Go hug a furry today. Thankyou and goodnight.

new album by  dwngrd can be found here:
https://dwncx.bandcamp.com/album/ahwe-i

 frisky1753 released his album 'ayanhcilo3' just last week, which can be found here:
https://djsaint-hubert.bandcamp.com.....ack/ayanhcilo3



Myself, ie.  fractilion made a new album 'Chronoannularite', also the last one under my Planet Question Mark alias is here:
https://planetquestionmark.bandcamp.com/


A while ago I also made this noise/drone album under my new Boiling Universe alias named 'Full Body Image' which can be found here:
https://boilinguniverse.bandcamp.com/releases

Thought I might as well share my new Krautrock Blog with you guys :)


http://mystomacheisfullofbatteries......cravinkel.html

[Kolbard] Nii Okai Aryeetey - Master Kpanlogo Drummer https://www.youtube.com/watch?v=uypSz9ZQwSk

[OscarRat] Lux Occulta - Sen Jest Izejszy Od Powietrza https://www.youtube.com/watch?v=TAhF_j3sUmk

[OscarRat] May Blitz - Squeet https://www.youtube.com/watch?v=o1kPNhxH3nk 

[Kolbard] Caspar Brotzmann Massaker - Templehof https://www.youtube.com/watch?v=ghWncQCN-A4

[Kolbard] Ahmed Abdul-Malik - El Haris https://www.youtube.com/watch?v=Z5_Ciot3wsE

[Kolbard] Ornette Coleman - Live in Belgium 1969 https://www.youtube.com/watch?v=zQIQckLfFqQ

[Corwin] Substak - Moody Dub https://soundcloud.com/substak/subs.....dy-dub-preview

[OscarRat] Milieu - Magic Marker https://www.youtube.com/watch?v=TwS_s0458IA

[Kolbard] Led Zeppelin - Walk Don't Run / Immigrant Song https://www.youtube.com/watch?v=PJ6I4arInj8

[OscarRat] Sweet Exorcist - Testone (Oily Bag Mix by Winston & Ross) https://www.youtube.com/watch?v=0VAeM24auow

[OscarRat] Marilyn Manson - May Cause Discoloration of the Urine or Feces https://www.youtube.com/watch?v=AEFbqhqo3kw

[Gazing-ott] Here We Go Magic - Tunnelvision https://www.youtube.com/watch?v=fer4JUpYWV0

[Gordi] Pussy Galore - Bohemia Afterdark https://www.youtube.com/watch?v=-IK9pBpOFpk

[Thane] Lone - Cloud 909 https://www.youtube.com/watch?v=NSOYeY2G-hw

[Thane] Mark Bell - A Salute to Those People Who Say Fuck You https://www.youtube.com/watch?v=fWskCHlK3xk

[OscarRat] Two Lone Swordsmen - It Hits https://www.youtube.com/watch?v=DgkP9MYpdOM

[Thane] Deerhoof - Bad Kids to the From https://www.youtube.com/watch?v=0sKc27AhX78

[Thane] Felix Kubin - Menstruation Glamour https://www.youtube.com/watch?v=m_UJmlJ-h-s

[Euripides] Lotic - Heterocetera https://www.youtube.com/watch?v=mmv041RT29U

[Euripides] The Range - Loftmane https://www.youtube.com/watch?v=Oj6zBxsUWJ4

[Gordi] The Jon Spencer Blues Explosion - Get Your Pants Off https://www.youtube.com/watch?v=rO8uSJS01SY

[Gazing-ott] The Ventures - Perfidia https://www.youtube.com/watch?v=LCiMfb6wP_E

[Thane] Jega - Untitled (MASK 100) https://www.youtube.com/watch?v=h5rcfIvqBgM

[Thane] mu-ziq - happi https://www.youtube.com/watch?v=5ndjq17cctk

[Thane] Brent Weinbach and Josh Fadem - Soft Pianist https://www.youtube.com/watch?v=uuzzV6xtSFEA

[Thane] Brent Weinbach - Squeeze https://www.youtube.com/watch?v=XUzHrqabDtk

[Ozma] Melvins - Colossus of Destiny https://www.youtube.com/watch?v=GiqS4gsePTc

[OscarRat] Cocteau Twins - Great Spangled Fritillary https://www.youtube.com/watch?v=v-f0B_0lutQ

[Thane] Dan Deacon on NBC morning https://www.youtube.com/watch?v=_eMb_kh_glw

[GuestOpticalGoose] The Hood Internet - Snatch Da Crystal Cat Back (Khia x Dan Deacon) https://www.youtube.com/watch?v=jAVCqUcmmD4

Bob Drake  BD is a very prolific musician who's been making music since the 70s and still going. His ongoing passion for the arts and shared interest in furry creatures has made him out to be a huge inspiration of mine. Bob has had a long career in producing, performing in various bands (5uu's, Thinking Plague, The Science Group), and making albums. As of late he can be found at work on his latest solo creations, consisting of all sorts of experimental endeavors, with a deep fondness for animal oriented themes. As you can imagine, I was overjoyed when the man himself agreed to answer some questions I had.

Fractilion: This is very elaborate songwriting. What are your ways of remembering the ideas that come to mind, and what works best in conveying that to your fellow bandmates?

Bob Drake: Like a lot of rock musicians, I have no formal musical training and never learned to read or write music, so when working on my own songs I've always relied on things like portable cassette recorders to get ideas down quickly before I'd forget them. For a while I used a 4-track cassette, which was very nice and easy to work with, but I've owned several and they don't last with heavy use, so today when I'm working out ideas I use a Zoom H4n, which is a little 4-track digital recorder. I generally just use it in the stereo mode, a quick and dirty way to record the ideas. As a 4-track it's a bit awkward to work with but it does the job when you're sitting outside in the garden with a guitar or just want to sketch out an idea. Of course as you work on a song it becomes engrained in your mind and fingers, the recording device is only necessary at the beginning when there's still no form or coherent anything...just a couple tenuous snippets of ideas. By the time I'm ready to record a song I know it inside and out, while always staying open the the new and unexpected directions and ideas which always come along during the actual recording.

Conveying ideas to bandmates: My solo albums are, with the exception of the live section of “Bob's Drive-In” or a very occasional guest, performed entirely by myself, and I don't do many live shows these days. I love playing live, but it's extremely impractical because I live in the middle of nowhere so it's almost impossible to get a band together! When I do a live show, however, I don't like giving the band members too much direction, I choose people who I know will, first of all, like and understand the music and have some enthusiasm for it, and also who will bring something unique to the overall picture, coming up with their own parts and adding their own ideas so we get a real group arrangement and not just an attempt to re-create what I did on my own. There may be a few parts I want played in a specific way, or a certain harmony vocal I'll ask someone to sing, but generally I want band members to do it their way. That's how we did the live section of my “Bob's Drive-In” album. I sent the band members very simple demos with no embellishments, just me strumming the basic chords and singing the vocal melody, I didn't suggest if the drums on a particular part of a particular song should be doubletime or halftime, said nothing about what kind of feel it should have, and so on. And I didn't let them hear my solo versions of the songs, which I had already completed, until after we did the live recording! That way they wouldn't be influenced by my version.

Fr: I've heard various musicians express either praise or disdain for music theory. A common thing i've heard is "I learned music theory so I could disregard it." A lot of your work seems very much into being amelodic while seeming to have a lot of awareness of music theory. How constrained are you to established conventions in your creative process when it comes to figuring out melodies?

BD: As I said already, I have no formal musical training, I just try to make the music I enjoy hearing. As for learning music theory so they could disregard it, I have known and do know musicians with formal training who say they find themselves feeling trapped by it, but I also know as many with no formal training who feel trapped by that too, so in the end I think all that really matters is that one follows and trusts one's own ideas and digs deeply into that. Having musical ideas doesn't depend on having formal training, the training is useful if you want to score for an orchestra, but I suppose even then a person could come up with their own way of doing that if they were so inclined.

The term “amelodic” is certainly not accurate, especially in my recent work. The melody has always been the thing, and I aim for that to the best of my abilities at any given time. Melody has definitely become more and more important and fascinating to me. “Amelodic” implies no melodies, or anti-melodies, whatever those would be! I do understand that some of the groups I have been a part of such as Thinking Plague or 5UUs, or the Science Group, the melodies written by the group's composer are often a bit convoluted upon first listening, I know because I had to learn them! but they are certainly there, not necessarily the kind of melodies I would try to come up with on my own, maybe also not easy to pick up on by listeners to whom that sort of music doesn't appeal. Myself, I aim more and more for a melody which excites me and gives me that thrill. And if you look at the songs on my last few albums (Bob's Drive-In” and “Lawn Ornaments”) I don't believe anyone could called them “amelodic”. A few, such as “The Lonely Manor”, or “Elsie”, for example, are nothing BUT a melody!

To answer the last part of your question – I don't feel constrained by established conventions when coming up with a melody or music in general for that matter, although what I do is certainly “traditional” in many ways, in that I play traditional instruments (drums, guitars, keyboards, etc). I suppose if you want to get technical about it, like anyone else I'm constrained by my own experience and imagination, and those are always growing and expanding, being refined, learning as I go along...

I love the melodic pop song format, what I think of as a compact, self-contained song that does what it does with no extra filling, and where the melody leads the way through, like a string from start to end. As time goes by I realize how much I love a deceptively simple, great melody. It's like magic. I really get a thrill while at the same time wondering “damn, how did they come up with THAT!?”

Fr: So you were exposed to stuff like Henry Cow in the 70s. How was availability of obscure music different in the 70s from the modern age of the internet? Was stuff like Henry Cow being sold in the record stores, or did you have to go by other means to get it?


BD:
I grew up in a tiny rural town in northeast Illinois, a very isolated place back then! I loved Yes, my older sister gave me their album “Fragile” in 1972, that's what made me start playing bass guitar. And I grew up with the Beatles and the pop music of the 50's-70's, and the rock bands of the time. And in the early 70's there was great stuff even on the midwestern AM radio top 40: Edgar Winter's “Frankenstein”, Focus' “Hocus Pocus”, The Faces, Kinks, Led Zeppelin, Yes, The Who, lots of really good rock stuff, not to mention the Motown music in the late 60's-early 70's. I loved all of that and soaked it all up, but none of it, with a few exceptions, would ever get quite as “strange” or go as far outside the borders as I sometimes wished it would. So even though I didn't have any early role models for it so to speak, from the moment I had my hands on a tape recorder and an electric guitar, maybe around 1969, I instinctively used them as tools to make weird sounds, and had always loved incorporating noise and crazy things into my playing right from the start.

I was always looking for records by bands I'd never heard of, always in the hope of finding something different. In those days of the early 1970's that meant going to a record shop and looking through the records, and one day in 1973 while riffling though the LPs in a store called “The Shoppe” in Kankakee Illinois (a medium-sized town about 30 miles from where I lived) I came upon an album that fit the bill : “Unrest” by Henry Cow. Never heard of them, but it had a funny name and inscrutable cover art, that was promising! Took it home and put it on the record player and loved it from the opening note. I thought: now here are some people who are doing something outside the typical rock band sound of the time...the songwriting was superb, they were obviously accomplished players but not stuck to the “normal” ways of playing, it had humor and strangeness, great, sophisticated arrangements as well as utterly chaotic and even silly moments, it was for me a kind of affirmation that I was on the right path.

Later when I lived in Denver Colorado (1978-1989) there was a record shop there called Wax Trax, they were really plugged into the independent music scene and could always recommend interesting or bizarre new records, I discovered a lot of crazy stuff there, the “no wave” scene, and everything that came up in that post-punk scene of the early 80's. I felt I was naturally a part of that.

Fr: There's this part in the title track of your album Moonsongs by Thinking Plague, where a small voice clip is looped repeatedly. What kind of gear did you use for that sort of thing in 1986?

BD: Around 1982 or 83, a musician friend of mine had a cheap Electro-Harmonix effect box called “Instant Replay”. It was basically a primitive, lo-fi sampler which came with a little pad you could use to trigger a sound which you'd put into it. You'd plug a microphone into it, make a sound (it had to be about ½ second long maximum!) and then you could replay that sound by tapping the pad. That seemed radical enough, but it also had mysterious jack input on the side, and my friend discovered that if he plugged the control voltage from a keyboard into this jack, he could “play” the sound on the keyboard. I'll never forget that moment, we were astounded! That's how we did those funny little samples on Moonsongs. That kind of thing was still VERY exotic in those days, fancy samplers were so expensive and extremely rare, light-years away from anything my pals and I could touch. It seemed so exciting, and on that same Thinking Plague album we also used a Linn Drum machine belonging to a local recording studio. We'd been influenced by the productions of the time such as mid-80's Peter Gabriel and Kate Bush albums, where they combined real drums with obvious samples, and used sounds from nature on the keyboard etc. However I quickly lost interest in using samplers and drum machines in my own work, and have never used them since!

Fr: This is probably kind of a loaded question but…what are your thoughts on the music industry? Do we need big contracts in order to get our stuff out there, or are we better off staying independent as artists? I imagine that you've experienced a lot of change in your time.

BD: Even though I've spent my life devoted to making music, and for a few years, 1990-1994, I lived and worked in LA as a freelance recording engineer working on some very well-known projects - albums by Ice Cube, the Boyz 'n the Hood soundtrack, Latin Alliance, George Clinton, projects with Shirley MacClaine, Lily Tomlin, not to mention a Charo album, etc etc, and loads of early 90's house and hip-hop - despite being in there working on these projects, I was never interested in the business side of it and due to my lack of interest in the commercial side of things, I managed to stay completely outside of that. So I am not the most informed person on the subject!

Do we need big contracts to get our stuff out there? It depends on what you mean by “out there”.
In the old days of big labels and contracts, your record would get distributed (and possibly even advertised) far and wide. Copies would be sent to radio station, and tours would be set up. Those were some benefits of big label contracts. Today it's unimaginably different than it was then. Anyone can record anything they want on any kind of recording device, then immediately upload it to Bandcamp or other sites, so it's instantly available to anyone on the planet who has an internet connection. That's pretty radical. Obviously no one needs any kind of contract to do that. And you can never know what's going to grab the ear of the general public: a stupid song you've done as a joke and uploaded to Youtube might get a zillion plays.

Big contracts of course had their positive and negative aspects too: In some ways, it wasn't completely a bad thing in the old days when there was more of a “filter” for an artist to get through in order to make a record. On the other hand, with that system, people like myself or bands like Henry Cow (especially in the late 70's, early 80's) could never be taken seriously by a big label because the few people who made the decisions didn't understand the music, or didn't understand that audiences DO in fact enjoy something a bit odd or novel or adventurous. I must also say that nearly everyone I have known personally who did have a “big contract” ended up regretting it; they were never paid, or were worked to death on tours, lost all rights to their own work, ended up owing the label outrageous sums due to clever wording in the contract, and worse! And if you've agreed to, say, an album per year, that sounds like a great idea, but can you really come up with an album's worth of good songs, rehearse, refine and record them in time to fulfill the contract? While still being sent out on the road touring? That's why you'd often see bands burning out so fast in the 70's, doing a couple of great albums and then literally running out of ideas with no time to slow down and come up with new music. Of course it can be a positive thing too, but I really do think we are better off with smaller independent labels. And I think labels are good because then an artist can concentrate on what they do best which is making the music, and let the label take care of distribution, promotion, setting up tours if that's going to happen, all the business side of it, and be able to trust one another because it's a small business done on a more personal level. I know there are some musicians who are also very sharp business people, but I'm not one of them and they are very rare.

Fr: How is the business of producing/engineering in recording studios different now than it was in the 70's and 80's? It has been said that profits in the music biz ain't like they used to be, yet at the same time, recording technology today has also become much more affordable. Assuming you feel qualified enough to make such an assessment, would you say there is still much opportunity to be had for newcomers trying to get involved in the industry?

BD: I moved to my place in France in 1994 and since then have been pretty much working my own way and having no contact with ordinary studios, so I really can't say anything about what the studio world is like today. Looking back though, on the technical side, for sure it's changed drastically from the way it used to be. The most radical changes probably happened in the early 2000's, as computers became prevalent and reliable, and high quality recording software really started to improve and become affordable. Even as late as 1994 when I was still working in Los Angeles, studios were still using 2” 24-track tape machines and 1/4” tape to mix to. You rarely saw a computer in the studio, and if there was a primitive computer or the choice of a mixing desk with computer-automated faders, people tended to avoid them, those early computerised systems were so complicated and fiddly, very unreliable. And no one there to tell you how they worked, so you'd be there for ten minutes trying to understand how the hell to re-do some accidental bit of fader automation you'd done by mistake! Just before I moved from LA to my place in France, some studios were starting to use Alesis digital ADAT machines to replace the analog multitrack machines, but computers were still pretty rare in general. That “digital revolution” happened so fast, and there was no one to explain how to get the best out of this new digital gear, it would just show up one day in the studio and we'd be expected to carry on the session as if nothing had happened, we had to learn by trial and error during actual sessions, making records! One thing I realized after a year or two of working with digital recorders was how much we had always depended on the equipment – the mixing desk, the tape machine, etc, - to add something to the sound. What you got back from tape was not exactly what went in, but it could often be even a bit better because of the tape saturation and all the electronics that the signal was passing through during its input and playback. You don't get that with digital recording, not ideally anyway. It's transparent at best. I suddenly realized that for generations we'd learned how to use and work with tape, not even aware of how we'd allow for the subtle alteration of the sounds we were recording. Then all at once, literally overnight, the tape machine in the studio is replaced by a digital tape recorder...everything you had always done suddenly didn't quite sound the same or as strong, it took a while to learn to use that stuff and some albums of the late 90's and early 2000's suffered in sound quality because of that.

What's available today are powerful and inexpensive computers, and even free recording software which is quite good, and on the top end really great software such as what I use, called Samplitude, which is certainly affordable by most people, the hardware such as analog-to-digital converters and microphones are getting better and better and also less expensive, so almost anyone can afford a great little recording setup at home. I have always preferred recording at home, or in places like big empty factories...never cared for the sterile atmosphere of studios...but yes, today any artist can have a fine little recording setup at home. This is great but also can result in not-so-great productions, because a band or artist is not always the best producer or engineer for their own work. You do find a few people who are actually good at doing all of that, like myself (not bragging, it's just the only thing I actually know how to do!)

As for whether I think there is still good opportunity for newcomers in the “industry”: do you mean engineering or producing, being a technician, being a studio musician, being an artist making music... I think there are probably different answers for each case! And as I have already said, I was last involved in anything remotely connected to the music industry and studio scene in the early 90's. I have no idea if most of those studios even still exist. Nor could I guess at what it might be like for a young group or artist trying to get some recognition. Other than “probably as hard and as unlikely as it always was”! The big change today is that now with everyone able to record themselves cheaply at home, for better or worse, and make it instantly available on the Internet, there is an unprecedented quantity of music being made available constantly. Is it harder to be “recognized” or to find something exciting amidst that constant flood of new music? Hard to say, isn't it! Most important though is that if your goal is to make a lot of money, there are surely better and easier ways to do it than making music. But if your real passion is simply the making of music, then I couldn't suggest a better way to spend your life than by making music, and don't even need to tell you because, like me, you'll just do it anyway.

Fr: Tarkus! Tarkus?

BD: I wasn't a big ELP fan, though Emerson was truly a prodigious talent on the organ. I did like some of the Brain Salad Surgery album back when it came out, but the other albums didn't grab me. 


Fr: You grew up in a time before there was a furry fandom. Why do you think stuff like that didn't begin to emerge until around the late 90s?

BD: Obviously we were always around, and always suspected there MUST be other “people like us” out there, but there wasn't a good way to get organised until the Internet, which made it possible for people with similar interests to quickly get in touch with each other. Also, at the beginning, the Internet was still relatively anonymous, if you didn't want your real identity known you could sort of do that. Furries who were afraid of what their family members or boss might think, for example. When I first heard about the Internet and got my first computer (1996!) I did consider coming up with a nickname so I could carry on keeping a lot of myself hidden from my close friends, but decided I'd had enough of that over the previous 30-some years so I just used my real name. So in a way the Internet was a catalyst for me to stop hiding aspects of myself from others out of some imagined, unknown fear. A very positive thing. And now look at what we've got, wonderful conventions and a huge diverse community, who would have imagined!

Fr: in 2005 you were involved in an album called 'Songs for Adults' by NIMBY. Could you talk about that?

BD: That was a one-off album with some friends, it has a funny story. The guy who wrote the songs (James Grigsby) usually writes the most complex, "modern-classical" rock music imaginable (check out the group U-Totem) and he had just finished writing another album's worth of super-complex music and couldn't find a group willing to learn and play it. So he decided to write a bunch of pop songs instead. Turned out great!

New album by  dwngrd

http://houndwire.bandcamp.com/album/reprieve

New album by  frisky1753

http://djsaint-hubert.bandcamp.com/album/sleepy

New album by  ownbones

http://cameronhunter.bandcamp.com/album/wz-25

---

---

also here, have some links:

Akufen - Deck the House (cut-up) https://www.youtube.com/watch?v=w7nNF0FJ3-I

Animals, The - House of the Rising Sun (computer remix) (novelty) https://www.youtube.com/watch?v=w68qZ8JvBds

Death - Politicians in My Eyes (Punk/Garage) https://www.youtube.com/watch?v=rl3FstCc_OY

Flatbush Zombies - Dead (hip-hop) https://www.youtube.com/watch?v=_RyilxxuaG8

Flying Lotus ft. Earl Sweatshirt & Captain Murphy (hip-hop) https://www.youtube.com/watch?v=1FS35SshVxQ1

Hardfloor - One Again Back (Rumble Mix) (techno) https://www.youtube.com/watch?v=6olKQgv3uE4

Klaus Schulze - Totem (proto-ambient) https://www.youtube.com/watch?v=2Rp2G2gAR4c

Kraan - Head (krautrock) https://www.youtube.com/watch?v=vNeq_C-P7ak

Medicine - I Hear (shoegaze) https://www.youtube.com/watch?v=laDlglrC0wY

Olga Bell - Perm Krai (rock?) https://www.youtube.com/watch?v=PDuT8ymbWIg

Skytree - Stomata Spirit (illbient/IDM) https://www.youtube.com/watch?v=S3zL3YLhKl4

Stereolab - The Light That Will Cease to Fail (post-rock..shoegaze....sorta) https://www.youtube.com/watch?v=5F1OcUB3GKM

Survivor - Eye of the Tiger (computer remix) (novelty) https://www.youtube.com/watch?v=otmase5twFM

Tod Dockstader - Water Music Part 3 (musique concrete) https://www.youtube.com/watch?v=3zaSzHqVrLA

Zomby - Riding With Death (Garage/Dubstep) https://www.youtube.com/watch?v=1o8sJlNOBmo

thought you guys might find this interesting.

http://www.factmag.com/2014/05/29/t.....50s-and-1960s/

Hi folks,

The time has come, emcomp002: A Very Experimental Sequel.

I will be taking submissions until sometime this weekend. I only ask that they be less than 10 minutes long (under 5 is preferable), in FLAC format and submitted to eznocoyote[at]gmail.com before the imaginary deadline. Your preferred pseudonym and track titles should also be included.

You can submit a maximum of two songs if you like, just specify which you'd rather be featured in case there are too many submissions.

We will also need album art! Submit to the group or the email above.

The album will be posted here when finished: https://emcomp.bandcamp.com/

Happy composing,
-Ezno

I was looking through some past journals and saw that I had an idea of doing a compilation of field recording compositions. Would anyone still be up for that idea? You guys seemed to show some enthusiasm but nothing came of it. Just want to remind you all that that's still a possibility. I'll just need enough of you to make submissions via notes or in the comments or whatever.

this track is very important to me and made with L♥VE

http://www.furaffinity.net/view/10749354/




Frosky out

we're doing a mumu player thing where we take turns playing stuff. you guys should all join us <3

http://mumu.io/player/experimentalfurries

Artist: Scrubber Fox
Title: Soundenbacker
Genre: Dark Breaks
Album: Dark Fingers and Paws
Year: 2007

Link: http://www.youtube.com/watch?v=ziuTFn5D_PA

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Artist: Organum
Title: Drome Part 1
Genre: Drone
Album: Drome
Year: 1989

Link: http://www.youtube.com/watch?v=fN5aQDvZku4

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Artist: Nurse With Wound
Title: (I Don't Want to Have) Easy Listening Nightmares
Genre: Experimental
Album: Alice the Goon
Year: 1995

Link: http://www.youtube.com/watch?v=gdPt0TEFsO0

---

Artist: Throbbing Gristle
Title: Slugbait Part 1
Genre: Old School Industrial
Album: Thirty-Second Annual Report
Year: 2008

Link: http://www.youtube.com/watch?v=OUVOCmUzEYs

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Artist: Coil
Title: Cave of Roses
Genre: Ambient / Spoken Word
Album: The Angelic Conversation
Year: 1986

Link: http://www.youtube.com/watch?v=QKH9K6mWkos

---

Artist: Funckarma
Title: Machinebong
Genre: IDM
Album:Mergerz & Aquisitions
Year: 2006

Link: http://www.youtube.com/watch?v=xQuTNKHHDS4

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Artist: Ash Ra Tempel
Title: Traummaschine
Genre: Krautrock
Album: First
Year: 1971

Link: http://www.youtube.com/watch?v=4jHlXyIAU4c

---

Artist: The Black Dog
Title: Truth Benders D.I.E.
Genre: Armchair IDM
Album: Silenced
Year: 2005

Link: http://www.youtube.com/watch?v=QytNZPv4QAQ

---

Artist:  Cocobanana
Title: Globular
Album: ?
Year: 2012

Link: http://www.furaffinity.net/view/8365057/

---

Artist:  Sage
Title: The Transit of Venus
Genre: Ambient
Album:?
Year: 2012

Link: http://www.furaffinity.net/view/8125608/

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Artist:  Fractilion
Title: Airbuster
Album: ?
Year: 2012

Link: http://www.furaffinity.net/view/8496335/

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Artist: Miles Davis
Title: He Loved Him Madly
Genre: Dark Jazz
Album: Get Up With It
Year: 1974

Link: http://www.youtube.com/watch?v=oruMn8jIL7w

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Artist: Nymphomania
Title: Exaltiam
Genre: Dark Ambient
Album: ?
Year: 2012

Link: http://music.drearypattern.com/Glasscutter/2012.07.05%20-%20Exaltiam.mp3

---

Artist: Grateful Dead
Title: Terrapin Station
Genre: Psychedelic/Progressive Rock
Album: Terrapin Station
Year: 1977

Link: http://www.youtube.com/watch?v=ugRct9pNQYM

---

Artist: Hawkwind
Title: The Golden Void
Genre: Space Rock
Album: Warrior On the Edge of Time
Year: 1975

Link: http://www.youtube.com/watch?v=wBKcl4qLiPE

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Artist: Cocteau Twins
Title: When Mama Was Moth
Genre: Shoegaze
Album: Head Over Heels
Year: 1983

Link: http://www.youtube.com/watch?v=dn3tifmoD9c

nuff said. you defend your shitting dick nipples and your mystical winged horse bestiality but you can't defend our music. fucking fascists.

furry culture is a big deal for many of us and we all want to express our art in our own unique ways and you're taking that away from us.

Lately I've been listening to a lot of krautrock. Krautrock was a German movement most prevalent in the late 60s and early 70s. Inspired by american psychedelic rock groups such as Pink Floyd, people from Germany wanted to make psychedelic rock their own. And boy was it ever....The band by the name of Can, a huge inspiration to modern rock such as Radiohead are some of the most adventurous and uncompromising entrepreneurs in rock music I've ever heard. Crazy compositions that may stretch on for up to 20 minutes. Often times Krautrock will comfortably slip between intricate song writing to rhythmless ambient drones. This is simmilar to some space rock bands such as Hawkwind or the Pink Floyd song "Echoes", but I've never heard anyone take experimenting as far as the stuff I've heard from this krautrock music I've been listening to. I dunno, maybe I'm just blowing it out of proportion because I'm stoned. Or maybe I'm not. Art can be pretty subjective.

Simmilar to krautrock was the electronic movement in Germany. Some crazy soundscapes have been made by the likes of Kraftwerk, Cluster, Klaus Schulze, and Tangerine Dream...

http://www.youtube.com/watch?v=4u7IXsypn98&feature=related



recommended albums

Can - Tago Mago (1971)

Can - Ege Bamyasi (1972)

Cluster - Cluster (1971)

Klaus Schulze - Cyborg (1973)

Kraftwerk - Kraftwerk 1 (1971)

Kraftwerk - Kraftwerk 2 (1971)

Neu! - Neu! (1972)

Organisation - Tone Float (1970)

Sand - Ultrasonic Seraphim (1996)

Tangerine Dream - Zeit (1972)

Tangerine Dream - Rubycon (1975)

I am with my friend at his experimental college radio show, which he does every monday from 11pm to 3am. You may listen to it following this link: kaos.evergreen.edu/listen.html

I was wanting to have ExperimentalMusic do another compilation project. This time it could be a compilation of field recordings (any kind of recording of the environment around you..doesn't have to be a field lol, i could be a street, toilet flushing, the hum of a refridgerator, ect). I think we could get really creative with this. While I would like the submitted tracks to be made entirely of field recordings, you could do things like mixing different recordings together to make some sort of collage. Have fun with it.

Anyway, would people be interested? You can submit tracks to me either by PMing me or posting the link here.

Got a boatload of songs to review this time. Been busy getting used to grown-up situations for the first time such as tax returns and rent payments. Also still in the process of getting my Associates degree in Digital Audio Engineering. Whoo, been in school for so darn long. Anyway, I got stuff from the usual suspects as well as some new faces. Enjoy!


Link: http://www.furaffinity.net/view/7678599/
Artist: Frisky1753
Title: Tavis Smiley Revisited
Posted: 17 days ago
Frisky has come a long way in his creative endeavors, coming out with new updates all the time. Tavis Smiley Revisited is one of his crowning achievements in my opinion. Although rhythmically complex, it kind of has this drone feel, because of how the melody hypnotically arpeggiates the same thing throughout the song. There is little to no progression in it that I can make out. I would say it's more of an environment or a mechanical contraption than a musical composition. Wonderful ambience and mastering. Even through there isn't any progression, the lush detail of melodies and the rhythmic loops keeps me quite entertained.


Link: (original) http://www.furaffinity.net/view/7013330
(kemmy's mix) http://www.furaffinity.net/view/7070267/ _ http://www.furaffinity.net/view/7013557
Artist(s): sy-philis
Title: That's What Fear Is (original / Everything's Battered, Tattered, and Destroyed Mix)
Posted: 4 months ago
It seems that Kemmy and syphilis did a collaboration titled "That's What Fear Is", followed by their own remixes. Both re-mixes have a nice blend of trip-hop with dark ambient effects and ambience added to it. Very downtempo with how no elements seem to stand out more than anything else. Rounded reverb on the melody and drums with tinges of crunchy guitar-like effects panning all over the place, adding some kind of menacing quality to its darkness. The mixing is done quite well, nothing being too loud, and every element distinctly heard. All the musical elements seem to compliment each other quite well without even having to be very poppy or conventional. Very professionally well done, with the minimal song written and the production. These guys know what they're doing. The original version is a lot drier and more trip-hop than dark ambient. Of all versions, this one is my personal favorite, although they're both equally good. It uses some different samples from the movie, not heard in the other mixes. The samples from the movie Antichrist compliment seamlessly with the mood of this song. Each of these mixes have their own interesting knob twiddling effects done for the backing melody. Again, a very well made song, no matter which version you hear.


Link: http://www.furaffinity.net/view/6996091/
Artist: Devi8
Title: Cosmonaut
Posted: 4 months ago
This song is very ambient and great for zoning out to, complete with warm ambient drones with electric cracklings and radio-muffled samples. Some incredibly pure and lush tones, arguably on the same level as Ryoji Ikeda, Alva Noto, and CoH. Another example of how pure waveforms can be the basis of intoxicatingly rich tones.


Link: http://www.furaffinity.net/view/4714765/
Artist: Merzbild Schwet
Title: Stalker
Posted: a year ago
As you can see, this song is not new. But it takes time to catch up with what's already been made and Merzbild Schwet is someone I only recently got around to checking out. This song is very dark ambient, and like the title, is reminiscent of the mood in Robert Rich + Lustmord's album Stalker. Very droney, and unchanging. I love the hypnotic drones and almost wave-like flanging/chorusing, stretched out and blurred with low-end reverbs. A sort of hypnotizing aberration of the harmonics. With compositions like this, it's not about observing any kind of progressive structures, but instead sort of absorbing its sounds into your subconscious mind, resulting in a kind of forceful mantra. As the song progresses, there are some subtle variations in the bell hits (I think that's a bell), but nothing too noticeable (such is the power of subtlety done by composers with good ears). Very well made song. Highly recommended for anyone who enjoys dark ambient drones.

Link: http://www.furaffinity.net/view/7073730/
Title: reasons
Artist: Bittertooth
Posted: 4 months ago
Some dope shit by Bittertooth. Bittertooth is very good at working within genres without sacrificing originality. In fact, he often diverges from any cliches within the genre he's doing and does his own, oftentimes very unique spin on it. This song is no exception. Low-end heavy goodness combines with dope beats resembling something dub related. The song goes through a lot of awesome sections, building on its chill-but-menacing-at-the-same-time theme. Rhythmically interesting with very unique and exciting choices of drum effects. This mixing is superb as always, giving every sound it's own unique tone and flavor down to every individual drum hit, without any of it competing amongst each other. The minimal quality reminds me of the more minimal compositions by famous German techno musician Lagowski, as well as the spacious dustup music by Distance.

Link: http://www.furaffinity.net/view/7077056/
Title: Flulty
Artist: Ataraxia with spiralstaircase
Posted: 4 months ago
Another chill track. This time by Ataraxia. Spiralstaircase provides for some spacious psychedelic guitar work. The composition as a whole is bright and airy, with its flute, uplifting synth pad, and guitar. There's a part at the end where the flute is looped, which sounds really awesome. The drums kind of stay in the background doing more or less the same thing, but that's fine since it's not what's being emphasized and adequately drives the overall groove. Fluity is some fluffy, sunny, and happy music, with rainbows and magick all aroundddddd . :3

Link: http://www.furaffinity.net/view/4172252/
Title: Lamps (Demo)
Artist: kyoaria
Posted: a year ago
Some droney, spacey, and rhythmic goodness by kyoaria. He makes a callage of melodic drones with a variety of different sources, from bells, to pads, to hypnotic reverbed loops combining to create an extremely beautiful, lush atmosphere. The drums provide a steady minimal rhythm with a really awesome groove to it. The song kind of makes me think of being a kid playing in foresty playgrounds during the autumn season. The voices echo throughout the piece very nicely, riding comfortably with the rest of the melodic textures in a way that blends in without overshadowing anything. Combining all these elements to create a certain overall mood is definitely the result of good mastering and sense of composition.

Link: http://www.furaffinity.net/view/6374367/
Title: Eyes of Evil
Artist: Inculta
Posted: 8 months ago
Amazing hip-hop remix of Phillip Glass' epic Koyaanisqatsi. I love it when the hip-hop culture manages to branch out so well into other realms of interest. The results are often very innovative and fresh, this being no exception. For the driving melody, Inculta uses the ominous organ piece at the end of the movie, with clips of the voice moaning Koyaanisqatsi. Phillip Glass' movie is quite long so I'm sure Inculta had no shortage of parts to use for his 3 minute remix. Just wow! Very original, giving hip-hop an ethereal quality not often heard (at least with my ears). Very well done!!

Link: http://www.furaffinity.net/view/4787355/
Title: Cold Wave
Artist: InterestingSpecimen
Posted: a year ago
A warm blend of field recordings and synthasizers, reminiscent of a setting sun. The bright reverb-heavy percussion gives it a sort of 80s tinge and adds to that setting sun sort of mood. Overall a variety of 80s aesthetics: some post-punk, new wave, and industrial. The song Cold Wave is also very apt, as the bright tinges sound like ice cycles and the synths like the nipping of cold winter. Apparently this song is copyrighted to Jew Fish Pie Records? Furries with record labels ftw.

Link: http://www.furaffinity.net/view/7024812/
Title: Criticalifornia - i feel alive (Mr. Rush Fuk up)
Artist: rush120
Posted: 4 months ago
Some wonderful cold, spacious textures by rush120. The ambient and the rhythm are equally interesting. And some extremely professional dub wah's with unique gargly synth flavors. Supposedly the result of a space transmission sent out into deep space. I believe it.

Link: http://www.furaffinity.net/view/6817978/
Title: NNEeeewwwwww SLACK: Dandruff
Artist: sawgunner
Posted: 5 months ago
Wonderful audio cut-up of various commercials by sawgunner, reminiscent of the cut-ups by Girl Talk (his first release Secret Diary to be specific), Cassetteboy, Wagon Christ, and Negativland.

There are a number of musical categories this kind of sound falls under. 'musiqueconcrete' for its lack of rhythm and musicality, or 'Lowercase' (a type of ultra minimal ambient listened to by the nerdiest of nerds). Certainly not everyone's cup of tea, but definitely experimental. This composition has no progression whatsoever, just this atmospheric drone with dark, stormy/cloudy qualities. It really does remind me of the sound of clouds passing by overhead on a windy day. Very heavy low frequencies. I'd like to hear what it would sound like on a big sub woofer (inb4 puns regarding sub-woofers).


Link: http://www.furaffinity.net/view/7227928/
Title: Quaternion Attractor final
Artist: Frisky1753
Posted: 3 months ago
More crazy loud metallic glitches in weird time signatures by Frisky1753. Frisky's huge Venetian Snares influences are apparent throughout his rhythmical structures, and especially in this one. The melodies warble in and out in a really psychedelic way, all detuned and panned every which way. Truly this sounds like nothing else I've ever heard before. Some of these crazy instruments sound like gargling metallic bells heard from underwater. Definitely the opposite of chill, but rather an impossible to describe mood, as it's not altogether abrasive to my ears and yields a pleasing response to my ears.


Link: http://www.furaffinity.net/view/6669399/
Title: ♫mittens becoem ddddddddddddd boner♫
Artist yarasaCantare
yarasaCantare never fails to crank out the weirdness. I don't even know what the hell this is, nor can I adequately describe the noises I'm hearing. There are however some dog and cat noises?? And what sounds like heavily vocoded vocals. Weird style of mixing, each sound having dramatically differing levels, from quiet to loud. A wonderful collage sounds with differing sound qualities and effect all thrown in to a 2:50 minute composition.

Link: http://www.furaffinity.net/view/7588971/
Title: Inertia
Artist: Sage
Posted: a month ago
Some chilled out vibes by Sage. Awesome rhythmic progression. And melody! Wow. The way this song builds up is quite pleasing to my earz. Reminds me of the downtempo works of Phonem or Arovane. Professional mixing/production of course, with awesome use of reverb as always! The mighty Sage does not disappoint! Rawr! >:3

Link: http://www.furaffinity.net/view/7596106/
Title: First Hand
Artist(s): Ezno + cocobanana + dogcookingeggs
Posted: a month ago
An awesome noise collab between Ezno, dogcookingeggs, and cocobanana. Hypnotic and colorful with an interesting use of what I assume to be guitar pedals. Some great ambient drones as well (not sure who made what). I look forward to hearing more by these folks and seeing what they come up with.

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Moar Experi-MENTAL Albums Made by Furries

MerzbildSchwet (aka Edgar Moore) - Stalker: http://edgarmoore.bandcamp.com/album/stalker

Triage - A Disgust for Details: http://deadeyeddreamer.bandcamp.com.....st-for-details

Blackantlers (aka Uncertain) - Phoenix Rising EP: http://www.furaffinity.net/view/7327559/

Fractilion (aka Planet Question Mark) - Ugly Furniture (rough mix): http://www.furaffinity.net/journal/3311417/

Ezno (aka The Nostalgia Industry) - Lorem Ipsum: http://www.furaffinity.net/journal/3291430/

I found out about Vladislav Delay through Sasu Ripatti's techno project, under the name 'Sistol'. Vladislav Delay is a drastically different creature than Sistol is. Its musical structures have a strangeness I've rarely seen in the experimental electronic world. Not since hearing stuff like Confield by Autechre or something by Richard Devine. Sasu Ripatti seems to take joy in berating the listener with provocative sound sculpting that I find difficult to describe adequately. Much like waking up from a dream, I don't exactly understand or remember what I've heard after each listen. I think this is IDM....but that's just because I can't think of any other genre Vladislav Delay fits in to. Anyway, I highly recommend you check out his album Whistleblower.

http://www.youtube.com/watch?v=Uz3Uca9VK88

In the beginning of what became known as the industrial scene, there was Throbbing Gristle. They were a dadaist group set on pushing boundaries and purging the mind via disturbing imagery and audio bombardment. Peter Christopherson was one of those members. After TG, most of the members formed the group Psychic TV, which explored a lot of different avenues than just dadaism. Peter Christopherson and John Balance, who were in a relationship together did live work with Psychic TV, but eventually broke off due to some philosophical disagreements. Together the couple formed a group known as Coil.

I know some people are taken aback by Coil's occultism with things like Alester Crowley and all kinds of other voodoo, but I think the things they did go deeper than that. I really came to realize this after seeing some of the footage for Colour Sound Oblivion, one of the last things Coil were to ever release before Peter Christopherson passed away. It was a package of DVDs showing their backing tape visuals and live performances. It is some of the most psychedelic and disturbing things I have ever seen and I highly recommend seeing some of it. Through psychic disruption, it opened my eyes to new worlds.

Experimental Update No.9

Well, it's the last day of my Winter Break. Sure do wish it wasn't ending. Anyway, here's the first update of 2012. Trying to get myself back in to the routine of keeping this group alive and informed.

http://www.furaffinity.net/view/7170210
Artist: Ezno
Title: Heaven's Candystore Pt1
Posted: a day ago
Here's a wonderful piece by Ezno. He reportedly destroyed his amp in the process, but it was well worth it. A blend of different musical textures, predominantly noise but some ambient touches as well. The drones are warm and pleasant to my ears. The song progresses through various stages, from distortion pedal effect noodling (assuming they're pedals...sounds like it anyway) to some psychadelic rock/doom-metal guitar sounds at the end. A very pleasant track if you happen to find noise at all soothing or pleasant.

http://www.furaffinity.net/view/7149302/
Artist: Frisky1753
Title: Azteca Orangina
Posted: 5 days ago
Some more acid in obscure time signature's by Frisky. The odd timing doesn't seem to get in the way of his ability to make good and coherent rhythms. This is definitely one of his less harsh, DollDollDoll-like tunes, although arguably just as sinister and foreboding. Especially the melodic build-up in the second half. Overall great work.

http://dl.dropbox.com/u/8948398/You.....t%20Remix).wav
Artist: WizzardRabbit
Title: You Were Warned (Wizzard Rabbit Remix)
Posted: Not on FA
Loud and IDM like rhythms, I assumed cut-up from what the song is remixing. Very good job at slicing (much better than i can do). Heavy, cascading beats, loud and in your face. Definately reminiscent of glitch-hop as well.

http://www.furaffinity.net/view/6988857/
Artist: Safer
Title: Dude What's Wrong
Posted: a month ago
Some interesting guitar and distorted vocal cut-up noodlings backed by a dope beat. Safer's seems to me like a very playful musician, willing to throw in a diverse range of musical elements. He's particularly good at doing rhythms of of a variety of different electronic genres. But anyway, this is a nice mix of different
sounds. Overall a very chill track.

http://www.furaffinity.net/view/7078314/
Artist: Hank-Hill
Title: I Love You, Daddy
Posted: 17 days ago
Ambient-My Little Pony? An interesting genre to be sure. Some very chill ambient music. Reminds me of early 90s Steve Roach.

http://www.furaffinity.net/view/5039099
Artist: Harry-Goldfarb
Title: o bab FUCK FACE GO TO HELL
Posted: a year ago
Awesome cut up shit.

http://www.furaffinity.net/view/5386293
Artist:Thane3
Title: Smurfed Up Here
Posted: 10 months ago
Some smurf-core by Thane who is now doing live shows apparently, opening for some Planet-Mu artists.


I also want to point out a new experimental album released by  safer titled Wait Till I Get There. More info here: http://www.furaffinity.net/journal/3030004/

 blackantlers , (formerly Circulating) released his album æther quite recently as well. Check it out here: http://www.furaffinity.net/journal/3074265/

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Amusing Music

and as usual, here's some youtube links:

melodic idm:
Novel 23 - Viaduc

outsider music:
Jandek - Really Wild

cut-up, experimental:
Negativland - Fetch My Cigarettes

outsider music:
Tonetta - Back 2 Back

trippy ambien:t
Nurse With Wound - Echo Poeme: Sequence N° 2
A personal favorite NWW song. Reminds me of the sensation of coming up on mushrooms.

neofolk:
Rome - Das Unbedingte
this is not a time, for silence.....this is not a time, for silence.....

psychadelic/space rock
Pink Floyd - Main Theme

idm:
Astrobotnia - Drops

psychedelic rock
Wooden Shjips - Lazy Bones

noise
Prurient - Lust End

chillout electronic
A Small Good Thing - Burned Clean

Experimental Music Update No.9

It's hard for me to get myself to listen to anything that I don't find on discogs.com or on music labels, since that is what I seem to spend so much time doing, unearthing history one album at a time. Even on my soundcloud account I rarely even bother listening to stuff by other people because I'm too busy listening to an album. Anyway, here is stuff i did find on FA....

Title:Pixelate
User:Bittertooth
Submission Date:a year ago
Review: Wow. I feel like a total noob for not keeping up to date on Bittertooth's work. Absolutely amazing sense of rhythm in this song. On his main page he categorizes this song as Drill n Bass but I definately think it's got an IDM spin to it (IDM tends to be a hybrid of other genres anyway). This is the kind of consistency in percussion that I've spent years trying to master but to no avail. At least not in any way that seems applicable to other established genres, something Bittertooth seems very good at focusing on. I notice that every one of his songs listed on his profile has a defined genre of music. My songs don't tend to turn out that way. Having a sense of direction I think is very advantageous in terms of publicity. People get the buzz that they are looking for.

Title:727
User:Frisky1753
Submission Date:a day ago
Review Oh, Frisky. You and your fancy time signatures. Haha, If this really is in the timing of 727/4, I would have never guessed. A lot of Frisky's stuff reminds me of early Venetian Snares, particularly the Doll Doll Doll/Find Candace era. Super distorted, harsh, frantic percussion noises. Good stuff. I dig it.

Title:Voyage dans le temps
User:Sage
Submission Date:a day ago[/b]
Review: It's easy to tell in Sage's work that he is a big fan of dub techno and works by Basic Channel/Maurizio (if you haven't heard any Basic Channel or Maurizio go get all their stuff right now). I guess this isn't really experimental but I just wanted to give props to Sage for keeping the chill-beat alive.

Tite:Venomoth
User:DogCookingEggs
Submission Date:a week ago
Review: Some psychedelic shit by DogCookingEggs (recently a regular on our #ExperimentalMusic IRC. chill dude). A mix of both ambient and noise. Like, distorted ambiance (reminiscent of the works of Fennesz). Some interesting textues and noodlings. I like the voice at the end combined with the kick. An unexpected techo-y twist. I respect this artist for really going with whatever he feels like instead of sticking to any one thing (most of my stuff is like that anyway). Not to say sticking to one thing is bad either.

Amusing Music No.4

Wow. I need to stop downloading so much music. It's giving me a headache categorizing all this shit. Acid, Noise, Experimental, Classical Rock, Psychadelic Rock, Funk, Doom Metal, Grindcore, Death Metal, Black Metal, Psytrance, Detroit Techno......it's all been quite a blur.

Anyway, what should I focus my attentions here on.....maybe something people probably haven't heard of before. Alright, how about music that combines noise and fieldrecordings. Uton is an artist I found who does very colorful, tasty sound textures. Uuuuuh, also Nicholas Szczepanik is another artist who does something simmilar, but a bit more gentle/less noisy. These artists have a very organic sound to them which I've been really digging. I always think it's possible to make something organic out of electronic sounds, something I find to especially be the case in Atom Heart and Tetsu Inoue's Masters Of Psychedelic Ambiance project. Lastly I'd like to point out another group that sounds very wonderfully organic, combining acoustic guitar with field recordings. That group is Tape. My favorite album by them is probably Luminarium. OK wait, I lied. I still want to mention another album. So you remember Music for Airports by Brian Eno? Remember how that was supposed to be the first in a four-part ambient series? No? Well anyway, the second in that ambient series was this wonderful collaboration between Brian Eno and Harold Budd. Very simmilar style as Tape, only instead of acoustic guitar it's Harold Budd on piano. The way the piano is recorded is very warm and smooth. Something I just get lost in every time I listen to it. Oh, the album is called Plateaux of Mirror.

I've also lately been listening to a lot of music on Pete Namlook's (predominantly) minimal techno label, titled Fax +49-69/450464. Fax has released so much amazing German techno that my head just reels in wonder at how much great electronic stuff has come out of that country. And I never even heard about any of it, except by lurking around discogs (actually I found out about it through Atom Heart, who releases his stuff on a Sublabel of Fax called Rather Interesting). So anyway, Namlook does crazy shitloads of collabs with various people. To give you an idea of how much stuff this guy has made, I will give you the total amount of albums he's done with each artist. He has made well over 23 solo albums, 21 with Move D, 13 with Atom Heart (Jet Chamber/Millenium/Subsequence), 9 with Tetsu Inoue (2350 Broadway/Shades of Orion/Time²/62 Eulengasse), 3 with Richie Hawtin (aka Plastikman), 10 with Bill Laswell (Outland/Psychonavigation), 11 with Klaus Schulze, 2 with Geir Jenssen (aka Biosphere), 15 approx. with Christian Thier (Lunatic/Merger/Mutation Nation/Deltraxx), and so much more that I really don't want to bother naming. So anyway, Fax has been quite the journey. Oh yeah, remember when I mentioned that Atom Heart had a sublabel on Fax called Rather Interesting? Yeah. On that label, Atom Heart has released a crazy amount of stuff as well. These Germans truely believe in being consistent, and having large quantities of it. Really, all the stuff I've been able to grab and listen to so far has been amazing. I've especially been digging Namlooks collaboration with Move D. Go check that stuff out right now if the idea of minimal techno at all interests you.

Awesome music I uploaded on youtube:

http://www.youtube.com/watch?v=6IgBW7_p0xw (hard x core acid electronic)

http://www.youtube.com/watch?v=h-gWiC8c0DY (super trippy but groovy techno)

http://www.youtube.com/watch?v=lqiGJ7dawJU (wtf Satanicpornocultshop why are you so weird)

http://www.youtube.com/watch?v=iYekRH2r0p0 (obscene techno by Atom Heart)

http://www.youtube.com/watch?v=xo9ykNCwBE0 (just some more groovy techno by Surgeon)

Yes, in regards to a recent comment I made on the previous journal, I figured it was time to give a quick schpeel on this whole nast business.

For anyone not active in the noise scene, Prurient (Dominick Fernow) has been a long time "big" name since around the time of his History of Aids album, considered an essential listen by many noiseheads. Since then, however, he's had a steady stream of controversy about him as he's flirted with more synth-based works, and an impression some have that his recent works under this own Hospital Records label (and others) have been lacking in quality, made only for a quick capitalist gain.

The most recent upset, however, will probably go down in history as one of the most infamous. In addition to several leaked photos of Mr. Fernow looking like a myspace-esque poseur, an mp3 titled "A Meal Can Be Made" was released to the public via the Pitchfork music site to promote his new album, Bermuda Drain:

http://www.pitchfork.com/forkcast/1.....l-can-be-made/

Given the drastically uncharacteristic, almost bizarre guttural synthpop style of the song, there's been quite a fuss going on concerning this dominating force in US harsh noise. Mr. Fernow has been deemed a hipster before, and this latest reveal doesn't do him well to rid himself of the stigma.

But is the comedic "A Turd Can Be Laid" retitling of the aforementioned track, in addition to other more constructive criticisms, really warranted for this release?



I bought the now out of print tape version of Bermuda Drain, which includes a slew of mildly amusing demo tracks, and I have to say, it's not so bad. In fact, I'm really glad I got it.

Even if you don't enjoy the understandably annoying A Meal Can Be Made, the rest of the album feels similar to his prior non-noise works: dark, esoteric poetry read over captivating synthesizer atmospheres.

Is it harsh? Not really. But worth a solid listen in the very least.

I say, if you're not totally repulsed by A Meal Can Be Made, to give it a listen. The buzz is, a CD and LP version(s) will be made abundant soon through Hydra Head records.

should seriously stop with the re-releases and the compilation and the live albums and actually make something new. i am tired of Soleilmoon releasing all this ...shall i say, crap.

....and somehow, Muslimgauze continues making tons of post-humous releases. wtf?!

ps: if any of you are into musique concrete, check this album out, seriously!! : http://www.discogs.com/c-Music-For-.....elease/2123331

 Frisky1753 told me to announce his new release here, under the name DJ Saint Hubert (or wasn't that Sedric's alias?) In any case, I'm pretty sure it is relevant to this group's interest:

http://djsaint-hubert.bandcamp.com/.....nsillectomy-ep



 The informed me of his new release under the name Oceanzone. Here was what he had to say about it:

http://oceanzone.bandcamp.com

first release
incorporates stretched raw data, home recordings of tvs/storms and all those fancy terms for `whatever`

justin has a majority of the tracks, but things even out

it was put together quite quickly and we are planning on doing a bit more building in the future

the other half of son/father can be heard on http://soundcloud.com/injoke
and i just uploaded a working version of Vlind Vird here http://www.furaffinity.net/view/5531181/

the flac tracks on band camp aren`t legit lossless for the mostpart (upscales from mp3@320)
we`ll fix that soon hopefully

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Sorry for the lack of updates/maintenance. I am not very used to running a whole group by myself. As usual, I welcome other people to contribute. The "membership" thing isn't really that relevant at this point.

Hey guys, here with a new release and a shameless plug. I just finished a split with FA's own and here it is.

Grind Noise Sick Shit

TRACKLISTING:

1. Ear Splitter - Fuckacopter
2. Ear Splitter - Splattered and Battered
3. Ear Splitter - Eternal Fuckwound
4. Ear Splitter - Kill For Gain
5. Ear Splitter - Savage Facefuck
6. Ear Splitter - Destroy
7. Ear Splitter - Derricks Don't Run
8. Ear Splitter - Death and Life
9. Ear Splitter - Therapy of Shit
10. Ear Splitter - End of Suffering
11. Ritual Anus Torture - Come With Me
12. Ritual Anus Torture - Vacant Eyes

DOWNLOAD

Also, check out my blog periodically for legal, free experimental/noise music releases:

http://www.barfmusic.blogspot.com

Gutterslut, out.