another of the $3.00-prizes I started posting upon my return, this 1995 disc sees Shea breaking away from using live players in his work and focusing strictly on sampling. more specifically, composing pieces which, for the most part, could be recorded and performed in real-time and with minimal to no post-processing, editing or manipulation. a couple of the shorter pieces paying tribute to cartoon characters evoke the Looney-ness of Carl Stalling while the rest are far darker and more bombastic. this is an album that even an open-minded metalhead with an affection for anything symphonic would be likely to enjoy, not to mention anyone who enjoyed Jim Thirlwell’s Steroid Maximus projects… which, as I understand it, were constructed with similar sampling techniques, if not structured for real-time/live performance like these pieces were.
decent sounding boot I stumbled upon recently… worthwhile for Rollins’ between-song banter alone. not much else to say about the mighty Flag that hasn’t been said better elsewhere a million times already.
ps – these pics are not from the actual gig… Kira wasn’t even in the band at this point, but given her choice of attire in the top pic I just couldn’t resist using it…
EDIT: had and read a few complaints about Rapidshare giving folks a hard time with this one, so if that’s the case for you, say you don’t want it then you slip it on in here instead
it dawned on me today that I’d posted all of their pre-“Lotto” recordings except for this one. the cover pic is taken from my vinyl copy but the tracks are ripped from that double-CD re-issue from a few years ago that had everything that came out before “Deluxe”.
long-running Italian trio featuring instrumentation of bass/drums/sax… for those who’ve yet to experience them, picture the likes of Nomeansno or Ruins collaborating with… well, just about any free-jazz sax player… and you’re on the way there.
then there’s Patton. regardless of what you might think of his own work, there’s no denying his decent taste in music, as evidenced by his choices of collaborative partners and the roster of artists on his Ipecac label. he took an opportunity to perform some gigs with Zu and will apparently be releasing an upcoming collaborative album with them on the aforementioned Ipecac. hopefully that’ll attract some extra attention to Zu themselves, whose own numerous releases strongly deserve to be heard on their own merits.
in the meantime, you can check out this bootleg of a performance with Patton in Budapest.
ahhh, Weasel Walter. love him or hate him, if you read us regularly then you surely know who he is. much has been made over his love – and the influence on his own body of work – of free jazz, no wave and death metal. over the years he’s flexed most of those muscles individually in different projects – his series of releases replacing the drumming on classic free-jazz recordings with his own, for example – and combined them all to varying effect at different times in his most well-known project, Flying Luttenbachers. here, he took the opportunity to flex his DM skills on this all-out blast of pure fucking brutality. the story goes that Hatewave was a pre-existing Chicago-area DM band whose original drummer was either ejected or departed of his own accord… Walter stepped in to fill his shoes and the rest is history.
quite often it happens that I’ll be checking out a recent acquisition on iTunes, only to have the next album in the library start when that one ends… only to end up having the realization that I forgot how good that album is and that I should give it another spin or five… herein lies one such recent case. plenty has already been said about Zeni Geva across the blogosphere so I’ll spare you another diatribe… suffice to say that I haven’t heard a band with this much sheer oppressive weight and power, either before or since… even present-day nihilistic, end-of-the-world doom/sludge stalwarts like Khanate or Khlyst sound more like the aftermath in comparison… where as ZG themselves sound more like the steamroller of pure fucking power that brought it all down in the first place.
re-discovered this classic today and felt like sharing. these guys definitely stood out from the death/grind pack in the good ol’ early 90s… their looser (but not sloppy) approach, groove, that bass tone… of course, starting your albums off with songs called “shrunken and mummified bitch” never hurts in the attention-grabbing sweepstakes either…
in the earlier part of the decade, I went through a period in which I made and listened to electronic music (of the more experimental and “IDM” variety) to pretty much the exclusion of anything else. having swung back from that and come “full circle” to older (and newer) listening habits, electronics still find their way into the aural diet here and there. I was first introduced to Freeform when a friend sent me some compilations on the Worm Interface label years ago and the Freeform track(s) were always among my favorite on those comps. so when the chance came to grab this disc as part of the “$3.00/ea grab bag” last weekend, I didn’t give it a second thought. once again, a little different from the usual fare around here, but…