Category: Classic Rock

Loachfillet / Slujun - Split (Cassette) download full album zip cd mp3 vinyl flac

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Slujun / Loachfillet - Split Fish Pies, AU, C A split cassette that rips through the magnetic tape and plastic case on both edges. Slujun plays some thick tones with his box of circuits and knobs, following it up with gords covered in tiny locusts. Loachfillet lets the dreggs rip with some watery earth worm electronics. Explore releases from Slujun at Discogs. Shop for Vinyl, CDs and more from Slujun at the Discogs Marketplace. Ceiling Cassette Mini Split Units When installing a mini split ceiling cassette AC system, the indoor unit is installed directly into the ceiling. Because it is still a split system, these units consist of a separate outdoor compressor and an indoor ceiling unit, resulting in a wider air flow that's great for larger rooms.

Fucking super collab recorded at No Fun Festincluding Dr. Sharkiface and Loachfillet crank out some scorched electronics and grim industrial sound-scapes on this thirty minute chunk of circular plastic.

An atmospheric feast of dark, distorted doom; wrapped in a cavernous cyst. Co-release with Fish Pies! A deep dive into black lacey mud. Sink into the layers of sensual noise collage. Two CD set exploring slow moving analog electronic sound collisions. Anti-Ear - Drone 1 One long track of throbbing, bellowing synth convulsions.

No surprise loud blasts or sudden movements, so suitable listening for zoning out super hard or freaking the fuck out. It's up to you! See the Resipiscent site for description and order info. Tarantism - Stuck to the Bottom Resipiscent. The range is astounding, Tarantism's widest soundscape to date. Subaudible voices fold into electroacoustics found hiding in pure sines that crash Loachfillet / Slujun - Split (Cassette) krautbeats. High replay, a different listen every time, the whole onslaught arrives in a triple silk-screen work o' art from Austin's Bearded Lady!

Stick this one way in. Classic Tarantism styles, random and raw, but at times hints at the new angles explored on later releases. This material is from one of the most prolific periods in the history of this duo, just before the infamous "going for it" tour. A seldom acknowledged, mysterious electronic composer from back in the day brutalizes your ears.

Grating, buzzing torment designed for mashing brains. Dark, angular synth tones, bizarre and twisted, ear drilling noise with layer upon layer of excellently composed textures. First CD by Anti-Ear, circa No rules, all objects and materials that could be found near the desk were used. Electronic music from a mysterious Polish idiot savant-garde composer. Most recordings alleged to be made made using his "Tonmachin" invention, a non-electric synthesizer built from construction scraps Excellent for walking thru the ruins of a dead civilization.

Experiments in rock retardation and noise from Austin's notorious Brown Whornet. Some live, some taped during rehearsals, some studio. These raw, creative, and explosive recordings capture the magic of this prolific band in it's prime. Incredible cover art by the late great underground comic art legend Jim Osborne!

All covers are full color original art on ultra gloss paper lovingly assembled by hand and numbered. Looks incredible!

Limited edition of Smokin' hot, grab 'em quick!!!! Live recordings from a series of Halloween shows in Both sets recorded from two separate sources and fused together by Romero, creating a heavy sandwich of analog treats. Bite into a chunky four part modular beef-up compliments of the Anti-Ear on Side A.

Flip it and catch Loachfillet's slithering worm tones before they devour your speakers. Center of the program yields an audio miracle. Another round of amazing ambient sound scapes from Mr Ortega resembling a player piano under water, trying to mash it out. Ezra tunes up his modular with thick analog whoomp-whoomps and closes with a harrowing passage of country drones.

What can be said about these two giants that will make you understand how fucking bad ass their music is? Both send the listener into a dimension far from their mind enclosure. And here, they certainly display the skills of two master craftsmen working their thoughts into high gear! Most recent Tarantism release, rhythmic mangled throbs and churning loop butters, if you liked "Stuck to the Bottom" you'll like this even more.

The next phase! Oakland's killer collaboration between Sharkiface and Loachfillet. Part of a live performance on KFJC, this is an ominious and creepy expedition through the decaying leaves and mold and into the worm-filled sand of a tropical graveyard. Edition of Use the handy glow-in-the-dark covers to check under your bed for monsters before you leave this realm!

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Power electronics of some of its most intense kinds. Great power enclosed. The ten tracks on this release fit perfectly into the current revival of cosmic music. Yet what Loachfillet does isn't exactly what say Tangerine Dream did. This is not light your hashpipe kind of music and drift away. This is nightmare music, the horror movie soundtrack. More alike the experiments carried out by some of the more radical early composers such as Morton Subotnick or Ilhan Mimaroglu, or 'Planets Of The Apes' soundtrack.

Dark, menacing music, long sustaining sound, heavy oscillations. A pleasant nightmare of course. Like a Loachfillet / Slujun - Split (Cassette) horror movie can be pleasant too or even a bad one. An excellent connection is made to the past tradition of this music, not necessarily taking it into a new field, but a fine continuation within that tradition. The only time I ever saw a Serge Modular synth was studio 4 of the EMS studios in Stockholm, but it didn't work unlike the Bucla in the same studioso I never had the change to fiddle on one.

I am actually quite surprised to see a compilation with so many artists that actually have access to one, or perhaps even own one. Much alike the release by Loachfillet, this is nightmare music, soundtrack music or just downright scary.

Lovely again. None of these pieces are really noise based except perhaps Cebec, Lowenzahn or Gruselbut each of them breaths analogue warmth. Perhaps not the most well-known names around - not all at least - but each of them knows how to get something nice out of such beasts.

John of 13th Floor ElevatorsLoachfillet / Slujun - Split (Cassette), together with Raub Roy, who works as Horaflora, and who plays the computer. Reipiscent calls this: 'Konono No. Three long pieces Loachfillet / Slujun - Split (Cassette) improvisation, none of which could impress me very much. Very much like stuff a bunch of separate sounds going on, that never seem to match very well. The processing of whatever White does is a bit crude and noisy, and never seems to find a common place, where they both play or interact together.

Overall not really bad, but not enough to keep it going for the entire length. With 'Live-Refined' they deliver their fourth release. The band has two guitarists, Yuji Muto and Takumi Seino. Both have an easily identifiable style and sound. Seino is a jazzguitarist with a style common to Scofield, Holdsworth a.

Muto has a more tough electric rock-oriented sound. All four members contribute with compositions for this live recording. Most, four to be exact, come from Takumi Seino. In the opening track 'Death Mental' the music immediately and misleadingly reaches its boiling temperature. As the title clearly suggests, this piece is inspired on death metal. Hoping for more of this up tempo and tightly played piece, I became however disappointed. For the rest of the album Next Order remain in jazzy atmospheres.

We have to wait for the closing track "Angry Stone" to enter rock territories again, with real Frippian energy near the end of the piece. But after repeated listening the other tracks started to reveal their beauty. Energy is channelled here in a different way.

It is pleasure to listen to the subtle playing by Seino. They in trade in different styles, but the necessary unifying force comes from their musical approach and teamwork. When this kind of music comes from the studio often all life andspontaneity is mixed out of the recordings. A bit of an unequal meeting perhaps, since erikM and Noetinger represent with the two of them the electronic side, with their feedback system, CD players and electronics, but don't underestimate Doneda with his saxophones.

He's well capable of presenting himself. They first meet up in at Festival Jazz in Mulhouse in France but later on as a trio started to play more concerts, they wave together an excellent set of three pieces of carefully constructed sound and at times heavily deconstructing noise.

Well, that's not entirely of course. No walls of feedback here, power electronics, but in some of the sustaining sounds one might recognize some sine wave like piercing electronics. Certainly if you put the volume up in the more silent parts than the louder ones, will become massive attacks. This trio walk this balance in a great way, that fine line between then the utter quietness and the loud, menacing parts.

Each players controls his instruments in an excellent manner, making this most gorgeous disc of improvised music. The other CD is by Sebastian Borgo, a. As Ogrob he plays guitar with lots of small boxes around him. I am sure Borgo is not insane, and I wouldn't call him a show-off either, but he likes to show what he is capable of on the six strings. Fourteen tracks Loachfillet / Slujun - Split (Cassette) total from his career, the oldest piece being from and the most recent fromand various pieces have been released before.

He plays his guitar in the best ambient tradition, in the best noise tradition and in the best improvised tradition. Not all in the same piece of course, but among these tracks there is this variation.

That doesn't make this CD easy to digest I think. Once you get into say a nice ambient mood, the next track might be all out distortion and feedback. Its a display of his qualities, rather than well rounded musical effort. Maybe such a thing comes with the idea of anthology of works, but it doesn't make a very coherent listening.

Nice most of the times, but some of noise bits are a bit tiring. It means that, while being busy I could quite get to the music. Harmash is from Novopolotsk, Belorussia, where he works since the 90s with analogue synthesizers, radio, guitars, field recordings and above all computers.

In that almost hour that passed I didn't have the feeling I heard anything spectacular new. Oval like ambient music. Glitchy, but warm. Actually, I must say, I very much enjoyed this. No prize to be given for its originality, but its created with great care and an absolute love for that great warm sound.

A bit poppy, largely ambient. What more is there to say? I wasn't finished with my manual labor when this was over, so I played it again, straight away. In the first case we have Bruce Gilbert's first solo record from Right after his work with Dome along with his solo work, my favorite Gilbert work and before re-uniting with Wire for the first time, he recorded two pieces of music for choreographer Micheal Clark. Its been a while since I last heard this I must admit partly due to Vital's workload I must saybut I still thinking this is a gorgeous record.

Gilbert takes his time to develop his sounds, first on the synthesizer and then on the guitar, ultimately combining the two with rhythm in the third part. Eerie, grey music that hasn't aged at all.

Excellent still. Let's hope Editions Mego will re-issue all of Gilbert's solo work! The second re-issue here is not an entire re-issued work, but a collection of hard to get pieces by Australia's Oren Ambarchi from the period Pieces from compilations and limited vinyl releases, plus a previously unreleased cut. Likewise with Gilbert, I haven't heard Ambrachi's recent output, but its good to have a release like this. I don't think I have any of these releases, so it fills in a gap for me.

Quite pleasing to hear the vocals on "Iron Waves", or the quiet silent introspective strumming on 'The Strouhal Number'. These pieces do not shed much new light upon the work of Ambarchi, but it has all of his trademarks in it: the sustaining guitar, the sinewave like sounds and even some more louder exercise in 'A Final Kiss On Poisoned Cheeks', with some nasty, noise frequencies.

A nice 'in between' release, while waiting for something new. They took a four year break between 'Juxtapositions' including one year of not playing live to reflect on their music and see where to go next. The result of that thinking is on 'Chimeric' and their music certainly has taken off into a new territory. Although its hard to label their previous sound as anything, the soft, somewhat jazzy sound has been replaced by a more rock like texture.

It opens with a wild beast named 'Git Cut Noise', with heavy rock drums and distorted guitars. That sets the tone for this album, which doesn't mean however that it goes all the way, all the time. A piece like 'Subcolors' shows a combination of the old Radian sound, with the free play of the new Radian. Its the last piece of the CD and in between we have moved from everywhere to anywhere. Electronics seem to be reduced in this new album, only sparsely placed here and there.

Radian has successfully re-invented their sound, taking a new road into the jungle. Freedom in playing are the new keywords, while preserving the best of their old sound. Heavy all the time, but sometimes lightweighted heavy, like the precious sound of a falling leave. Demanding and rewarding. Great album. Would be interesting to see how that works out in a concert. But it isn't. Its a release by a label called Mu-Nest but its indeed by two Japanese musicians: Shunichiro Fujimoto acoustic guitar, acoustic and electric piano, found sounds, programs and Ysuhi Mori drums, percussion, keyboards, string arrangementplus some additional help on voice, guitar and cello.

A record of slow, quiet, peaceful music. Folk music without too many vocals, entirely updated to the new millennium. One long road trip. This is, strange as it may seem, music to travel with. Put this on your car stereo and drive away, on your ipod while on the train to a far away, unknown destination. Music for a rainy day perhaps no surprise that today is such a day.

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Loachfillet is a resident of Oakland, California where he plays in projects such as Pigs in the Ground, Diatric Puds and the Blobettes, Mummers (Eype) and Psicologicos Traumas. -SF,


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