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Buyer Rating: 100.0% positive (4 ratings)

bikefridaywalter's groups (5)

• Ambient and Experimental
• Experimental Rock
• IDM
• Industrial,Ambient,Noise,Experimental,Neofolk
• Noise

Current Ninety Three* - Hypnagogue - 27-Aug-08 10:45 AM
It took me a long, long time to listen to this album. Every time I was in the mood for some good old fashioned Coptic-apocalyptic psychedelic experimental neofolk, I got some sparse piano and David reading nearly stream of consciousness prose-poetry. Kind of wasn't what I expected but when I finally sat down late one night to immerse myself in it, I was captivated. Lyrically, this is some of the most powerful, image-rich work David has yet done and the piano work complements it well, at times reflecting the surreal mood in the words. My only complaint is that so many of the tracks start right in with David babbling away when I think the pieces would have been infinitely more digestible had they started with at least some sort of piano introduction. Still, this is easily forgivable given the content.

Kikuri - ぶっ壊れた紫色 [Pulverized Purple] - 05-Aug-08 12:56 PM
Absolutely bizarre. Akita is known for his full-frontal noise assaults and if that's what you're looking for, you're not going to find it here. Those more familiar with Haino's work will feel slightly more at home here, as when it comes to Keiji, you never know what to expect.

One thing that is true is that they both produce a very intense form of experimental, Haino's work being more akin to a ritual exorcism than the digital nihilism of Merzbow. Here we find that very interesting blend-- the organic and the synthetic. Haino adds his voice and drums and strings to Merzbow's noise, which is a bit more subdued than in, say, Venereology. It's almost as if they're trying to give a semblance of structure to the chaos that Akita usually produces. Still, Haino's contributions are nowhere near linear.

However, I see Merzbow's work as a sort of ambient with a different sound palette and as such, I'm still a bit unsure of what I think of the drum structure that Haino provides in some sections, but I will say something with certainty: the title track itself is worth purchasing the entire album for. It goes from intense psychadelia to pseudo-doom metal to an all out barrage of noise. Never heard anything like it in any of the works of either of these artists or any of their peers.

I hope to see more from this collaboration in the future-- especially if it runs the lines of the last track.

Coil - 17-Jun-08 12:34 AM
I once did reviews and interviews for a local music rag and if there's one thing I learned from that experience is that people are people no matter what they do. So it's hard for me to get all whimsical and enraptured in any artist no matter how much I may like his or her music.

But there was something about Coil. Was it Jhonn's remarkably sweet yet haunting voice? Was it Peter's constant explorations of sound? Was it how every piece of work was peppered with some hint of the occult and obscure and profane, like some sort of musical Robert Anton Wilson?

Could have it been their constant surprises? I know that drew me back more than once. My first discovery was "Love's Secret Domain" and its lush techno-heavy psychedelic form of industrial stood apart from the rest. I was surprised and delighted by the decadent "Horse Rotorvator" and was completely floored the first time I heard the original themes to "Hellraiser."

But there was no gimmick to Coil. They made genuine beauty that just kept growing more lovely by the moment. Even in their harshest moments (Zos Kia) they never seemed so destructive as their peers, even their forefathers (TG!). "Worship The Glitch" was a audiophile's wet dream and it was also a masterpiece of digital manipulation. I saw "A Thousand Lights In A Darkened Room" as a more organic extension of this idea, with the song "London's Lost Rivers" being a particularly standout track, even against an otherwise remarkable piece of work.

Thier ambient/noise/drone (blurred all fuzzily together of course) works were remarkable. I still consider "Time Machines" and "ANS" to be among my most favourite of the genre(s). Couple it with vocals like on albums such as "Astral Disasters," and you have something so unique, yet so expected from much superb experimentalists.

"The New Backwards" was long in coming, and it was well worth the wait.

Every now and then I seriously think I miss Jhonn Balance. It seemed as if he bared his soul in his music and it's hard not to feel like you knew him. And that was A Good Thing.

I would easily put the entire discography of Coil up for my highest recommendations to anyone, as it is all borne out of pure magick.

Access To Arasaka - Metax - 27-Apr-08 11:01 PM
Imagine listening to Autechre's Tri Repetae on repeat while reading William Gibson's Neuromancer.

This is ambient glitch not glitchy ambient, mostly. Cold, mechanical rhythms, often a touch distorted, often a bit manipulated and asynchronous, as if they were transmitted across a digital signal-- always prone to a certain amount of error. On top of this, atmospheric, eerie soundscapes drone whilst dark, melancholic melodies moan.

Highway and Station are big standouts in my mind.

NOTHING like White Walls and Hotel have ever been made as far as I know-- glitch with vocals. They're incredible. I can just smell a new genre around the corner...

Surgeon - This Is For You Shits - 09-Apr-08 10:36 PM
Anthony Child is in a world all by himself and he shows he here. He makes an absolutely FLAWLESS mix and manages to fit William Bennett's lunatic rantings in it and Throbbing Gristle on it. I tend to ignore DJ mixes as they seem to be best suited to the club, but this is something I listen to over and over again. What's odd is that this is true for every one of his mixes. Watch his website-- there are more. For free!

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