Egofüttern verboten – Strangers in the CompactDisc-Spieler

Vital Weekly sagt:


A strange compilation of 12 tracks – 6+6. The first six by Orifice certainly could be described as harsh noise, abstract electronics. The next six by Acid Discharge uses more cut up and processed samples, field recordings and found sound, which could be considered as noise but also as ‚experimental‘ or even Industrial….. A strange mix made stranger by the accompanying booklet which has old black and white photographs of run down urban scenes with captions in what I suppose is German and Japanese. From which I would suspect ‚Im Winter ’66 furen mama und papa…‘ is a clue to the date of these. Add to that the hippy trippy lettering and a background frame around the photos of colourful, red & yellow, images of the Mandelbrot set, the cover, which could be a ships pothole and the strangeness is complete. At which point strangely for me I find there is little more that can be said. (Jliat)“

Bedankt, Jliat.

Become part of the strangeness!

First, we take Japan, than we take …

ORiFiCE/ ACID DISCHARGE „Sushi, Herne 67“ @ disk union und Taco che, kriegbar dort bereits seit vergangener Woche.

Frechheit, das. Teutschland muss noch warten bis zum 02. Dezember 2017.

Präorder ( vs Rundumsorglosshopping.

Entscheide JETZT.

Egofüttern verboten – niederländische Ansichten eines Parks


„ZOUL – JISATSU (CDR by Bellerpark Records)

Here’s a new label that call themselves ‘a label for unclassifables’, but auf Deutsch sounds so much better, ‘unlabelbares’. Without much consideration all the information is all in German, and that’s fine for me, as I paid attention in high school, but I can imagine this will be a problem for some others, providing they send other promos outside der Heimat.
On the cover of Zoul we find no information but then also not really in the German information. It has something to do with dying, eternity, and beauty and without compromise. I think. There are four pieces, two at the beginning and then 90 or so six-second pieces (in which somewhere there is one that one and half minute), and then one more at the end. All of this deals with atmospheric music of a more noisy nature, except those near blank pieces, which seemed nothing else than a single sound. That sort of eluded me. The three/four pieces with sound I quite enjoyed. It’s quite dark and mysterious, seems to be using field recordings of some kind but in a raw and noisy way. Like sounds trapped in an empty shaft, recorded on a Dictaphone from afar, with the second piece quite a deep bass/high pitched noisy outing of opposite extremes. I wish it was all a bit clearer with titles and such but who knows; maybe there is a conceptual explanation for that as well.
The other one is a collaboration between the text and voice of Philip Nussbaum and the music of Das Kraulen Brauchen, from Berlin. This is the label’s first release (and there is referral to The Normal, Frank Sinatra and Burial and their first’s on a label, but I fail to see the connection, other than dropping a few names). I must admit it was towards the end of the day that I played this and wasn’t paying attention that much to the words of Nussbaum, but it’s perhaps also that he doesn’t talk in a very engaging way. The music is rather minimal and very much undefined. The second piece seems to me almost entirely instrumental of some far away piano melody being played, which worked much better,
but mostly as an afterthought after a long day of playing too many difficult records, with a loop of Nussbaum’s voice at the end. As an inaugural release I was not so impressed. I doubt that this is the classic in forty years that ‘Warm Leatherette’ is these days. (FdW)

Bedankt, Frans!