|1-1||Devil Disease / For The Tasmanian Devils 1|
|1-6||Support Bacteria (They're The Only Culture Some People Have)|
|1-9||The Possibility Of Life's Destruction|
|1-11||From Wars Over Control And Oil To Environmental And Mental Destruction And Renewable Sources And Minds (At A Loss For Words)|
|1-12||Cave & Bats, Khao Sok National Park Thailand, 8.1.1995|
|1-13||Drinking Song From The Tomb|
|1-15||From Upstairs With Love|
|1-16||Threnody To The Victims Of Gluttony|
|1-18||For The Tasmanian Devils 2|
|1-19||Most Adults Are Atrophied Children Whose Fire Has Long Since Been Extinguished|
|2-2||I Question My Reality|
|2-4||Abolishing Religion: An Exorcism (Acts 2 And 3)|
|2-5||Circy Flython's Pything Montus|
|2-7||For The Members Of Tinnitus|
|2-12||The Lie Of Good And Evil|
|2-13||What Do You Fear?|
- Performer [All Audio Played], Recorded By, Arranged By, Compiled By –
- Photography By, Artwork –
CD 1 also contains the "Secret Bee" video by Gina Kamentsky, accompanied by "A Drink On Spike Jones" by Dave Phillips.
- Barcode: 7 290011 216849
- Most extreme metal fans are going to know Swiss artist Dave Phillips for his role as the bassist and vocalist for 80’s grindcore / noisecore pioneers Fear Of God, who were just as significant as Napalm Death in the development of grind. But since the late 80’s, Phillips has pursued even more extreme and challenging sounds, working with the experimental Aktionist-inspired noise ensemble Schimpfluch-Gruppe and producing a wealth of fascinating, often terrifying solo works. His violent, Dada-damaged soundscapes utilize chamber-music strings, field recordings (often taken from bizarre, unsettling sources), blasts of extreme noise, extreme sound-collage techniques and even some faint traces of Phillips’s grind/metal background to craft an incredibly intense listening experience that often sounds like a particularly bizarre horror movie soundtrack.
A huge selection of Phillips’s work has been compiled for this double disc collection A Collection Of Hair, much of which comes from long-aborted solo projects from tiny go-nowhere labels that left the recordings in limbo. This collections has moments of aural extremism that’ll test the most ardent “noise” fan, but if you can hang with Phillips’s surreal sonic horror this has a TON of stuff to sink into. Most of it is pretty nihilistic, with track titles like “Most Adults Are Atrophied Children Whose Fire Has Long Since Been Extinguished” and “The Possibility Of Life’s Destruction”. And some of this stuff is terrifying; the track “Devil Disease / For The Tasmanian Devils 1” combines recordings of the snarling titular beasts and strains of rumbling ominous cello, with the occasional crash of broken glass or percussive thud. Snarls of high-pitched tape noise become tangled beneath demonic growling on “Scutigera”. And there’s a “re-working” of the intro to the Discharge song “The Possibility Of Life’s Destruction”, where Phillips extracts snippets of that original intro and turns the screams and howls of pain and anguish into a horrific soundscape littered with swells of dark dissonant piano and creepy metallic melodies. The savage electronics of “Wright Rong” that transform into a vicious fusion of death industrial crush and grindcore vocals, and there’s a bizarre “cover” of Rudimentary Peni’s “Drinking Song From The Tomb” done a capella.
Some other tracks are a mere thirty seconds long, brief blasts of horrific sound-collage, violent sexual release exploding into skull-destroying harsh noise, sounds of a busy motorway overlaid with creepy electronic mewling sounds, bestial grunts colliding with chunks of concrete sound. Phillips’s trademark bursts of sudden, thunderous slamming noises occur all through these tracks, eliciting intense shocks of sound that suddenly rupture the malevolent ambience he so carefully constructs. There are nauseating Randy Yau-style vomit-exorcisms and vocal/noise experiments, power electronics pieces with strangely mixed recordings cruising on waves of crushing black synthesizer, and stretches of near-silent minimalism and quiet, detailed environmental recordings shattered by the screams of children. “Threnody For The Victims Of Gluttony” is probably the most disturbing piece, a symphony of slaughterhouse screams and droning chamber strings that is the stuff of nightmares.
Disc two is filled with more surreal sonic horror, offering up frightening percussive blasts, monstrous murky noisescapes and bits of blackened ambience, discordant evil piano drifting over backwards voices and breathing sounds, and disgusting symphonies of gastro-intestinal violence. “Abolishing religion: an exorcism (acts 2 and 3)” is a standout track, a recording of a slithering, slinking black magic ritual that took place in Berlin that ends up turning into a violent junk-noise assault infested with demonic screams and sounds of torture. Elsewhere, ghostly chiming melodies that seem to be drifting off of some mysterious numbers channel fade into view, Phillips disappears into long sprawling passages of psychedelic electronic squelch, and we even get some of his chopped-up grindcore abstractions.
Difficult and often extremely unnerving, A Collection Of Hair delivers two and a half hours of Phillips’s brand of extreme mangled musique concrète. The first disc also features a couple of videos from Phillips and experimental animation artist Gina Kamentsky.
(review by Crucial Blast)