Yowie - Cryptooology (2004)

The future of music that will never come to pass. The climax of rock music. This is outsider music for our entire dimension. No band has had this sort of vision since Beefheart marinaded us with tales of Big Joan's anatomy (and what a serenade that is). In fact, go look at any performance of Beefheart right now (or listen to Trout Mask... no, both). Catch a note of the spastic rhythms and atypical.. everything. It's a blues-rock, free-jazz, genre-destroying cacophony caught in a blender. But the reason we cherish Beefheart isn't because he's a gimmick that had the crazy idea of making unpop and somehow we ran with it, it's because somehow beneath the blimps and motherships there is an undeniable structure. A brooding intelligence that guides every misstep into a rightful position. A stealthy constructed masterpiece.

But how dare I compare some obscure midwestern punk band to the some of the greatest minds in rock history? But dear reader, this band is no ordinary band, and for better or worse, you will certainly notice that from the first seconds of this swirling masterpiece. "Spastic spidery-thin guitars blurt and blast against each other over an equally spastic, rhythm-busting drummer." There's my review. That's all I can say without twisting my mind as insanely as they twist music. It's relentless and beautiful. It's a fourth dimensional god appearing once before you for a microsecond. You recognize it, and you sense its beauty, but any question about the encounter invariably ends with an apologetic "I don't know".

But something you can relate it to... take your Hellas and Flying Luttenbachers, then cut their music into brief microsecond sections, and spend an infinite amount of timing piecing the pieces together in a post-deconstructionalist masterpiece, and maybe you'd have a fraction of this 30 minute freakout.

I used to get upset that this is all we've seen from this band, three years removed from a projected sequel, but I've noticed that in the dozens of times I've probably listened to this album I've never heard the same album twice. But it won't stop me from begging for them to return from whatever dimension they hang out in.

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Ice Bound Majesty - A Tomb To Erect (2008)

Again, True Sheffield. This one coming from the other half of Skultroll (the one not Black Vomit), with his own work, Ice Bound Majesty. This one, like Black Vomit strays from the more straight, punk sound of Skultroll, again throwing around samples and varying styles of music at will. Starting with the usual dark ambiance, slowing working into an acoustic folk-esque section, entering flute (or some other small woodwind), and then to a thick, ugly drone, all within the first two minutes of this ~35 minute EP. It really has no concern for expansion. While mostly contained within the usual dark atmosphere, somewhat dungeonesque, it variates into doomy ambient passages, into furious blasts, into a cleaner drone into a heavy electronic sound, and back in a manner both smooth and jarring.

That "dungeonesque" sound doesn't always permeate, however. It's occasionally somewhat angelic, as with the "choir" starting and jumping within Wardragon Bones, it's sometimes modern, and mechanical, the drone sometimes takes a sharp, electronic sound, and it's occasionally, unabashedly beautiful. Bright, again almost angelic passages, rise from the grit (again, much like the Black Vomit I posted earlier), doing it's best to warp the listener's mind. There is really no way to prepare for what happens next, no mood one can set oneself into to "fit" the record. It's a twisted universe.

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Black Vomit - Jungle Death (2009)

It starts with a premonition. A Premonition of Inevitable Doom; the title track as well as a literary signal. It's enough to clue you in to what's going on, and listening to it makes it more apparent. A thick fuzz, a synthy drone submerged within and mystical sounding samples echo in and out of the foreground. And as soon as premonition sounds, it blends right into the doom. That deep bass fuzz turns into an incredibly sharp guitar and madness spews from the constant clang of symbols and snares with incredibly tense blasts.

But even if you don't start the album, there are plenty of signals from even the album cover alone. Much like the Amocoma cover, a black border contains all. Seemingly a gesture at that same fuzz and atmosphere that permeates nearly all contained with the album. It's a dirty beast within. The font, remeniscent of Bathory, cues a medieval feel. Deep in the dungeons and that. And beyond those the few keywords we get do their own.

"Black" is an easy one. Fuzz is everywhere, pounding drums are everywhere, much of this album is a bleak nightmare. "Vomit" comes at a much more abstract view, however. It comes as one of the trademarks of this sound, though, the "True Sheffield Black Psychedelia" scene. Vomit, as an amalgamation of what has come to one before, does work somewhat well in regards to this sound. Despite what I have said before, this isn't all black. Thrown in with those long dungeon walks, are small shafts of light. Dispersed with the fuzz are bright synthy passages, reminiscent of something the "Aguirre" soundtrack. But even in the blackness cues some amalgamation. The drums aren't always typical blasts, sometimes they reveal more as tribal war drums, sometimes revealing more as wild, somewhat linear assaults, coming off as more of a "man-made" breakcore. And within even that, sampling is prevalent. In context it sounds more of the inner ramblings of a schizophrenic. Ramblings of preachers, doctors, and lovers, perhaps whirling through a distraught mind, cutting in and out and constantly warped it some manner.

"Jungle Death" as well seems to have some meaning through all this. Death should be as obvious as "black" by now. There's a menacing demeanor behind much of this. The jungle is obscure, though. Possibly read in terms of the drumming, going into it's breakcore, DnB sort of flair, recalling the genre of music called "jungle". Or perhaps it's a part of the atmosphere itself. An uninviting den with beasts roaming.

Lastly the picture. DMT crystals. Not only a heavy psychedelic, but also speculated to be the cause of the Near-Death Experience phenomena, it's a perfect compliment to the music themselves. Even in just the three songs set from Repositioning Chrome to Dark Beloved Cloud, you get an almost rockish psychedelic sound, leading to a strings and choral arrangement in "Konna Yume Wo Mite (Such Dreams I Have Dreamed)", which falls into a pure aural assault of flailing drums, thick fuzz and an assortment of mutated samples. This album is certainly a trip.

Buy (also, I think you can buy it here, which also has a small sample from Dark Beloved Cloud... you might want to turn your speakers down)

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NOISM - ± (2008)

Hard to find words for this one, mostly because it leaves my brain as a goo running out my ears. Beginning in Tokyo in the late nineties, NOISM set the goal of pursuing the ultimate brutality and complexity in music.

Maybe they succeed.

This is aural assault, plain and simple. The drums pound at the speed of light and the guitar noodles in and out of abrasive passages at a comparable tempo. Even at a paltry 21 minutes, it's hard to make it through. This is drill and bass at it's most ear shattering. Everything crashes and clangs in such an intelligible measure, it's hard to even imagine someone actually programming it.

I'd almost say it's impossible to *like* it, but, somehow, this is absolutely amazing.

BRUTALITY

TECHNICALITY

Jyoji Sawada - Base of Fiction (1994)

Blogs been up for a while, so I figured I'd give a special treat of the greatest album of all time.

To start, it's probably important to consider the "state of Japanese independent music" at the time of release. A huge style was the sort of "neo-zeuhl", rio-influenced kind of music largely championed by bands like Bondage Fruit, Koenjihyakkei, and a number of other greats. Heavy use of classical stringed instruments, largely technical music, operatic vocals, and other outrageous sounds highlight the genre. Along side that we had the "noise rockers": Ruins, Ground Zero, High Rise, etc. Anyone vaguely knowledgeable of the sort of "experimental" movements within Japan will know of this style. Thirdly, "Japanoise". Exhibited by Merzbow and Masonna, this brand of free noise has become largely acknowledged as some very "outside" music. And floating in and out of all of that, we have the avant-garde and generally humorous stylings that seem to be present in anything that comes out of Japan.

Enter Jyoji Sawada, a self taught bassist that builds himself off of classical composition, film soundtracks, and even a fair bit of Brazilian and Indonesian influence. After some experience with jazz improv and some work with Choro Club, he set off to combine his large vocabulary of sounds into wild, avant-garde compositions for a solo career. And as wide as influences are, Jyoji seems to want to condense the entire state of Japanese Independent music with his debut, Base of Fiction.

But for this seemingly defining piece, it isn't really a solo project. Although all is settled with Jyoji's vision, he combines his talents with some of the largest figures of Japanese music, including: Yoshida Tatsuya drumming on several tracks, the incomparable Otomo Yoshihide appears a few times, Seiichi Yamamoto lends his guitar, and the album is produced by the God Mountain head, Hoppy Kamiyama. This is almost more of a collaboration of Japanese music as a whole than it is Jyoji's band, although it's execution should be attributed significantly the the man that composed all but the first track.

That execution, you ask? Brilliant. Sonic insanity from the beginning to the end, with those previously mentioned styles all making appearences in one way or another. Largely dominated by Jyoji's obscure atmosphere, created from a mixture of a chambered string section and an overall menacing figure that looms from the noise and ferocity of his more rockish elements, this album takes us in and out of "reality", which Jyoji himself notes in the title for the 9th track (trans.) "Between strangeness and the reality of daily life" [please inform me if this is incorrect]. Schoenberg-esque, "spechstimme" comes in and out from female vocals, strings shift from dense soundscapes to more technical passages, maybe recalling Glass and his use of arpeggio (as in Einstein on the Beach), sampling is frequent and jarring (Jyoji explores the wide range of electronic expression) and even toy instruments make an appearance as we are left either frustrated or impressed (or both) and most certainly confused by the inner workings of Jyoji Sawada's mind.

To dissect this album is futile. At any given second, there is too much to consider, and at the next moment, you're taken to a completely different realm without warning. It's best to let this album wash over you, let it jerk you back in forth between signature changes, let it turn your mind into putty and watch the abstract figures that form as it splatters on the wall.

Buy.... good luck. Out of print. I was able to get a used copy (for a hefty amount that I will not disclose so easily), but it's a tough find, for sure

Download V0 | FLAC

official site | Myspace (The samples of music on here recall his more contemporary classical/ soundtrack styles that he explores on his later albums and film scores. Don't expect to find such warmness on this one)

Godspeed You! Black Emperor - F♯A♯∞ (1998)

"The car's on fire and there's no driver at the wheel, and the sewers are all muddied with a thousand lonely suicides, and a dark wind blows. The government is corrupt, and we're on so many drugs, with the radio on and the curtains drawn. We're trapped in the belly of this horrible machine, and the machine is bleeding to death. The sun has fallen down, and the billboards are all leering, and the flags are all dead at the top of their polls."

If one were to picture the apocalypse, this album would be their soundtrack. This is the kind of music you listen to while reading Cormac McCarthy’s The Road. Dark, somber, and hauntingly beautiful, the music that G.Y.B.E. has crafted defies categorization, using sounds, lifting string sections, voices, and musique concrete to create a compelling sonic landscape that will send chills down your spine. My favorite parts of the album are probably the spoken word monologues, especially the one on Dead Flag Blues. It’s touching and almost unsettling. The band plays like a mini-orchestra; the guitars, violins, and percussion working together as an organic part of one collective unit. The music itself is full of calm, eerie silences followed by loud crescendos that can creep up on you unexpectedly. The three songs are split up into multiple movements, each movement musically separate from the other but emotionally fluid. Turn off your lights, play this album, and crank the music up LOUD.

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Kayo Dot - Choirs of the Eye (2003)

This album, holy shit. Kayo Dot's music stops time and takes you out of your body. Choirs of the Eye is one of my favorite albums of all time and sets the standard for all music. The first track, "Marathon", is one of the best songs ever. The beginning makes this the perfect song to wake up in the morning, and gives that HOLY SHIT feeling right as you put the CD in the player (or right when you press play in Winamp). I won't give an exact moment in the song because almost everything is amazing. The burst at the beginning, the BRUTAWLITY that there is before, and the ambient second part that starts around 4:30 that can freeze time and suddenly everything is in slow motion. Thankfully after this song there is "A Pitch of Summer" so we can recover from the burst of geniousness.

Did I say the next song helped you rest? Lies! What you think is a ballad like song ends building up into a complete monster that may RAPE your ears. Don't come here unprepared. Then there's "The Manifold Curiosity", perhaps the greatest song on this album. I could simply say that the whole song is speechless. I don't know why every little note from this album touches my heart like no other band does. There are many great moments in this song that make me want to close my eyes and just lie on my bed listening to it. The sudden "musical explosion" that would make people jump if they come unprepared (4:40), the subtle background riff at 5:55 that always makes me smile...

But the real standout of this song is the amazing build up until the end that concludes with the most BRUTAWL piece of music ever. If there is one song that makes people shit, it's this. All the second part of this song is either the build up for this climax, or it. I'm never able to move properly when it comes, I feel nervous, like if the world would end in just a few seconds, and when the guitar begins with the crushing riff at 10:25, I already know it's too late. Don't try to talk me there, because I'll be unable to move. Also, check how loud the snare is at the end, holy shit.

Fortunately (or not) "Wayfarer" is all nice and pretty with cool solo but there isn't any holy shit moments (there are, but nothing that deserves begin in the HOLY FUCKING SHIT list). A cool relax after "The Manifold Curiosity". The final track, "The Antique", is less dramatic than in "The Manifold Curiosity", since the song is overall much heavier and doesn't build up like the other does, but it's still really great, especially when the acoustic riffing comes. Brutality paired up with something beautiful make an amazing pair. Also, the ending after that is really something magic, and IMO, the best thing of this song.

Get this album right now. You won't regret it.

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