised sample-driven, Amoeba Miasma Void is a collection of four ambient/drone pieces intended for headphone use.
WW30: BLACK PINES Harsh Out
Black Pines is about dislocation. Two friends separated by real life, wondering out loud about how and why one whole side of rock history has evaporated. That missing side – the abject horror of psychedelic rock – is where this project lives. This isn’t a revival or pastiche. No jams. No art. This is criticism. // Ian Rogers (No Anchor) plays guitar and sings. Benjamin Thompson (The Rational Academy) plays guitar.
WW31: MOTION Syllepsis
Motion draws on experimentalism, avant-garde jazz, left-field electronic music and more. The result is music that deconstructs song forms, explores textural possibilities and is both hypnotic and immersive. Syllepsis sees Perth-based multi-media artist, Kynan Tan join the band to aid in the creation of a collection of music where electronics and instruments meet in a constant state of tension and release.
TAGGED AS:australian underground, electronic, noise, improvised, electronic experimental, See More...
Noise_Problems on 05/04/2014 at 09:41AM
Another Sotu went by. This year´s Sotu was fantastic. Lots of stuff happening between OT301, OCCII, Vondelbunker and other places like the comic book shop "Lambiek", said to be the oldest comic book shop in the world, where we saw a live sketch battle. Awesome. At the Vondelbunker an unusual black metal program was very interesting with the Black Decades and Mannheim.
Impressive also was the 24 hour feedback/noise event "Giant Noise Feedback Show" at the OT301 where a giant sound installation unfolded in all public spaces at the OT301: the main hall and its bar space, the 4Bid Gallery, De Peper, the cinema and the cinema bar. In all spaces, simultaneously, noise acts performed. Their signals were fed to the Radio Patapoe studio in the basement, where a mixdown went live! Then the radio signal was again pickup by the acts, who used the radio signal to feed it back into their stuff!!! There was even a small set up with a mixer were the audience and visitors could add their 10 cent to the performance. Needless to say Noise Problems loved the concept! Well done Sotu & OT301 & Patapoe!
wmmberger on 04/21/2014 at 05:39PM
The concentrated joy of this set by Future Death Toll is its own reward. Fresh off of tour, the band sounded a-frickin'-mazing, and I was immediately confronted with a familiar feeling, of "O, Lucky Man!" ...I dig deep into the underground, bobbing for those most-artistic of apples, and this time came up with the OUTSTANDING sounds of FUTURE DEATH TOLL!!! Indeed, I am fortunate, to have this incredible OUTLET wherein I can extend invitations to artists such as these, and they just show up and play! Sit in that Studio B chair sometime, and you'll begin to understand how good the years of MCoQ weekly broadcasts have been to me, and my colleagues at the station, and to WFMU's devoted listeners. The kiss of WFMU is GOLDEN, and I need to remember to utilize this opportunity, in order to bestow upon all who care the rareified talents of artists like these.
Based on a barely labeled cassette tape I had received a long time ago, different from this set (more "home studio," obviously), I knew this band would make good use of the opportunity for a live radio set, and I was not disappointed. Though the tape is generally "lighter," as might be expected, as well as more song-oriented, F-DT do a lot of different things, and as with Slasher Risk before them (see this set from 2010), the variety of their capabilities just meant that playing live on the radio revealed another layer. They were noisy, dense and intense, but not entirely free-form, with themes that arose, dominated and then dissipated, as you will hear.
Though I did not have a pile of hard releases to muse over and absorb, there's quite a lot posted online, both to the band's Web site, and their YouTube page, and I've been at this long enough, that I knew for certain that F-DT's radio set would not disappoint, and it went far beyond that, into dazzling territory, rousing a hearty, enthusiastic response from Castleheads on our playlist comments.
So sit back, listen and enjoy. Massive props to engineer Juan Aboites for applying his considerable and diverse talents to making Future Death Toll radio-ready; whatever I throw at him, he makes the very best of it, rising to every challenge. Thanks also to Tracy Widdess for again making excellent, memorable photo art from my on-the-quick iPhone band captures.