no interest reviews of the no audience underground

Final Cut ‘denorme’ - 3 patttes - 3” CDR - 3” jewel boxes are okay I guess
/First track sounds like a Buddhist version of Muslim Gauze. Second sounds like a rehearsal with the communication device between artist and sound engineer left open and recorded. Classical soundtrack music with clicks. Noise ambient with bees. Experimental D&B with tiny bits of real dub inside. And lasts for 20 minutes: the 3” format is an excellent choice. Please give a warm welcome to 3 Patttes: judging from its first releases it’s gonna be a great label.

/http://3pattes.free.fr

Finkelstein/Vultures split-Fact-3"CDR-color artwork

/I can’t imagine how/why people who aren’t Justin Broadrick or Christian Greene think they can be any good at what’s now called industrial metal (inventing a genre for one band is really too much of a compliment but doesn’t Godflesh deserve it?). I can even less imagine what connection there is between industrial and metal, not only because of the music itself being so different but because the technical perfection seeked by most metal addicts –you know, ‘controlled feedbacking’, ‘perfect distortion’ and so forth - doesn’t look compatible with the raw improvisation, random white noises, metal percussion, prepared instruments, hisses and buzzes of the now long-dead-but-still-alive-somehow industrial scene. And there’s another problem as well: TG played hidden most of the time while most metal bands just show off most of the time. So where’s the point? No point as far as I’m concerned, the whole Godflesh discography lies on the shelf and still gets listened to a few times a year and this is about all I want to know about industrial metal. Why am I listening to Vultures, then, its Israel’s most famous indmet act? I usually am not, but their tracks on this split simply forget the second word in industrial metal to concentrate on the first and that’s good news. Opens up with almost 4 minutes of good old simple but efficient rhythmic aggression then it’s noise ambient with excellent and not too overwhelming vocals with the usual distortion and a not so usual ring modulator, some rhythm and a little welcome guitar. Then comes Finkelstein and well, fast forward. Second 3" CDR release on the label (with about 40 references on it) and it gets a 50%-not-that-bad score, so keep up the good work.

/http://www.factrecords.co.il/

Forest Giants ‘in sequence’-invisible hands-CD-jewel gnagnagna
The atlantic manor ‘failing by the second’-do too-CD-jewel, too

/You had these two records coming from the post on the same day and you had a dream on the same night. It’s a dream. It’s not unpleasant; in fact it’s a rather nice dream, only very weird. You stand in the middle of a room that’s divided in two. There’s a brightly lit and coloured side and a rather dim black and white side and you’re exactly in the middle so one side of your body’s in colour and the other in black and white and you feel like you’re acting in Pleasantville. You have this feeling you often have you don’t have any true friends. From both sides comes music. Lofi guitar-based-pop-folk or whatever you want to call it. Your black and white ear is telling you this is The Atlantic Manor’s divorce record and it’s sad and melancholic and beautiful nevertheless, even amidst the punk rage of Suicide Jockey –and R.Sell seems to keep his records delightfully short (this one’s just over the 30 minutes limit not including the unnecessary hidden track) and to keep on dedicating his records to his children. Your coloured ear tells you this is Forest Giant and they have a fuzzy psychedelic touch to their bittersweet nostalgia (and a bottleneck bass playing that tells you about Morphine) and you can’t get the lyrics clearly enough to get what the record is about but you still feel touched by it –and it’s just under the 30 minutes limit. Then each side of yourself parts and goes for a walk on its own to the place of the room from which the music is coming. Having one leg each, they’re quite clumsy and it takes a while for them to reach the far ends of the room. Each part of you sees a turntable with a 10” translucent vinyl (one brightly coloured, the other dim grey) on them and an auto-reverse function that’s enabled. You wake up with a smile on your face so wide you look like a Staffordshire Bullterrier. Well, this is reality so there’s no auto-reverse function on your turntable and the records came on CD but still remains the best part of the dream: its soundtrack

/mailto: forestgiants_at_aol.com - dotwo_at_bellsouth.net - atlanticmanor_at_yahoo.com

Formula Bone ‘bear up’-brainlove-CDR-could also be out on some mp3-selling horror soon
/My gosh do I hate presskits. No matter how loud I say “leave them out when you send something”, no matter how big I write it in neon letters on the website, I still get them. Fortunately, I rarely read them and most of the time throw them away and that sure was a blessing here (listening to the record first and glancing at the toilet paper afterwards, that is). Presskit: blahblah about how Fidel Villeneuve had a record out on DHR at the mightee agee of ninetee –or was it 19? (why would anyone want to advertise with this I wonder) and how Formula Bone had tracks played on BBC Radio 1 (well, yeah, I guess that’s OK) and have been extensively flattered in NME (doublewonder this time, especially for an indie label, I mean who cares about the major-bought dinosaurs of rock-reviewing except the majors themselves? –certainly not the people who’re supposed to buy the records I hope). Record: excellent yeayea garage-vs.-surf-rock-meets-Big-Black-and-took-a-bit-of-fun-from-the-Rezillos; Rocket From The Crypt meets Japapop (and certainly could use a bit more of Melt-Banana-type hardcore chaos in their mix); MC-5 has a satanic dance with The Shizit (and certainly could use a bit more of death metal guitars in their mix); the corpse of Johnny Cash French embraces the corpse of Elvis Presley for a rotten to the core frenchkiss while Sid Vicious films. Fuck presskits and praise records like this one.

/www.brainloverecords.com

Freak Flag / Epidemic split-Reality Impaired-CDR-horrible b&w artwork

/Remember Socialistic Johnny Goblet I told you about some time ago? This is from the same label and the same intro applies. Horrible xeroxed cover, good music inside (SGJ a few issues past and Amanonn did remind me that good music is not necessarily packed in polite sleeves). First tracks are Freak Flag and they’re some Playground/Cable Regime Pink Floyd-influenced noisy rock and roll from outer space, and oh yeah man it would rock Mexico if Mexico was on Mars. Excellent. Epidemic (or is it DJ epidemic, this cover really competes with the worst black metal ones I ever saw and it’s unreadable, too) is dub-style hiphop, mostly instrumental, with lots of weird and nasty humour in it, quite classical in a way and still pleasing to the ear. I really don’t know enough about hiphop to know what comes from existing tracks and what doesn’t but I think I don’t care.

/c/o VD, PO Box 1285, JOPLIN, MO 64802, USA

Freak Flag ‘experiments in evolution’-Reality Impaired-CDR-pro jewel (wel wel) box

/Everyone-knows-their-names reference: Black Sabbath meets Klaus Schultze. Underground reference: St Vitus meets Maeror Tri. A bit too brutal reference: Eye Hate God meets Merzbow (that’d be a nice meeting). Modern reference : Sleep and Nebula meet Füxa. Commercial pop shit in disguise reference: Monster Magnet meets Morcheeba. This record hasn’t been much out of the CD-player since it arrived, its mix of ambient-noise electronics and groovy doom metal being perfectly balanced and I never found the hour it lasts too long. And the good surprise is: cover is really nice! What? Only 100 copies of this? Buyitbuyitbuyit NOW!

/Reality Impaired PO Box 1285, Joplin MO 64802, USA

Freeze Etch ‘helios’ – immanence – CDR - nice white+greenish artwork

/Thirty one minutes for seven tracks, that’s my length. Them tracks seem to be flowing nicely from one another with: fine electronic distorted rhythms multi-layered with heavily processed melody-synths and far-out voices. Starts as it ends and doesn’t bore you to death in the meantime. Overall sounds a bit like Flint Glass from Brume records: not bad, only slightly too Ant-Zen-like for me perhaps.

/www.freezeetch.cjb.net – www.immanence-records.net

Füxa ‘the modified mechanics of this device’-antenna-CD-digipack

/A record starting off by a Suicide cover can’t be wrong don’t you think. And that Suicide cover features Spacemen Sonic Boom on vocals and is one hell of a psyche-pop hit. But what about the rest my boy, is it worth getting this record just for that song (it is), and how am I going to trick my little sister into buying this with her birthday money (the way you cope with your own personal little treason is your own little problem) and all. You definitely should buy this with your own money because I think your little sister would listen to it and then keep it. It’s mostly, er, ambient you know and very different from the song it starts off with and travelling through synth-only melodic tracks and somewhat dub things layered with other warm and analogue sounding (emulated?) ARPs and SH-101. And some pop again, further in the record. And though it keeps brilliantly short enough, it takes time to travel through a lot of different places. I bet Mr Klaus Schultze could’ve been doing this sort of music if them hardware instruments manufacturers had emphasised the sound instead of the interface. If I had a taste for stupid jokes (I have) I could easily say this is moogy blues.

/c/o Antenna PO BOX 603 Burton on Trent DE142ZX-UK or mailto:antenna.records_at_lineone.net

Füxa / The Telescopes split – mind expansion – 7” clear vinyl – wonderful hand painted cover by Randall

/And I get this kind of record by the post. I think it’d take me ages to find records that good in shops, see; records that rhythm and pulse and echo and trumpet and ringmodulate in my head long after they left the turntable. Records that come on my favourite format (7” clear vinyl, I guess you already know that) with a genuine numbered hand painted cover and are brilliantly just the good length (shortness?). Records that are somewhat dreamy drum and bass with an exquisite nostalgic feeling (especially when played 33rpm). And these people release a lot of stuff from Füxa: this makes them good people, doesn’t it, even if they’re Füxa’s own label. And I get this kind of record by the post. Lucky bastard.

/PO BOX 824 Taylor MI. 48180 USA

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Final Cut ‘denorme’ - 3 patttes - 3” CDR - 3” jewel boxes are okay I guess /First track sounds like a Buddhist version of Muslim Gauze. Second sounds like a rehearsal with the communication device between artist and sound engineer left open and recorded. Classical soundtrack music with clicks. Noise ambient with bees. Experimental D&B with tiny bits of real dub inside. And lasts for 20 minutes: the 3” format is an excellent choice. Please give a warm welcome to 3 Patttes: judging from its first releases it’s gonna be a great label. /http://3pattes.free.fr Finkelstein/Vultures split-Fact-3"CDR-color artwork /I can’t imagine how/why people who aren’t Justin Broadrick or Christian Greene think they can be any good at what’s now called industrial metal (inventing a genre for one band is really too much of a compliment but doesn’t Godflesh deserve it?). I can even less imagine what connection there is between industrial and metal, not only because of the music itself being so different but because the technical perfection seeked by most metal addicts –you know, ‘controlled feedbacking’, ‘perfect distortion’ and so forth - doesn’t look compatible with the raw improvisation, random white noises, metal percussion, prepared instruments, hisses and buzzes of the now long-dead-but-still-alive-somehow industrial scene. And there’s another problem as well: TG played hidden most of the time while most metal bands just show off most of the time. So where’s the point? No point as far as I’m concerned, the whole Godflesh discography lies on the shelf and still gets listened to a few times a year and this is about all I want to know about industrial metal. Why am I listening to Vultures, then, its Israel’s most famous indmet act? I usually am not, but their tracks on this split simply forget the second word in industrial metal to concentrate on the first and that’s good news. Opens up with almost 4 minutes of good old simple but efficient rhythmic aggression then it’s noise ambient with excellent and not too overwhelming vocals with the usual distortion and a not so usual ring modulator, some rhythm and a little welcome guitar. Then comes Finkelstein and well, fast forward. Second 3" CDR release on the label (with about 40 references on it) and it gets a 50%-not-that-bad score, so keep up the good work. /http://www.factrecords.co.il/ Forest Giants ‘in sequence’-invisible hands-CD-jewel gnagnagna The atlantic manor ‘failing by the second’-do too-CD-jewel, too /You had these two records coming from the post on the same day and you had a dream on the same night. It’s a dream. It’s not unpleasant; in fact it’s a rather nice dream, only very weird. You stand in the middle of a room that’s divided in two. There’s a brightly lit and coloured side and a rather dim black and white side and you’re exactly in the middle so one side of your body’s in colour and the other in black and white and you feel like you’re acting in Pleasantville. You have this feeling you often have you don’t have any true friends. From both sides comes music. Lofi guitar-based-pop-folk or whatever you want to call it. Your black and white ear is telling you this is The Atlantic Manor’s divorce record and it’s sad and melancholic and beautiful nevertheless, even amidst the punk rage of Suicide Jockey –and R.Sell seems to keep his records delightfully short (this one’s just over the 30 minutes limit not including the unnecessary hidden track) and to keep on dedicating his records to his children. Your coloured ear tells you this is Forest Giant and they have a fuzzy psychedelic touch to their bittersweet nostalgia (and a bottleneck bass playing that tells you about Morphine) and you can’t get the lyrics clearly enough to get what the record is about but you still feel touched by it –and it’s just under the 30 minutes limit. Then each side of yourself parts and goes for a walk on its own to the place of the room from which the music is coming. Having one leg each, they’re quite clumsy and it takes a while for them to reach the far ends of the room. Each part of you sees a turntable with a 10” translucent vinyl (one brightly coloured, the other dim grey) on them and an auto-reverse function that’s enabled. You wake up with a smile on your face so wide you look like a Staffordshire Bullterrier. Well, this is reality so there’s no auto-reverse function on your turntable and the records came on CD but still remains the best part of the dream: its soundtrack /mailto: forestgiants_at_aol.com - dotwo_at_bellsouth.net - atlanticmanor_at_yahoo.com Formula Bone ‘bear up’-brainlove-CDR-could also be out on some mp3-selling horror soon /My gosh do I hate presskits. No matter how loud I say “leave them out when you send something”, no matter how big I write it in neon letters on the website, I still get them. Fortunately, I rarely read them and most of the time throw them away and that sure was a blessing here (listening to the record first and glancing at the toilet paper afterwards, that is). Presskit: blahblah about how Fidel Villeneuve had a record out on DHR at the mightee agee of ninetee –or was it 19? (why would anyone want to advertise with this I wonder) and how Formula Bone had tracks played on BBC Radio 1 (well, yeah, I guess that’s OK) and have been extensively flattered in NME (doublewonder this time, especially for an indie label, I mean who cares about the major-bought dinosaurs of rock-reviewing except the majors themselves? –certainly not the people who’re supposed to buy the records I hope). Record: excellent yeayea garage-vs.-surf-rock-meets-Big-Black-and-took-a-bit-of-fun-from-the-Rezillos; Rocket From The Crypt meets Japapop (and certainly could use a bit more of Melt-Banana-type hardcore chaos in their mix); MC-5 has a satanic dance with The Shizit (and certainly could use a bit more of death metal guitars in their mix); the corpse of Johnny Cash French embraces the corpse of Elvis Presley for a rotten to the core frenchkiss while Sid Vicious films. Fuck presskits and praise records like this one. /www.brainloverecords.com Freak Flag / Epidemic split-Reality Impaired-CDR-horrible b&w artwork /Remember Socialistic Johnny Goblet I told you about some time ago? This is from the same label and the same intro applies. Horrible xeroxed cover, good music inside (SGJ a few issues past and Amanonn did remind me that good music is not necessarily packed in polite sleeves). First tracks are Freak Flag and they’re some Playground/Cable Regime Pink Floyd-influenced noisy rock and roll from outer space, and oh yeah man it would rock Mexico if Mexico was on Mars. Excellent. Epidemic (or is it DJ epidemic, this cover really competes with the worst black metal ones I ever saw and it’s unreadable, too) is dub-style hiphop, mostly instrumental, with lots of weird and nasty humour in it, quite classical in a way and still pleasing to the ear. I really don’t know enough about hiphop to know what comes from existing tracks and what doesn’t but I think I don’t care. /c/o VD, PO Box 1285, JOPLIN, MO 64802, USA Freak Flag ‘experiments in evolution’-Reality Impaired-CDR-pro jewel (wel wel) box /Everyone-knows-their-names reference: Black Sabbath meets Klaus Schultze. Underground reference: St Vitus meets Maeror Tri. A bit too brutal reference: Eye Hate God meets Merzbow (that’d be a nice meeting). Modern reference : Sleep and Nebula meet Füxa. Commercial pop shit in disguise reference: Monster Magnet meets Morcheeba. This record hasn’t been much out of the CD-player since it arrived, its mix of ambient-noise electronics and groovy doom metal being perfectly balanced and I never found the hour it lasts too long. And the good surprise is: cover is really nice! What? Only 100 copies of this? Buyitbuyitbuyit NOW! /Reality Impaired PO Box 1285, Joplin MO 64802, USA Freeze Etch ‘helios’ – immanence – CDR - nice white+greenish artwork /Thirty one minutes for seven tracks, that’s my length. Them tracks seem to be flowing nicely from one another with: fine electronic distorted rhythms multi-layered with heavily processed melody-synths and far-out voices. Starts as it ends and doesn’t bore you to death in the meantime. Overall sounds a bit like Flint Glass from Brume records: not bad, only slightly too Ant-Zen-like for me perhaps. /www.freezeetch.cjb.net – www.immanence-records.net Füxa ‘the modified mechanics of this device’-antenna-CD-digipack /A record starting off by a Suicide cover can’t be wrong don’t you think. And that Suicide cover features Spacemen Sonic Boom on vocals and is one hell of a psyche-pop hit. But what about the rest my boy, is it worth getting this record just for that song (it is), and how am I going to trick my little sister into buying this with her birthday money (the way you cope with your own personal little treason is your own little problem) and all. You definitely should buy this with your own money because I think your little sister would listen to it and then keep it. It’s mostly, er, ambient you know and very different from the song it starts off with and travelling through synth-only melodic tracks and somewhat dub things layered with other warm and analogue sounding (emulated?) ARPs and SH-101. And some pop again, further in the record. And though it keeps brilliantly short enough, it takes time to travel through a lot of different places. I bet Mr Klaus Schultze could’ve been doing this sort of music if them hardware instruments manufacturers had emphasised the sound instead of the interface. If I had a taste for stupid jokes (I have) I could easily say this is moogy blues. /c/o Antenna PO BOX 603 Burton on Trent DE142ZX-UK or mailto:antenna.records_at_lineone.net Füxa / The Telescopes split – mind expansion – 7” clear vinyl – wonderful hand painted cover by Randall /And I get this kind of record by the post. I think it’d take me ages to find records that good in shops, see; records that rhythm and pulse and echo and trumpet and ringmodulate in my head long after they left the turntable. Records that come on my favourite format (7” clear vinyl, I guess you already know that) with a genuine numbered hand painted cover and are brilliantly just the good length (shortness?). Records that are somewhat dreamy drum and bass with an exquisite nostalgic feeling (especially when played 33rpm). And these people release a lot of stuff from Füxa: this makes them good people, doesn’t it, even if they’re Füxa’s own label. And I get this kind of record by the post. Lucky bastard. /PO BOX 824 Taylor MI. 48180 USA